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Przyczynek do sprawy narodowości Marcina Siennika

100%

Bela Z.

Odrodzenie i Reformacja w Polsce

2016

vol. 60

Marcin Siennik (ca. 1540 – ca. 1580) is mostly known for elaborating Herbarz [“Herbary”] (a popular medical encyclopaedia) and translating the famous Secrets of the Reverend Maister Alexis of Piedmont into Polish.Most historians (Kośmiński, Estreicher, Karpluk, etc.) are certain of Siennik’s German descent, pointing to the fact that the page of Herbarz containing the index of German names was signed by him with his original name: Merten Heüwrecher, which was then translated into Polish as Marcin Siennik. There are also other arguments in support of this thesis (which is what constitutes the contribution mentioned in the title of the paper), for example the way in which he translated the title of Alexis of Piedmont’s book (not secrets, as it is called in the original Italian version and the Latin base for the translation, but mysteries, which points to the influence of the German tradition), a number of words appearing in the text (e.g. Italian potione [beverage] is rendered in Siennik’s version as trunek [drink], which proves similar to the German etymon Trunk or Trank), as well as phrases such as “And having put it into hot ashes for four miserere...” (in Siennik’s translation: “put it into ashes and then take it out...”), which serve as a manifestation of his reluctance to follow the Catholic custom of counting time with the Word of God.In this context, the least valuable is the opinion of Śleszkowski, the “author” of the second edition of the Polish version of The Secrets of the Reverend Maister Alexis of Piedmont, who wrote the following in the preface: “First and foremost I did not confide in the translation by Marcin Siennik when it came to the Polish language, as he is so inept in it that I have never read anything written in Polish quite so ineptly, which shows that he was either a foreigner or brought up in foreign lands in his youth...” – he focused not so much on Siennik’s descent (on which he may have had some information), but primarily on pursuing his own ambition, appropriating the authorship of the Polish translation of The Secrets in order for his “translation,” copied almost verbatim from Siennik’s version, to be considered better and definitive. He was also motivated by “patriotic” premises, which for him meant xenophobia, extreme anti-Semitism, and other products of the Counter-Reformation crusade.

Celem artykułu jest wzbogacenie wiedzy o niemieckich korzeniach Marcina Siennika poprzez, między innymi, opis jego protestanckich wierzeń, które wpłynęły na sposób, w jaki na polski przetłumaczone zostały fragmenty Sekretów Aleksego z Piemontu, w oryginale napisanych po włosku. Artykuł prezentuje też poglądy i poczynania Sebastiana Śleszkowskiego, wydawcy drugiego wydania polskiego tłumaczenia Sekretów (Kraków, 1620).The aim of the article is to supplement the knowledge of the German origin of Marcin Siennik by, among many other things, the information concerning his Protestant denomination, which influenced the way in which some fragments of the originally Italian The Secrects of the Reverend Maister Alexis of Piemont (Venice, 1555) were translated into Polish, and at the same time to present the views and doings of Sebastian Śleszkowski, the publisher of the second edition of the Polish translation of The Secrets (Kraków, 1620).

Sekrety literatury i głód wtajemniczenia

88%

Tischner Ł.

Przestrzenie Teorii

2022

issue 38

163-178

This article concerns secrets and secrecy in narrative works. The author, following in the footsteps of Auerbach and Kermode, argues that secrets should be understood as discontinuous places, gaps that demand to be filled. Auerbach and Kermode pointed to the biblical origins of the secret narrative. The latter in The Genesis of Secrecy. On the Interpretation of Narrative noted that secrets presuppose a mode of initiation – this was the case in the gospel of St Mark he analysed, addressed to believers. However, this sender’s intention also appears in strictly literary texts that operate the convention of the secret. This article refers to four twentieth-century Polish narrative texts that use elements of secrecy in different ways. Mrożek’s Moniza Clavier conceals the confabulatory character of the first-person statement, Miłosz’s Dolina Issy and Gombrowicz’s Kosmos conceal the deeply autobiographical character of the reflection on individual fate, while the narrative in Lem’s Solaris activates the possibility of ‘vertical reading’, referring to the concept of some absolute. Secrets in literary texts tend to be secularized versions of religious narratives addressed to the initiated, and the promise of an integration of discontinuous places attracts sceptics and believers.

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1 Odrodzenie i Reformacja w Polsce

1 Przestrzenie Teorii

1 Bela Z.

1 Tischner Ł.

1 2022

1 2016

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Przyczynek do sprawy narodowości Marcina Siennika

Sekrety literatury i głód wtajemniczenia