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From Tibullus’s Palette of Literary Genres. Prayer and Religious Hymn as Exponents of the Poetic Program of the Elegiac Poet

100%
Arndt A.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2017
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vol. 27
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issue 3
EN
The article presents the analysis of hymns and prayers in the love elegies of Tibullus.
2
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Z Tibullusowej palety gatunkowej . Modlitwa i hymn jako wykła dniki programu poetyckiego elegika

100%
Arndt A.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2014
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vol. 24
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issue 1
85-93
PL
The author’s aim is to analyse religious hymns and litterary prayers contained in love elegies by Tibullus. These genres are used in order to emphasise his sincere relation with poet’s native villages and to underline his intense attachment to Messala.
3
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Cztery pieśni do świętego Mikołaja pochodzące ze Zbioru pieśni nabożnych katolickich do użytku kościelnego i domowego (Pelplin, 1871) w aspekcie semantycznym oraz wybranych zagadnień muzycznych

75%
Kaczorowski R.
Studia Gdańskie
|
2019
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issue 44
145-161
PL
W niniejszym artykule autor przybliża cztery pieśni do świętego Mikołaja, pochodzące z opublikowanego w 1871 roku w Pelplinie Zbioru pieśni nabożnych katolickich do użytku kościelnego i domowego. Pieśni nie posiadają tytułów. Ich incipity są następujące: pieśń I Niech będzie Bóg nasz pochwalony w świętym Mikołaju, pieśń II Krzyknijmy wszyscy, zgodnemi głosami, pieśń III Mikołaj Biskup przebłogosławiony, pieśń IV Kochany Bogu święty Mikołaju. Warstwa semantyczna pieśni wyrasta z nurtu tzw. religijności potrydenckiej, która wyrażała się między innymi w postrzeganiu istniejącego zła, choroby czy innego nieszczęścia jako kary Bożej za grzechy ludzi. Z drugiej jednak strony ukazuje postawę, która świadczy o tym, że to właśnie Bóg może dokonać cudownej interwencji, dlatego człowiek wzywa orędownictwa świętego. Z kolei w warstwie muzycznej pieśni posiadają prostą budowę i nieskomplikowaną linię melodyczną. Te przymioty niewątpliwie pomagały w modlitwie do ulubionego świętego.
EN
In this article, the author describes four hymns to Saint Nicholas originating from the collection Catholic Devotional Hymns for Church and Home Use, published in 1871 in Pelplin. The hymns are untitled. Their incipits are as follows: hymn I Let our God Be Praised in Saint Nicholas, hymn II Let us All Shout with One Voice, hymn III Saint Nicholas the Blessed Bishop, hymn IV Beloved God and Saint Nicholas. The semantic layer of the hymn grows out of the trend of so-called post-Tridentine devotion, which was expressed, i.a., in the perception that evil, illness or other misfortune was God’s punishment for people’s sins. On the other hand, it shows an attitude that illustrates that God can make a wonderful intervention, and for that reason the human calls on the intercession of the saint. In the musical layer, in turn, the hymns have a simple structure and an uncomplicated melodic line. These qualities undoubtedly helped in the prayer to the beloved saint.
4
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Motyw Aurory w antycznej poezji chrześcijańskiej

63%
Adamiak J.
Vox Patrum
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2013
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vol. 60
79-92
EN
The theme of Dawn, which is present in the epics of Homer and later on in the poetry of Vergil and Ovid, was also present in ancient Christian poetry. This, on one side was due to ancient education, that included works by classical authors. On the other side, it resulted from the desire by Christian artists to mimic pagan masters. The theme of dawn is an example of acquasition of poetic patterns, but it also shows the original thought of Christian poets who gave it new meaning, identifying the Aurora with Christ.
5
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Rękopiśmienny kancjonał z XVIII wieku ks. Walentego Józefa Wcisłowskiego. Charakterystyka zbioru

63%
Janus K.
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2016
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vol. 25
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issue 3
43-59
EN
This study is an attempt to describe a manuscript cantional written at the end of the first half of the 18th century by an unknown author – Walenty Józef Wcisłowski. The manuscript had been in the Załuski Brothers’ book collection till June 1795, when pursuant to Catherine the Great’s decision the Załuski Library was sent from Warsaw to Saint Petersburg. Presently the cantional is in the National Library of Poland. We know about the author only that he wrote rhymed theology which was published in the 18th century. This article contains the analysis of some hymns from the cantional. Special attention is paid to the explanation of theological contexts of presented verses and to the presentation of Walenty Wcisłowski’s literary skills and biblical erudition. The purpose of my text was to indicate an influence of medieval apocrypha on religious consciousness of the poet and the way he explains the mystery of faith.
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(‘Harmonia lyrica’ w potrydenckiej twórczości polskich poetów metafizycznych – problem trwałości tradycji i nowatorstwa

51%
Fischer J.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2011
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vol. 21
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issue 1
59-80
EN
This article concentrates on question, which was the essence of the Old Polish poetry, in the beginning of the seventeenth century. Especially: what was the source of this poetry and which were the relations between this new model of poetry and literary tradition. Very interesting are also the connections between rhyming and rhythmic schemes, used by Grabowiecki, Grochowski and Twardowski, and music. The main attitude of this group of Polish metaphisical poets was to attain musical effects in poetry – real lyric harmony (harmonia lyrica). they created new poetry: very innovative, but as well grounding in tradition.
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