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1
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„Impresa: Calando poggiando”, „Krótkość żywota” i „Na toż” Daniela Naborowskiego jako parafrazy tetrastychów Pierre’a Matthieu i Claude’a Guicharda

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Bielak A.
Prace Filologiczne. Literaturoznawstwo
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2019
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issue 9(12) cz.2
13-28
EN
Journeys of Daniel Naborowski to France (between 1605−1608), except for the tour of diplomatic duty on behalf of Janusz Radziwiłł, were also an occasion for coming into contact with poets from the court of Henry IV. One of the popular literary movements of that time was moral poetry also called moral tetrastichs (established by Guy de Pibrac). Among the members of this current were Pierre Matthieu and Claude Guichard, aulic poets and historians. The aim of this article is to show resemblances and parallels between writings of the above mentioned poets and poems by Daniel Naborowski (Impresa: Calando poggiando, The Brevity of Life) and pieces ascribed to him (On this, Secular Alternation).
2
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„Podróżujemy dla własnej przyjemności...” – zapis podróży Daniela Naborowskiego z Montpellier do Awinionu

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Bielak A.
Odrodzenie i Reformacja w Polsce
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2021
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vol. 64
35-56
EN
The article discusses the fragments of Basel manuscript of Thomas Platter the Younger’s diary from his journey through France, in which Daniel Naborowski is mentioned. The document sheds new light on the life of the Polish poet. As it turns out, in early 1596, between Orleans and Geneva, Naborowski first visited Montpellier, Nîmes, and Avignon. The document is the more important that Platter offers a detailed insight into the early period of the poet’s student life, even before he entered the service of the Radziwiłłs. Platter provides direct quotes from Naborowski, who served as an interpreter of young travellers during their (sometimes contentious) contacts with foreign nations.
PL
Artykuł omawia fragmenty bazylejskiego rękopisu, dziennika Thomasa Plattera Młodszego z jego podróży po Francji, w których został wspomniany Daniel Naborowski. Dokument rzuca nowe światło na biografię polskiego poety. Okazało się, że między Orleanem a Genewą Naborowski odwiedził na początku 1596 r. Montpellier, Nîmes i Awinion. Znaczenie źródła polega na tym, że Platter daje szczegółowy wgląd we wczesny okres życia poety z czasów studenckich, jeszcze przed zaciągnięciem się przezeń na służbę Radziwiłłów. Platter cytuje wręcz wypowiedzi Naborowskiego, który pełnił funkcję tłumacza młodych podróżnych podczas (czasem konfrontacyjnych) kontaktów z obcymi nacjami.
3
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Symbolica vitae Christi meditatio Tomasza Tretera jako siedemnastowieczna realizacja emblematycznych medytacji: źródła graficzne i zamysł zbioru

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Bielak A.
Terminus
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2018
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vol. 20
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issue 4 (49)
411-462
EN
The aim of this paper is first of all to present graphic sources of Symbolica vitae Christi meditatio by Tomasz Treter in three 16th-century emblematic works from the French and Dutch circles, namely by Junius Hadrianus (Emblemata), Claude Paradin (Devises heroïques), and Aneau Barthélemy (Picta poesis). It also presents an analysis of the composition of Treter’s collection and situates it in the context of emblematic meditations, promoted by Jesuits in the 16th century. The following four emblems are analysed in detail: Nativitas, Manifestata veritas, Circumcisio, and Continentia. They provide both a metacommentary on the role of image in cognition and an illustration of the relationship between pair of emblems throughout whole collection. The first hundred emblems in Treter’s collection are arranged in pairs, in which the first one shows an episode from the life of Christ, while the second one transposes the biblical story into a symbolic language. The quoted fragment of Jesus’ life is each time used to discuss a Christian virtue expressed through an abstract symbol. At the same time, the traditional tripartite construction of the emblem becomes less strict as in Treter’s collection emblems take the form of two icons sharing a single subscription.
4
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Nowo odnaleziony autograf Tomasza Tretera. Notatnik z projektem księgi emblematów

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Bielak A.
Terminus
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2021
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vol. 23
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issue 3 (60)
259-307
EN
The goal of the paper is to present the attribution and codicological analysis of a manuscript currently stored at Biblioteca civica Angelo Mai in Bergamo (sign. MM 378). The paper describes the manuscript codicologically, also hypothesizing as to its presence in the Bergamo library. Based on a manuscript annotation on the codex’s upper pastedown, I argue that it was intended as a gift for one of the Załuski family. On the basis of the printed correspondence between Józef Andrzej Załuski and Angelo Maria Querini, it may be assumed that Codex MM 378 was among the parcels containing manuscripts from the circle of Stanisław Hosius that the Italian librarian intended to send to Załuski. The boxes with the codices never reached the Polish librarian due to the tardiness of the messenger, Jacques David Frédéric Perard. It is claimed here that both the inscriptions and images in the code are authored by Tomasz Treter. The manuscript’s attribution was based on palaeographic analysis (comparing the handwriting with Treter’s epistolography stored in the archives in Kraków and Olsztyn). According to the dates included in the code, the inscriptions were made between 20 June 1569 and 2 March 1575. The manuscript thus represents the earliest known evidence of Treter’s artistic activity. The autograph contains some previously unknown emblems by Treter, and a preliminary design of the emblem work Symbolica vitae Christi meditatio (published 1612). As many as 51 sketches in the manuscript overlap with the emblematic icons of the 1612 printing, all of which are more symbolic (hieroglyphic) representations of Christian virtues known from Treter’s printing, while there are no sketches of icons in the printed book referring to specific biblical scenes. Therefore, there is still uncertainty about the authorship of these compositions, which also differ in the quality of rendition from the previously mentioned ones. Comparing the autograph with the artist’s later published work offers insight into his technique. The drawings in the manuscript show very clear inspiration of Claude Paradin, Gabriel Syméon, Aneau Barthélemy and Andrea Alciato, which is not always conspicuous in the printed version. The analysis includes the final note, mentioning imprese with the painter Lorenzo Lotto, which explains correspondences between this artist’s work and the emblems from Symbolica vitae Christi meditatio.
5
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W nurcie pochwał Niczego. Cień, Róża, Kur, Kalendy styczniowe Daniela Naborowskiego jako przekłady utworów Jeana Passerata

63%
Bielak A., Sadzik P.
Prace Filologiczne. Literaturoznawstwo
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2015
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issue 5(8)
17-49
EN
The article focuses on a few works of Daniel Naborowski (Cień, Róża, Kur, Kalendy styczniowe), proving that the said poems are not, as it has been considered until now, original verses by this Polish poet. Authors found their prototypes in a volume entitled Kalendae Ianuariae (1606) by Jean Passerat, a French poet and professor of rhetoric on the court of Henry III of France. The article attempts to reconfigure the status of the Polish writer by calling into question labels such as: “commemoration poetry” or “Mannerist conceptismo” which have been used until now to describe his poems. The tradition with which we should relate his works is, above all, an entirely neglected field of Baroque adoxography known as “the praise of Nothing”. The 17th century “nihilism” is an intellectual current which enables to cast light on links between the Polish poet and the most important French and Italian intellectuals of the time.
6
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Szkice emblematów Tomasza Tretera

63%
Treter A., Bielak A.
Terminus
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2021
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vol. 23
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issue 3 (60)
365-402
EN
This edition and translation of the newly discovered emblem designs by Tomasz Treter (1547–1610) is complementary to Alicja Bielak’s article (this issue) on a manuscript attributed to the Canon of Warmia. Anna Treter’s translation was intended to be faithful to the original in terms of content and style. The edition is based on the manuscript MM 378 from Biblioteca Civica Angelo Mai in Bergamo (fol. 9 r.–21 r.). The 25 sketches of emblems to be elaborated on below open Treter’s private notebook, with entries dating from the period between 20 June 1569 and 2 March 1575, as evidenced by the dates inside the codex, which does not exclude the possibility that Treter made corrections and additions after 1575. The notebook includes designs of full-sized emblems with titles, mottos, epigrams and images. Sketches drawn with a quill present a general concept of a composition, without any details (disegni). The title of the notebook was proposed by the editor as the author did not name it. The name written on the spine of the codex (Imprese) is likely to have been supplied later by an unknown person. As far as the themes dealt with in the emblems are concerned, the epigrams are mostly excerpts from the works of Saint Gregory the Great, Saint Augustine and Tertullian, (which was every time cited in the explanatory notes). In the commentary, the sources of graphical inspirations are also traced to Claude Paradin. The other 73 designs from the Bergamo codex, not included in this edition, are sketches of the emblems Symbolica vitae Christi meditatio (Braniewo: Jerzy Schönfels, 1612).
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