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Metryka w „Paschale carmen" Seduliusza (na przykładzie księgi II)

100%
Pokrywka W.
Vox Patrum
|
1999
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vol. 36
407-413
EN
Caelius Sedulius, qui saeculo quinto post Christum natum vitam degebat, et metris et arte versificandi poetas antiquos, praecipue vero Publium Vergilium Maronem in opere suo Carmen paschale quod inscribitur imitabatur.
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Topos "locus amoenus" w łacińskiej poezji chrześcijańskiego antyku

71%
Gacia T.
Vox Patrum
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2008
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vol. 52
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issue 1
187-198
EN
This paper deals with the topos of locus amoenus in Latin poetry of Christian antiquity. Descriptions of idealized landscape can be found in whole literary tradition from Homer on. In Latin epic poetry Virgil used this device to describe Elysium, which Aeneas enters in the Aeneid. In Virgil’s eclogues locus amoenus is a place of refuge for shepherds from calamities of fate and an alien world. For the farmer in his Georgics it is a reward for honest agricultural work. For Horace it was an escape from the noise of the city. For Christian poets, Prudentius in Cathemerinon, Sedulius in Carmen paschale, Avitus of Vienne, Dracontius, Venantius Fortunatus and other, locus amoenus becomes the biblical paradise in the eschatological sense, or morę generally, salvation. Use of the topos of locus amoenus shows the cultural continuity of antiquity. In Christian poetry this theme is filled with a new content, but the process of thinking and artistic creation remains they share with classical authors.
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Starotestamentalne cuda w poemacie "Paschale carmen" Seduliusza

71%
Krynicka T.
Vox Patrum
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2014
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vol. 62
331-356
EN
Before turning to the wonderful Saviour’s deeds, that he strives to praise in Paschale Carmen, Sedulius introduces his reader into the old testamental history of salvation. In the Book 1, which fulfils the functions of a preface to the poem, he recounts 18 miracles that took place before Christ was born, since the ages of the Patriarchs to the period of the Babylonian captivity. These relations appear to be separate, self-contained stories. The longest is devoted to the miraculous fate of the prophet Elijah (lines 170-187); in the shortest the poet tells about the Balaam’s donkey, an animal without speech, who spoke to its master with a human voice (lines 160-162). Miracles fascinate Sedulius as extraordinary events, which deny the laws of nature and contradict common sense. At that they are sometimes con­nected with a marvelous metamorphosis. God performs miracles in order to show to the mankind His might, providence and kindness; to educate human beings and to prepare them for the coming of Christ; to foretell cosmic redemption at the end of times. Telling about the old testamental miracles Sedulius tends to refer both to the unbelievers and to the believers the revealed truth. He also aims to awake in the readers’ hearts wonderment, gratitude, love and trust towards the Holy Trinity.
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