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1
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Jan Andrzej Morsztyn and Votum z Seneki; or, A scorpion and his stings

100%
Jakielaszek J.
Prace Filologiczne. Literaturoznawstwo
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2015
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issue 5(8)
149-166
EN
The present paper investigates the relevance of structural and intertextual information for an interpretation of Votum z Seneki dla Jegomości Pana Chorążego Wielkiego Księstwa Litewskiego by Jan Andrzej Morsztyn. Placing both the structural and intertextual properties of the text against a wider context of the literary practices of the period, of the contemporaneous philosophical discussions and tendencies, as well as philological discussions of relevant hypotexts, allows one, it is argued, to uncover at least two distinct, although closely intertwined, layers of irony and scepticism in Morsztyn’s piece.
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Sacrae litterae. Anagramatyczne wariacje na temat Virginis – Deiparae w Oraculum Parthenium Józefa Stanisława Bieżanowskiego (1668) [Sacrae litterae. Anagrammatic variations on Virginis Deiparae in Oraculum Parthenium by Joseph Stanislaw Bieżanowski

85%
Zaborowska-Musiał J.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2014
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vol. 24
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issue 1
163-183
PL
Joseph Stanislaw Bieżanowski, a professor at the University of Krakow, a eulogist and poet, in the collection entitled Oraculum Parthenium (Krakow 1668) used a hundred of simple anagrams of Giovanni Battista Agnese published in Rome in 1661. These short (one-sentence) phrases, formed from the letters of the first part of the Angelic Salutation (Ave Maria, gratia plena, Dominus Tecum), accentuated on Mary’s immaculate purity and freedom from the stain of the original sin on the one hand and her divine motherhood on the other, thus increasing the role and the importance of Mary in God’s plan of salvation. Bieżanowski used these anagrams, making each of them a motto elaborated on in his epigrammatic comment. Epigrams of the Krakow lecturer are characterized not so much by the deepening of the religious reflection, as attention to the formal aspects, the pursuit of artistry. This is reflected in the application, many times within one work, of rhetorical figures highly valued in the Baroque (antitheses, oxymorons), the chiastic structure and interspersing the punch line of the epigram with the anagram from the motto (sometimes in a modified form). Anagram not only served as an additional rhetorical decoration, highlighting the main idea of a work, but also provided a bridge integrating the entire composition. Bieżanowski enclosed the anagrammatic-and-epigrammatic praise of the Virgin Mother of God by an interesting theory of the genre outlined in the preface to Pope Clement IX, whom the University of Cracow gave the collection while making efforts to proceed with the beatification of John Cantius. It combines the literary and theological reflection and in this way exalts the genre, contrary to the opinions of some seventeenth-century theorists. Bieżanowski’s original approach is also evident in the change in the system of anagrams proposed originally by Agnese. In this new system Oraculum Parthenium could perform several functions: educationional,  propagandistic and polemical. Above all, however, it was a poetic prayer, complementing the official Marian liturgy.
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Старость — концепт русской стихотворной эпитафии?

85%
Carkowa T.
Slavica Wratislaviensia
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2016
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vol. 163
71-80
EN
The author of the article Old age — aconcept of Russian epitaph? — Tatiana S. Tsarkova is the editor (together with Sergey I. Nikolaev) of the first Russian anthology of the epitaph genre and author of the monographic study Russian Verse Epitaph. Sources. Evolution. Poetics (Petersburg, 1999). In the monograph she, among other things, explores such concepts as ‘life’, ‘death’, ‘memory’, ‘monument’. It might seem that such arelevant cultural notion as ‘old age’, causally in most cases associated with the concept ‘death’, would appear in epitaphs with evident frequency and acquire the significance of agenre concept. However, as quite an extensive material demonstrates, nothing of the kind happens, out of 3000 epitaphic texts only 3 times the word ‘old age’ is mentioned, and no more than 15 its derivatives or paraphrases like ‘years’, ‘grey hair’, ‘of many years’. The author offers explanation to this unpredictable phenomenon.
PL
Autorka artykułu Czy starość jest konceptem rosyjskiego epitafium wierszowanego? jest twórcą (wspólnie zS.I. Nikołajewem) pierwszej rosyjskiej antologii epitafiów literackich oraz monografii Rosyjskie epitafium literackie. Źródła. Ewolucja. Poetyka (Sankt Petersburg, 1999). W monografii zbadano takie koncepty, jak życie, śmierć, pamięć czy pomnik. Wydawałoby się, że starość, jako pojęcie silnie związane zkonceptem śmierci, powinna wyjątkowo często pojawiać się w epitafiach. Jednak — jak wskazują badania przeprowadzone na bardzo obszernym materiale — jest zupełnie inaczej. Wtrzech tysiącach epitafiów stwierdzić można zaledwie trzykrotne użycie słowa „starość” inie więcej niż piętnastokrotne użycie słów pochodnych iblisko związanych ze słowem „starość”, takich jak np. „lata” czy „siwe włosy”. Autorka artykułu wyjaśnia ten fenomen.
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Życie seksualne jako obiekt krytyki i źródło inwektyw w literaturze politycznej czasów stanisławowskich. Casus „Zagadek Sejmu Czteroletniego

71%
Kaczyński P.
Prace Polonistyczne
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2013
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vol. 68
73-109
EN
The paper focuses on the collection of political epigrams from the time of the Four-year Sejm. It is compilation of a few hundred pieces depicting in a different light all the participants of the parliamentary sessions, as well as a number of women in these circles. In critical epigrams, the role of an argument is often played by more or less open allusions to love life of the criticised people. Although the riddles touching upon this subject constitute only a minor part of this collection (approx. 14%), different strategies in employing the theme of love life can be distinguished: from delicate taunts to depicting the love life of the given character as the main argument against the person, related to allegations of indifference to the fate of their homeland or even treason. An interesting disparity can be observed while comparing the riddles about men and women. In the case of women, criticism of their love life occurs more frequently than in the case of men. Despite the use of sexual themes as an argument in the political struggle, Polish poetry of the Four-year Sejm era is much less radically vulgar or obscene compared to, for instance, French political literature of the Revolution.
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Entymemat jako struktura epigramatyczna. Koncepcja Jakuba Masena

71%
Nowaszczuk J.
Colloquia Theologica Ottoniana
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2015
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issue 1
107-124
PL
Barokowe epigramaty bywają oceniane krytycznie, uznawane za mało ciekawe i wymyślne. Jak się okazuje, dzisiejsi czytelnicy i interpretatorzy mogą błądzić nie tylko w ocenach, ale i rozumieniu dorobku dawnej epoki. Na przestrzeni czasu zagubiony został bowiem w badaniach literaturoznawczych entymemat, jeden z istotnych składników procesu twórczego i jedna z metod odczytywania poezji. Zasady, jakimi kierowano się, korzystając z sylogizmu krasomówczego w poezji, omawia w ósmym rozdziale swojego dzieła pod tytułem Ars nova argutiarum jeden z najwybitniejszych uczonych jezuickich XVII wieku, Jakub Masen. Autor podejmuje utrwalone w dialektyce i retoryce pojmowanie entymematu, oparte na wykładzie Arystotelesa, który skłania się ku tzw. koncepcji stylistycznej rozumienia zjawiska, wiążąc je zasadniczo z kompozycją dzieła. Swój wykład popiera licznymi przykładami i pokazuje, jak łączyć sylogizm z innymi środkami poetyckimi. Dzieło jezuity jest tym bardziej cenne, że stanowiło swego rodzaju itinerarium dla adeptów sztuki poetyckiej. Pozwalało uczniom i czytelnikom poznać niuanse procesu twórczego. Obecnie stanowić może dobre narzędzie do „deszyfracji” zawartego w epigramatach przesłania, co pozwoli bardziej skutecznie i poprawnie tłumaczyć i interpretować dawny dorobek epigramatyczny.
EN
Baroque epigrams are sometimes criticised and considered as not interesting and sophisticated enough. It appears that today’s readers and interpreters may be wrong not only in their judgements but also in their understanding of the achievements of the past era. With the passage of time, literary studies have lost the enthymeme, which is a major component of the creative process and one of the methods for interpreting the meaning of poetry. The principles applied when using rhetorical syllogism in poetry are discussed in chapter eight of the work entitled Ars nova argutiarum by one of the most eminent Jesuit scholars of the 17th century, namely Jakub Masen. The author deals with the understanding of enthymeme as it is established in dialectics and rhetoric, based on Aristotle’s lecture. On the one hand, Masen leans towards the so-called stylistic concept of understanding the phenomenon, linking it – in principle – with the composition of the work. His lecture is illustrated with numerous examples and shows how to combine syllogism with other poetic means. The Jesuit’s work is all the more valuable because it was a kind of itinerarium for beginners in the art of poetry. The work allowed students and readers to discover nuances of the creative process. Today, it can be a useful tool in “deciphering” the message contained in epigrams, which will allow for even more effective and correct explanation and interpretation of the epigrams of the past.
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Specimen pudoris, czyli o rozmowie Jakuba Pizona z Lukrecją w epigramatach Andrzeja Krzyckiego

71%
Wojtowicz W.
Pamiętnik Literacki
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2020
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vol. 111
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issue 2
39-51
PL
W artykule analizuję nowołacińskie epigramaty Andrzeja Krzyckiego (Andreas Cricius, 1482–1537) związane z Lukrecją oraz z osobą Jakuba Pizona (Jacobus Piso, ? –1527), legata papieża Juliusza II, powstałe prawdopodobnie w 1510 roku. Epigramaty te odwołują się do iluzji malarstwa, dotyczą przedstawienia malarskiego wyobrażającego samobójstwo Lukrecji, któremu przypisują moralno-pedagogiczne, estetyczne czy etyczne cele. Bogate aluzje literackie w epigramatach Krzyckiego o charakterze satyrycznym zwrócone są przeciw Pizonowi, są satyrycznym ujęciem homoseksualnych preferencji legata.
EN
In the paper the author analyses the New Latin epigrams by Andreas Cricius (1482–1537) connected with Lucretia and with the figure of Jacobus Piso (? –1527), a legate of the Pope Julius II, produced probably in the year 1510. The epigrams refer to the illusion of painting, concern the painterly illustration of Lucretia’s suicide to which they assign moral-pedagogical, aesthetic, and ethic aims. Rich literary allusions of satirical character in Cricius’ epigrams are directed against Piso—they are satirical depiction of the legate’s homosexual preferences.
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Epigramatyka barokowa w świetle analizy logicznej

71%
Wierzbicka-Trwoga K.
Prace Filologiczne. Literaturoznawstwo
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2015
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issue 5(8)
135-148
EN
The paper considers the question of the logical status of conceited epigram. 16th century theoreticians, for instance J.C. Scaliger, already applied logical methods to the analysis of epigrams, and 17th century theoreticians developed a strict logical description of the so-called compound epigram. This form of epigrams met with particular interest in the Baroque period because of the opportunity it gave to express the construction of a conceit. A conceit was defined as an “argument urbanely fallacious” by E. Tesauro, i.e. an enthymematical construction built upon a metaphor. It should be therefore called a paralogismo, but 17th century theoreticians avoided this term in the belief that the conceit offered special cognitive possibilities. In my paper I use logical methods to analyse the epigrams by J.A. Morsztyn, M.K. Sarbiewski and S.H. Lubomirski, to argue the assumed thesis that conceits served as logical experiments performed in the conviction of the insufficiency of Aristotle’s categories to describe the transcendent as well as the visible world. Above all, the questioning of Aristotle’s principle of non-contradiction allowed Baroque writers to transgress the two classical logical values, “true” and “false”, bringing along the intuition of a third logical value, defined in the 20th century as the “unknown” by J. Łukasiewicz.
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Robortello nei "Foricoenia" e negli "Elegiarum Libri Quattuor" di Jan Kochanowski

71%
Cabras F.
Italica Wratislaviensia
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2021
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issue 12.1
47-65
EN
This article aims to study Jan Kochanowski’s "Foricoenia" and "Elegiarum Libri Quattuor" in the light of Francesco Robortello’s treatise "Eorum omnium quae ad methodum et artificium scribendi epigrammatis spectant explicatio". After having set Robortello’s treatise in its historical and literary context, the article shows how Jan Kochanowski, who probably attended Robortello’s classes during his first two stays in Padua (1552–1555; 1556–1557), agreed with the ideas presented in the treatise. The fact that Kochanowski agrees with his professor’s ideas on the epigram does not mean that he behaves in a totally passive and uncritical way, for he clearly shows his independence when writing his Latin epigrams, sometimes refusing to comply with Robortello’s suggestions (e.g., Kochanowski does not avoid the use of elegant and rare Graecisms, which Robortello advises against excessively using). Kochanowski owes Robortello his high consideration for Catullus: when imitating Catullus’s epigrams, Kochanowski often chooses to imitate (or to hint at) the same epigrams Robortello commends in his treatises (for instance, Cat. LXIX is clearly imitated in "Foricoenia" XXV, while Cat. XV is quoted in elegy I 7). We encounter the same situation when Kochanowski deals with Martial: although Robortello clearly prefers Catullus over Martial, he praises the love epigrams written by the latter poet, and Kochanowski, in writing his "foricoenium" CV, imitates Cat. XCIX as well as Mart. III 65 and XI 8, the latter two epigrams not quoted explicitly by Robortello, but chosen by Kochanowski himself.
IT
Il contributo si propone di studiare i "Foricoenia" e gli "Elegiarum Libri Quattuor" di Jan Kochanowski alla luce del trattato di Francesco Robortello "Eorum omnium quae ad methodum et artificium scribendi epigrammatis spectant explicatio". Dopo aver inquadrato il trattato di Robortello nel contesto storico-letterario in cui è stato composto, si procederà a dimostrare come le idee del professore dell’Università di Padova in merito a questo genere letterario verranno in buona parte accolte da Kochanowski, che era stato molto probabilmente suo allievo durante gli studi universitari. L’accoglimento delle idee di Robortello non è tuttavia passivo e pedissequo, ché il poeta polacco saprà anche rielaborare in modo personale i suggerimenti del maestro e finanche rifiutarli esplicitamente (ad esempio là dove non si astiene dall’impiegare grecismi nei suoi epigrammi latini). Kochanowski deve a Robortello l’attenzione riservata a Catullo. Egli infatti molto spesso imita o allude agli stessi epigrammi catulliani elogiati da Robortello (è il caso di Cat. XV e LXIX, ripresi nell’elegia I 7 e nel "For." XXV), mentre mostra di apprezzare (esattamente come Robortello, che pure non nasconde la sua predilezione per Catullo) il Marziale autore di epigrammi erotici, ripreso ad esempio nel foricoenium CV, dove Kochanowski incrocia un epigramma catulliano (il carme XCIX) con due testi marzialiani (III 65 e XI 8).
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Громкоголосый граф

71%
Кунарев А.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2017
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issue 10
39-46
EN
The article considers the artistic idea and devices of Alexander Pushkin’s epigram on Fyodor Tolstoy “the American”, entitled “David the Singer was short...” (1822). Some semantic nuances are explained and clarified.
RU
В статье рассматриваются художественные особенности эпиграммы А. С. Пушкина на Ф. И. Толстого-Американца «Певец Давид был ростом мал...» (1822), уточняются и проясняются ее некоторые смысловые нюансы.
10

Nieliteracki temat w literaturze potrzebny. O ratunkowej funkcji antologii

71%
Kocela W.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
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2021
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vol. 27: IZOLACJA I KOMUNIKACJA – ROZWAŻANIA NAD FORMAMI KOMUNIKACJI LITERACKIEJ I KULTUROWEJ
313-326
EN
The article presents epigrams and satires devoted to medical issues, which in fact are a commentary to the more or less dynamically changing state of the health care system in former Poland. Thus, the issues of the ethics of the medical profession, the way of dealing with the patient and the approach itself are at the center of attention and reflection to the subject of the disease and the accompanying experiences and emotions. The key point of considerations, however, is the issue of the salvage function of the anthology, which collects and preserves forgotten and omitted texts due to the “non-literary nature” of the topic discussed in them or their permanent affiliation to a topic bordering on culture, applied literature and history of medicine.
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Poetyka konceptu Macieja Kazimierza Sarbiewskiego w kręgu historii idei

61%
Kołos A.
Forum Poetyki
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2017
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issue 7
6-17
EN
The theoretical writings of Maciej Kazimierz Sarbiewski have provided a constant focal point of scholarly interest, most often in the context of the study of problems relating to poetry’s concepts and aesthetics, the Christianization of antiquity, or the imitation of Horace. The multifaceted thought of this author, who belonged to a transitional intellectual formation in the history of European thought, can and should nonetheless likewise inspire studies in terms of the history of ideas, which place the object of knowledge at the intersection of artificially separated areas of knowledge. Sarbiewski’s treatise De acuto et arguto, devoted to his conceptist structure of the epigram, represents not only an enunciation of baroque literary theory, but also, read in dialogue with his other writings, reveals a consistent cosmological vision of reality.
PL
Twórczość teoretyczna Macieja Kazimierza Sarbiewskiego, cieszy się stałym zainteresowaniem badaczy, którzy najwięcej uwagi poświęcają problematyce koncepcji i estetyki poezji, chrystianizacji antyku czy imitacji horacjańskiej. Wieloaspektowa refleksja autora przynależącego do „przejściowej” formacji intelektualnej w dziejach europejskiej myśli zachęca jednak równie silnie do studiów z zakresu historii idei, które sytuują przedmiot poznania na styku zautonomizowanych dziedzin nauki. Traktat De acuto et arguto poświęcony konceptycznej strukturze epigramatu, stanowi nie tylko świadectwo barokowej teorii literatury, lecz również, czytany w dialogu z innymi pismami Sarbiewskiego, odsłania konsekwentną kosmologię rzeczywistości.
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Epigramat Boleslaus II Audax z cyklu Vitae Regum Polonorum Klemensa Janicjusza jako tradycja

57%
Słomka vel Słomiński K.
Meluzyna. Dawna Literatura i Kultura
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2018
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vol. 2 (9)
5-18
XX
In 1563 a series of 12-verse epigrams was issued. It was written by Klemens Janicki and entitled “Vitae Regum Polonorum”. The work features the praises and reprimands of the native sovereigns. Among the criticising poems, one should notice “Boleslaus Secundus Audax”. The first distich of the epigram, portraying the ambivalent nature of Boleslaw the Bold, forms an amplification – it is an example of ratiocinatio, where the readers must decide for themselves which part of the reasoning is being emphasised. The authors of the series referring to “Vitae Regum Polonorum”, namely S. F. Klonowic, J. A. Kmita, M. Paszkowski and J. Bielski, were inspired by the original to a various extend – in some versions the amplification from the 2-verse poem by Janicki changed its nature to incrementum, in others the significance of ratiocinatio was visibly weaker, whereas elsewhere the amplification was not applied at all. It was usually more vivid where the Boleslaw the Bold’s criticism was strongest and the amplification intensity faded out where the criticism was articulated in a more subtle manner.
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Metafora i jej rola w portretowaniu postaci w Źwierzyńcu Mikołaja Reja

57%
Słomka vel Słomiński K.
Meluzyna. Dawna Literatura i Kultura
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2017
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vol. 1(6)
21-39
EN
3 e study is dedicated to the image creation of the characters in “Źwierzyniec” (“Bestiary”) by Mikołaj Rej (1505-1569), based on the metaphors. This article focuses on determining the role of metaphors in portraying representatives of the nobility environment in “Rozdział wtóry” (3 e second chapter) of “Źwierzyniec”. The analysis is made for the selected epigrams where Rej used metaphors based on pronunciation of the surnames of the characters, comparison of their appearances with traits of character, heraldic charges, family lines or associations with heroes immortalised in culture. As determined, metaphors and similes serve mainly to emphasise and enhance positive traits of the characters. Their form adds attractiveness to the text and makes it easier for the reader to draw morals more effectively, as well.
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In memoriam sanctorum martyrum. Epigramaty damazjańskie w rzymskich katakumbach

57%
Pawłowska B.
Vox Patrum
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2004
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vol. 46
489-497
EN
Der Kult der Martyrer entwickelte sich besonders in der zweiten Haifte des IV. Jahrhunders (wahrend des Pontifikats von Damasus). Ihm verdanken wir vor ailem Ausbau, Verbreitung und Zugangiichkeit von christiischen loca sancta. Damasus hat kein Geid gespart, um die Grabstatte zu erweitern, sie mit Marmorpiatten, Goid und Inschriften zu schmucken. Epigrammata damasiana enthaiten Biographien der Martyrer, Beschreibungen ihrer martyrerischen und lobenswerten Tod. Heutzutage ist ihre Roiie unersetziich fur die Lokaiisation und Identifikation von Martyrergrabstatten.
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O cnocie w Ikones książąt i królów polskich Jana Głuchowskiego

57%
Słomka vel Słomiński K.
Meluzyna. Dawna Literatura i Kultura
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2019
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vol. 2 (11)
35-52
EN
“Vitae Regum Polonorum” by Klemens Janicki (Clemens Ianicius) (1516–1543) based on the Polish tradition of describing Polish rulers. This genre flourishes at the turn of the 16th and 17th centuries. The numerous translations and paraphrases of the Ianicius’ cycle were created then, including published in 1605, “Icones of Polish princes and kings” (“Ikones książąt i królów polskich”) by Jan Głuchowski (?–1604), who, based on the various rhetorical measures, repeatedly emphasized the role of virtue in the system of ruler’s values, and also formulated its definitions. It appears in the enumeration alongside other monarch attributes, but in different configurations. It also functions in the description of the ruler’s qualities as the culmination of other values. The definitions of virtue were built by Głuchowski using comparisons where he made tendecious associations, such as identification with a jewel. The highest value also appears in apophthegm formulations. Głuchowski most often drew on the proverbs that were popular in the literature at that time, modifying them to emphasize the content.
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Pankratija Sumarokowa wkład w rozwój czasopiśmiennictwa rosyjskiego

57%
Dąbrowska M.
Przegląd Środkowo-Wschodni
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2018
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vol. 3
121-138
PL
Artykuł zawiera omówienie roli Pankratija Płatonowicza Sumarokowa (1765–1814) – poety, tłumacza, redaktora czasopism, krewnego Aleksandra Sumarokowa) w dziejach czasopism prowincjonalnych (regionalnych) „Irtysz, priewraszczajuszczyjsia w Ippokrenu” (Tobolsk, 1789–1791) oraz „Biblioteka uczonaja, ekonomiczeskaja…” (Tobolsk, 1793–1794) i stołecznego czasopisma „Wiestnik Jewropy” z lat 1804–1805. Artykuł dotyczy związków Sumarokowa z kierunkami literackimi (sentymentalizm), gatunkami literackimi (epigramat) i polemikami literackimi (Iwan Pnin).
EN
Pancras Platonovich Sumarokov (1765–1814) was a poet, translator, editor of the periodicals and Alexander Sumarokov’s relative. The article presents the role of Sumarokov in the history of the local periodicals: „Irtysh, prevrashchaiushchiisia v Ippokrenu” (Tobol’sk, 1789–1791), „Biblioteka uchonaya, ekonomicheskaya…” (Tobol’sk, 1793–1794), and the capital periodical „Vestnik Evropy” of 1804–1805. The article concerns connections of Sumarokov with the literary movements (sentimentalism), genres (epigram) and literary polemics (Ivan Pnin).
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Jana Kochanowskiego epigramaty o „pszczołach budziwiskich” i radziwiłłowska elegia (III 9). Prolegomena do badań nad środowiskiem kulturalnym Mikołaja Radziwiłła Czarnego

57%
Chemperek D.
Roczniki Humanistyczne
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2016
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vol. 64
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issue 1: Literatura polska
153-172
PL
Cztery polskojęzyczne epigramaty poświęcone „pszczołom budziwiskim” (Fraszki, „Księgi wtóre”, 83-86), dwie łacińskie miniatury z tomu Foricoenia (44, 45) oraz Elegia IX z „Księgi III” Elegiarum libri quattuor Jana Kochanowskiego dokumentują jego związki z Mikołajem Radziwiłłem Czarnym (1515-1565), kanclerzem wielkim litewskim i wojewodą wileńskim, przywódcą protestantów w państwie polsko-litewskim. Poetyckie miniatury powstały najpewniej w okresie 10 czerwca – 19 października 1563 w Budziwiszkach vel Bujwidiszkach (obecnie: Buivydiškės) koło Wilna, natomiast jesienią tego roku Kochanowski napisał elegię. O ile w Elegii IX poeta kreuje wizerunek Radziwiłła jako męża stanu, sługi państwa króla Zygmunta Augusta, o tyle w bezpretensjonalnych epigramatach możnowładca jest przedstawiany jako mecenas skupionego wokół niego środowiska humanistów, propagujących reformację. Jako radziwiłłowskie „pszczoły” – pracowite, dobroczynne, znoszące na ziemię Bożą prawdę (odwołanie do Platońskiego toposu) – Kochanowski określił leksykografa Jana Mączyńskiego, poetę Andrzeja Trzecieskiego młodszego i zapewne Cypriana Bazylika – poetę, muzyka, drukarza. W epigramatach autor ukazał Mikołaja Radziwiłła Czarnego jako mecenasa kultury nowego formatu, promującego protestantyzm, zaś zgromadzonych wokół niego twórców jako spójne środowisko literackie. Jakkolwiek zostało ono przedstawione w sposób afirmatywny, Kochanowski zachował wobec niego postawę życzliwego outsaidera. Świadczy o tym sceptyczny ton foricoenium 45 i uwarunkowania biograficzne poety, który był wówczas sekretarzem biskupa Piotra Myszkowskiego.
EN
Four Polish language epigrams on the “Budziwiszki bees” (Epigrams, Second Books, 83-86), two Latin miniatures from the volume Foricoenia (44, 45) and Elegy IX of Book III Elegiarum libri quattuor by Jan Kochanowski document his relationship with Nikolai Radziwill the Black (1515-1565), the great Lithuanian chancellor and voivode of Vilnius, the leader of the Protestants in the Polish-Lithuanian State. The poetic miniatures were probably written between June 10 and October 19, 1563 in Budziwiszki aka Bujwidiszki (now Buivydiškės) near Vilnius, and Kochanowski wrote Elegy IX in autumn 1563. While in Elegy IX the poet creates the image of Radziwill as a statesman, a servant of the state of King Zygmunt August, in the unpretentious epigrams the magnate is presented as a patron surrounded by the humanists who promote reformation. Kochanowski described lexicographer John Mączyński, poet Andrew Trzecieski junior and most probably Cyprian Bazylik, poet, musician, and printer, as the Radziwill “bees” – hard-working, charitable, bringing the truth to the God's earth (a reference to a Platonic topos). In his epigrams, the author showed Nikolai Radziwill the Black as a patron of culture of the new format promoting Protestantism, and the creators gathered around him as a coherent literary milieu. Although it was presented in an affirmative way, Kochanowski maintained an attitude of the benevolent outsider. It is reflected by the skeptical tone of foricoenium 45 and biographical circumstances of the poet who was the then secretary of Bishop Piotr Myszkowski.
18

Z prac nad komentarzem do „Foriceniów” Jana Kochanowskiego

57%
Łukaszewicz-Chantry M.
Pamiętnik Literacki
|
2024
|
vol. 115
|
issue 1
PL
Artykuł przedstawia próbkę komentarza do dwóch foriceniów Jana Kochanowskiego: „Ad Luciam” (21) i „De Neaera” (4). Komentarz ten powstaje w ramach nowej edycji „Carmina Latina” czarnoleskiego poety. W odczytaniu obu epigramatów istotny kontekst tworzą nie tylko utwory antyczne (np. z Antologii greckiej), do których polski poeta sięga w ramach renesansowej aemulatio, lecz także nowołacińskie, np. „Lusus” Andrei Navagera czy epigramaty Michaela Marullusa. „Foricenia” wchodzą w relacje intertekstualne z dziełami innych humanistów i współtworzą literackie dobro wspólne renesansowej Europy.
EN
The paper offers a sample of a commentary to Jan Kochanowski’s two foricoenia, namely “Ad Lucinam” (21) and “De Neaera” (4). The commentary is effectuated in connection with a new edition of the poet’s “Carmina Latina”. When interpreting the two epigrams, an important context is made not only by antique works (e.g. from “The Greek Anthology”) to which the poet referred within the framework of the Renaissance aemulatio, but also by New Latin ones, inter alia Andrea Navagero’s “Lusus” and Michael Marullus’ epigrams. “Foricoenia” enters into intertextual relationships with the works of other humanists and contributes to the common good of Renaissance Europe.
19
Publication available in full text mode
Content available

Jeszcze w sprawie genezy terminu „fraszka”

43%
Rusnak R.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2019
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vol. 53
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issue 2
213-227
EN
Author, pondering over various meanings of “fraszka” in the work of Jan Kochanowski, expresses his doubts in regards of Sante Graciotti’s thesis, claiming there is no one single case of its genological use in it. Sufficient enough to prove it wrong is the fact of him naming his epigrammatic collection – simultaneously to the process of putting in proper order his output – with the use of nothing other but this exact notion. The impending appropriation of such a use in Polish language has been shortly after confirmed by Melchior Pudłowski’s Fraszek księga pierwsza (1586). In further part of the article author tries to establish the precise moment of the first ever use of the word “fraszka” in print. As it turns out, although Kochanowski makes a use of it for the first time in his Satyr (1564), he was slightly preceded by both Stanisław Orzechowski’s Rozmowa albo dyjalog około egzekucyjej (1563) and anonymous Historyja trojańska (1563).
PL
Autor, rozważając sposoby rozumienia leksemu „fraszka” przez Jana Kochanowskiego, poddaje w wątpliwość tezę Sante Graciottiego, jakoby nie pojawił się ani razu w twórczości pisarza genologiczny sens tego leksemu. Za dostateczny dowód, iż jest inaczej, uznaje on opatrzenie przez czarnoleskiego poetę takim a nie innym tytułem swej obszernej epigramatycznej antologii w momencie porządkowania dorobku całego życia, a potwierdzenie, iż sens ten doczekał się rychłego zadomowienia, przynosi wydany krótko potem zbiór Melchiora Pudłowskiego Fraszek księga pierwsza (1586). W drugiej części artykułu próbuje się ustalić, komu należy przypisać pierwszeństwo, jeśli chodzi o użycie wyrazu „fraszka” w druku. Jak się okazuje, u samego Kochanowskiego leksem ten po raz pierwszy pojawia się w Satyrze (1564), wyprzedzają go natomiast nieznacznie zarówno Rozmowa albo dyjalog około egzekucyjej (1563) Stanisława Orzechowskiego, jak i anonimowa Historyja trojańska (1563).
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