Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

LOVE AND DREAM IN THE 'SONG OF BINEDA' BY SZYMON ZIMOROWIC

100%
Kornillowicz N.
Barok. Historia - Literatura - Sztuka (Baroque. History - Literature - Art)
|
2007
|
vol. 14
|
issue 1(27)
165-171
EN
Ovid's 'Metamorphoses' include a great hymn to the God of Dream who appeared to people in various forms, also illusory ones. In later European literature this myth was referred to by Ludovico Ariosto, and in Polish literature at the beginning of the 17th century by Szymon Zimorowic in his song of Bineda ('Roksolanki'). In its first, mythological and poetical part the song describes - after the 'Metamorphoses' by Ovid - the cave of dream. The song of Bineda, with its thick metaphors, presents mute pictures, lunatic, before or outside words, as thought they were mirror images, without sound. The poem's imagery is of symbolic, universal character, it does not operate with elements of the reality, either geographical or cultural ones, although it may refer to it. The poet transfers us to a world of pure associations of thoughts, imaginary and mental forms. He tells us about a couple of lovers who got to know each other and fell in love in their sleep. The ultimate subject, however, is love, variously expressed by the poet who gives it diverse poetical shapes. There are also present in here clear references to the solar model of the universe. In Kochanowski's 'Fraszki' the caring Sun is impersonated by the linden of Czarnolas which also sends sweet, tranquil and safe sleep, sensual sleep with no dreams, symbolising the theme of love. Dreams could be sweeten only by a total oblivion, extraexistential amnesia, since the dream mirrors the reality. The dreams in Zimorowic are, like in the Czarnolas poetry, sweet, but they are different dreams - they are dreams of people who are separated from time, thus from knowledge, consciousness, cognizance, who are literally 'plunged in sleep', as if in the depths or abyss which is the cave of dreams. The land of dreams is similarly depicted by Ariosto. The song of Bineda from the 'Roksolanki' by Zimorowic is a poem deprived of sunshine and light. The sun is inherent to the structure of the dream topos, but it is in an other reality or outside the place with the sleeping person or persons. And this is to be seen in Zimorowic, who drew on both Ovid and Ariosto, as well as other poets.
2

THE ROSE IN BAROQUE POETRY

100%
Kornillowicz N.
Ruch Literacki
|
2008
|
vol. 49
|
issue 4-5
401-413
EN
Although no poetic evocation of the rose in the Baroque style can equal Daniel Naborowski's 'Róza przypisana po koledzie' (Rose attached after carolling) the characteristic rose imagery can be found in a great number of other texts, eg. Waclaw Potocki's intricate analogies of that noble flower. The rose is associated with ideas and values such as purity and nobility (going back to the Neo-Platonic idea of the angelic mind), coyness and youth. In poems written in an elevated, heroic mode the rose often symbolizes chivalric fame. The transient beauty of the flower may as well suggest a range of ambivalent or contradictory senses, generated by the imagination or supplied by tradition (Sappho) and mythology. The Horatian tradition, which has a prominent place in Polish Renaissance and Baroque poetry, combines roses with other flowers admired for their colour and sweet smell (as for example in the poems of Maciej Kazimierz Sarbiewski). In such bouquets the rose is usually assigned a laudatory function, though on many occasions (eg. in the 'Ode to the Narew') it remains a sovereign entity. Seventeenth-century Polish 'rose' lyrics also draw on Ovid's 'Metamorphoses'. For the classicistic Daniel Naborowski roses bring both glimpses of the golden age and an adumbration of a re-born world to come. In poetry roses, as well as other flowers, set off the metaphoric transformation of things and moments in time into revelations of beauty. Their beauty may be perfect and abstract, outside human time and space, and yet they are endowed with sensuous shapes, smells, colours, and made to grow in the Baroque Gardens of Love (eg. Zimorowic's The Twentieth: Melani). In this case the poet's argument climaxes in a dazzling paradox (the rhetorical figure of the merviglia). There can be little doubt that the Baroque poets were fascinated by the extraordinary beauty of the rose. Following the lead of Tasso they were busy discovering its potential for engendering a wealth of poetic expression manifested in a wide range of genres, ie. the epithalamion, which extols the inner beauty shining through words and speech. It should also be noted that in the seventeenth-century and the preceding epochs the rose was a favourite emblematic flower, emblazoned on coats of arms and heraldic signs. The rose is some-times paired with the lily - in a most boldly imaginative manner in the poems of Morsztyn.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.