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Obraz niedoli w pieśni weselnej, czyli epitalamia Drakoncjusza jako przykład jego nowatorstwa

100%
Cichoń N.
Collectanea Philologica
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2015
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vol. 18
EN
In this paper I examine Dracontius’ distinctiveness from other Latin and Greek poets writing epithalamia. He is not just another author of original wedding songs but surprises in many ways and can be found unusual even exploring a genre that did not have one well-defined model. To prove his unconventionality and uniqueness I firstly give a detailed analysis of both wedding songs by Dracontius I demonstrate the poet’s dependence upon earlier literature, explain the metaphors he used and discuss his reinterpretations of different themes introduced already by the poets before him. Then I add all my conclusions concerning Dracontius’ originality in comparison with his predecessors.
2
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The Judgement of Paris as Examined by a Lawyer and a Christian Moralist: Dracontius’ De raptu Helenae

75%
Cichoń N.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2016
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vol. 26
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issue 1
157-170
EN
In this paper I examine Dracontius’ poem De raptu Helenae to prove his unconventionality and originality inpresenting a well-known myth. He analyses the story of the judgement of Paris from the legal point of viewusing professional, legal vocabulary. At the same time he takes into account also the moral and Christian dilemmasand thereby he finds completely new aspects and interpretations, ignored by previous poets.
3
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Drakoncjusz w więzieniu: siła poezji przeciwko sile władzy

63%
Cichoń N.
Vox Patrum
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2018
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vol. 69
125-141
EN
In this paper I examine presumed reasons for the imprisonment of the Carthaginian poet of the fifth century A.D., Blossius Aemilius Dracontius. He wrote a panegyric for a dominus ignotus making a political faux pas – in the result Guntamund, the vandal king, imprisoned him – analyzing Dracontius’s poetry and taking into consideration the political and the cultural background I aim to find out who was the most probable recipient of the poem. These reflections lead in the conclusion to the presentation of the peculiar character of the agreement between Romano-African people and barbarians, mostly on the cultural and literary level. In his poetry Dracontius gives us very important message about the relations be­tween the educated classes of both nations on the Vandal royal court – we can as­sume that in the Vandal Kingdom still existed literary patronage on a very similar basis as it existed earlier in the Roman Empire.
4
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Topos "locus amoenus" w łacińskiej poezji chrześcijańskiego antyku

45%
Gacia T.
Vox Patrum
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2008
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vol. 52
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issue 1
187-198
EN
This paper deals with the topos of locus amoenus in Latin poetry of Christian antiquity. Descriptions of idealized landscape can be found in whole literary tradition from Homer on. In Latin epic poetry Virgil used this device to describe Elysium, which Aeneas enters in the Aeneid. In Virgil’s eclogues locus amoenus is a place of refuge for shepherds from calamities of fate and an alien world. For the farmer in his Georgics it is a reward for honest agricultural work. For Horace it was an escape from the noise of the city. For Christian poets, Prudentius in Cathemerinon, Sedulius in Carmen paschale, Avitus of Vienne, Dracontius, Venantius Fortunatus and other, locus amoenus becomes the biblical paradise in the eschatological sense, or morę generally, salvation. Use of the topos of locus amoenus shows the cultural continuity of antiquity. In Christian poetry this theme is filled with a new content, but the process of thinking and artistic creation remains they share with classical authors.
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