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Jak zostać dworzaninem Maryi…, czyli Samuela Brzeżewskiego Zaciąg dworzanów na kurię Najświętszej Królowej nieba i ziemi na kazaniu w dzień Jej narodzenia

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Dybek D.
Poznańskie Studia Polonistyczne. Seria Literacka
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2017
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issue 31
295-318
EN
Samuel Brzeżewski is a long-forgotten Polish Baroque preacher. He left behind three written sermons, of which two take on Marian themes. Among those is Zaciąg dworzan.w na kurię Najświętszej Kr.lowej nieba i ziemi  […] – „The recruitment of courtiers to the curia of the Blessed Queen of heaven and earth at a sermon on the day of her birth”  (transl.), written in 1644 and published in 1645. It came into existence on the occasion of the anniversary of the birth of the Mother of God and has an interesting sermon-concept form. In spite of the fact that the author reached for the expression „queen”, from time immemorial applied with reference to Mary, he combined with it an interesting fictional plot by portraying the process of the recruiting of courtiers for the court of the queen (it is one of the few Old Polish texts referring to the manner of recruitment for the court of a monarch). Closer study of various desirable features of courtiers (beauty, education, bravery) leads Brzeżewski to arrive at the conclusion that the greatest opportunities for admission to the service of the Mother of God are gifted to „bandits” (i.e. hardened sinners rejected by all) and „agonizantes” (viz. the dying) – those to whom Mary shows her kindness and magnanimity.
2
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Jak „opowiedzieć” Matkę Bożą? Postać Maryi w kazaniu Samuela Brzeżewskiego

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Dybek D.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2019
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vol. 53
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issue 2
243-264
EN
Samuel Brzezewski was a monk, highly regarded as a priest and hagiographist in the 17th century. Two out of three of his sermons that have remained till today talk about Virgin Mary. One of them is Zaciąg dworzanów na kurią Najaśniejszej Królowej nieba i ziemie Maryjej, in which the author describes the criteria necessary for becoming a part of the Virgin Mary’s court. While portraying the Virgin Mary, he uses many epithets taken from the Biblical tradition. The Virgin Mary is e.g. the Queen, the Empress, second Eva, the Gate, the Window and… the Fire Place. Brzezewski tries to explain these metaphorical descriptions and their theological meanings. Wespazjan Kochowski did the same, writing Ogród panieński. It is possible that Kochowski was inspired by the sermons written by Brzezewski.
PL
Samuel Brzeżewski to zakonnik, który w XVII w. był docenianym kaznodzieją i hagiografem. Dwa z trzech zachowanych jego kazań dotyczą Maryi. Należy do nich Zaciąg dworzanów na kurią Najaśniejszej Królowej nieba i ziemie Maryjej, w którym autor użył konceptu: przedstawia kryteria doboru chrześcijan na dwór Matki Bożej. Opisując Maryję, stosuje wobec niej bardzo wiele określeń, które zaczerpnął z tradycji biblijno-patrystycznej. Matka Boża to m.in. królowa, cesarzowa, druga Ewa, brama, okno i… piec. Brzeżewski używając tych nazw, starał się wyjaśnić ich metaforyczny lub teologiczny sens. Podobnie postąpił w tym samym stuleciu Wespazjan Kochowski, pisząc Ogród panieński. Niewykluczone, że barokowy twórca inspirował się również kazaniem krakowskiego zakonnika.
3
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Mikołaj Rej a „sprawa litewska” – uwagi Pana z Nagłowic o unii (lubelskiej) i Litwinach

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Dybek D.
Tematy i Konteksty
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2019
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vol. 14
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issue 9
144-157
EN
Mikolaj Rej was not only one of the most notable 16th century Polish writers, but also an active member of the parliament. Among others, he worked on the Polish-Lithuanian issues. Based on the governmental documentation, Rej was engaged in these issues from 1542 onwards. He also dedicated a few pieces of writing to the matter, the most important of which is a poem written around 1567 entitled ‘Union with Lithuania’. In the poem he condemned the sluggishness in debating the unification of the two countries, but emphasized that the Lithuanians should have taken a greater interest in the matter, since Poland could have helped their fights with the Eastern neighbours. As he did during the parliamentary sessions, the author also stressed the need for electing a common king.Despite hoping for a quick resolution and unification, Rej did not regard Lithuania as an equal parter for Poland. Based on a few poets, the author seems to think of the Lithuanians as of a backward  nation (e.g. their table manners during the feasts and the use of primitive language). It is worth noting that Rej treated the Lithuanian aristocracy differently. While describing the clans and noble families (e.g. the Radziwiłł family or the Chodkiewicz family), he emphasised their patriotism and bravery. Rej’s remarks on the Lithuanians and the union did not stand out from the common opinion at the time. They could represent the feelings of a typical member of the Polish gentry.
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Szlacheckim, ludowym i (nie-)naukowym piórem... Rec.: Piotr Pirecki, Szlacheckim i ludowym piórem. Szkice o literaturze polskiej doby renesansu i baroku. Łódź 2013

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Dybek D.
Pamiętnik Literacki
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2015
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vol. 106
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issue 1
243-254
EN
Piotr Pirecki’s book is a collection of 8 articles which refer to the creativity of Piotr Ciekliński, Łukasz Opaliński and anonymous rouges from the turn of the 16th and 17th c. Its fairly eclectic form might be acceptable were it not for the numerous drawbacks which are observable already at the orthographic-punctuation level. The style of the papers is also no better, as it often hampers (and even makes it impossible) to grasp the author's intention. Most serious objections, though, pertain not to the form but to the content. Apart from simply commonplace statements we find either clearly naïve interpretations or unjustified overinterpretations. All that makes that oftentimes interesting ideas (referring either to the presence in rouge poetry such motifs as stimulants, anxiety of black humour) are presented in the way which leaves much to be desired. In sum, Pirecki's book is a mere collection of sketches but not scholarly analyses.
PL
Książka Piotra Pireckiego stanowi zbiór 8 artykułów dotyczących twórczości Piotra Cieklińskiego, Łukasza Opalińskiego oraz anonimowych sowizdrzałów z przełomu XVI–XVII wieku. Dość eklektyczna formuła pracy byłaby do przyjęcia, gdyby nie bardzo liczne mankamenty. Zaczynają się one już na poziomie ortograficzno-interpunkcyjnym. Nie lepiej jest ze stylem artykułów – często utrudnia (a nawet uniemożliwia) on zrozumienie intencji autora. Największe zarzuty należy mu jednak postawić nie za formę, lecz za treść pracy. Obok po prostu banalnych konstatacji, pojawiają się tu albo wyraźne uproszczenia problemu, albo nieuargumentowane nadinterpretacje. Wszystko to sprawia, że niekiedy interesujące pomysły (odnoszące się zwłaszcza do występowania w dziełach sowizdrzałów takich motywów jak: używki, lęk czy „czarny humor”) przedstawiono w sposób pozostawiający bardzo wiele do życzenia. Książka Pireckiego okazuje się więc tylko zbiorem szkiców, a nie dogłębnych naukowych analiz.
5

Topika w epitalamiach Wacława Potockiego

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Dybek D.
Prace Literackie
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2011
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vol. 51
5-23
EN
Wacław Potocki was one of the most prolific Polish writers of his era. His numerous works include those overseen by the “domestic muse,” i.e. works devoted to the author’s family or family life in general. The latter group in particular included over 150 texts, usually small, which bear some features of epithalamia (though the name of the genre does not always appear in the titles). When writing them, Potocki used motifs usually present in this type of works. Some epithalamia present, for instance, various stages of nuptials, with the author using typical topoi for such stages, e.g. when presenting a feast, he draws on the motif of a wedding cake (a kołacz or marzipan), making allusions to the wedding night, using hunting associations; and when writing about the transfer, he emphasises (like many other authors), the need for both spouses to be of the same social status. Many of Potocki’s epithalamia were based on a concept drawing on heraldic motifs, which was also part of the “standard repertoire” of works talking about weddings. However, in works combining the poetics of the stemma with epithalamium we can see that the author of Poczet herbów (A Gallery of Coats of Arms), while willingly resorting to typical topoi, managed to maintain originality — he used the nearly pornographic threads of the stemma, though others did not; he also criticised marriage, which was a frequent topic, but not in epithalamia. Thus it turns out that Potocki was able to make use of traditional motifs but could also combine them with motifs untypical for occasional works associated with nuptials.
6
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Samuel Brzeżewski o ludziach i drzewach, czyli emblematyka w kazaniu Oliwa wdzięcznoozdobnej zieloności

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Dybek D.
Terminus
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2012
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vol. 14
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issue 25
95-118
EN
Samuel Brzeżewki was a Baroque, nowadays forgotten, preacher. There are three sermons hold as his testimony. First two sermons refer to Marian theme; the last one (dated on 1645) is a funeral homily. Oliwa wdzięcznoozdobnej zieloności przysadzonej […] na kazaniu przy pogrzebie […] Gerzego Pucniewskiego is dedicated to a nobleman, Pucniewski. He came from Minor Poland, Abdank Coat of Arms and remained practically an unknown figure. In order to present Pucniewski as a Christian role model, Brzeżewski used a very popular device, symbolism. He intended to create an unconventional as well as memorable picture for his audience. The author compared (referring to the works by Aristotle and verses from the Bible) the man with an olive tree and a palm tree in order to show him humility and piety. Brzeżewski used this symbolism on purpose. He argued that it is important for an imperfect human mind to portray things using symbols and concepts to understand the meaning. Connecting didacticism and mnemonic, the preacher referred to funeral vocabulary. The number of terms shows similarities between genres. This method was not a novelty in the XVIIth century. However it was not always followed with deep understanding on the literary theory. It was more important to create a visual comparison and analogies. Taking this into account, one may state that Brzeżewskis sermons are fairly conventional, yet show authors eloquence.
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