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1

ON THE RIDDLES OF THE FIRST COLLECTED EDITIONS OF JAN KOCHANOWSKI'S LITERARY CREATIVITY

100%
Slekowa L.
Pamiętnik Literacki
|
2008
|
vol. 99
|
issue 3
179-184
EN
The article describes the content of the first collected editions (from edition A to edition D) of Jan Kochanowski's literary creativity by the then famous editor Jan Januszowski. The order of the pieces is not incidental but a subject to the following criteria: linguistic (Polish and Latin creativity; the latter absent from edition C on), thematic (from poems about the poet to occasional poems), and stylistic (from rarefied style to plain one).
2
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NEW EXPOSITION AT THE JAN KOCHANOWSKI MUSEUM IN CZARNOLAS WITHIN THE CONTEXT OF THE RECEPTION OF THE POET IN THE TWENTY FIRST CENTURY (Nowa ekspozycja w Muzeum Jana Kochanowskiego w Czarnolesie w kontekscie recepcji poety w XXI wieku)

100%
Walecki W.
Muzealnictwo
|
2005
|
issue 46
94-99
EN
Work on a new exposition in the Jan Kochanowski Museum has become a truly urgent requirement. In the course of the twenty years which have passed from the inauguration of the previous display, the mentality of the visitors has undergone far-reaching transformations. The secondary-school pupils who constitute the basic core of the visitors, represent a different perception of the world, surrounding reality, and the past. In the epoch of the Internet which, together with the whole computer civilisation, creates a pictorial culture, and at a time of the universal popularity of such publications as the volumes-long adventures of Harry Potter, a successful transmission of knowledge about the most outstanding Polish poet preceding the 19th century bard Adam Mickiewicz must be granted a new dimension. The new scenario was inspired by reflections and subsequent work on an equally novel, contemporary edition of all the collected works of the Master, suited to the needs of our times; now at the stage of being prepared it already bears the title of 'Wielka Edycja Senacka' (The Great Senate Edition). The premises of this venture demonstrate best of all the intentions of the discussed exhibition focused, similarly to shows of Kochanowski's writings, on an European dimension. The general slogan of the exhibition is the spirit of the time and the climate of the Jan Kochanowski epoch. The initial premises of the project, which to a great extent have been already realised, underline the fact that we are visiting a house which stands on the very spot of the Kochanowski home and that the exhibits come from the epoch but were never the poet's property. Generally speaking, the organisers are concerned with avoiding the creation of an illusion that the young visitors are actually seeing the home of Jan Kochanowski, and with conveying the impression that they had toured the place where Kochanowski lived and wrote, gazed at the same landscape, and was surrounded by similar objects. In other words, prime importance is attached to devising a specific genius loci.
3

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

80%
Kornillowicz N.
Barok. Historia - Literatura - Sztuka (Baroque. History - Literature - Art)
|
2007
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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.
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