In the dense web of correlations in Goethes classical drama Torquato Tasso the nature plays a significant role. The concept of „nature” covers the material and the human nature, both entangled in the complex relations to each other and to the human mind. However, in the poetic language there has been established the analogy between both concepts of nature and the opposition of nature and mind has been dialectically transcended. The disproportion of talent to life the poet has to overcome on his own, for he has the choice either to surrender completely to the nature, or master it with his own mind.
The article’s aim is to present the main female characters of the epic poem La Gerusalemme liberata (Jerusalem Delivered) by Torquato Tasso (translation by Piotr Kochanowski), i.e. the witch Armida, the warrior-maiden Clorinda and the princess Erminia. Their behaviour is based on the symbolic, historical and social contexts. The article tries to answer the question concerning the functions women had in Tasso’s poem. The author created female characters in such a way that they became the leading participants of the events and had much more prominent roles to play than expected from women in this kindle of poems. The decisions taken by the heroines influence the course of events.
The article reconstructs the conception of the soul that emerges from the writings of Torquato Tasso. The analysis of the Allegory of Jerusalem Delivered, of the correspondence which arose from the revision of the poem and of some fragments of other works, centres on the relationship between reason and passions. It shows that Tasso’s concept of the harmony of the soul is analogous to his concept of the epos. Both are founded on two principles: that of unity composed of opposites and that of the functional indispensability of all constitutive parts. There is a relationship of subordination and a relationship of interdependence between reason and the irrational part of the soul. Tasso has a positive view of the intense affetti, as drivers of magnificent actions and as foundations on which a person can develop his/her virtues.
The author devotes attention to four pieces from the poetic cycle Erotics (Erotyki, 1779) of Franciszek Dionizy Kniaźnin, cleary inspired by a few scenes from romantic thread of Tancred and Clorinda in epic poem Godfrey or Jerusalem Delivered (Gofred abo Jeruzalem wyzwolona, 1618) by Tasso‑Kochanowski. The context of consideration are reflections which concern interest in baroque work and characteristic cult of Italian artist, lively in Poland until romanticism. The goal of detailed analysis is to capture multiple signals of connections between Kniaźnin’s rococo lyrics and paralel fragments of seventeenth‑century translation. In the poem’s plot these relations concern meetings of Christian knight with beautiful pagan, his behaviour in these situations, statements which he addressed to both living and departed Clorinda and also the dream in which he was haunted by ghost of the loved woman. Comparative steps aim at determining how epic material was used and processed in the amorous poetry of good taste”.
In April 1960, Milada Součková left her exile in America on a trip to Rome, a trip that would inspire the poems collected in her fourth book of poems, Alla Romana, published in exile by a Roman publisher (1966). Součková’s time in Rome had a special significance for the poet — the poet in exile and the poet of exile — representing not only a return to Europe, but more importantly, a revitalizing return to the world-city of cultural memory. While the city’s architecture plays a leading role in Alla Romana, the city (and Italy as a whole) is also evoked by references to painters (Poussin, Angelika Kauffmann, Bronzino, Canaletto, etc.), direct intertextual quotes (Goethe, Chateaubriand, Stendhal, Byron, etc.), and indirect allusions (Ovid, Virgil, Dante, etc.). Součková’s ‘Roman’ poems thus fuse together past and present, real with imagined pictures, and actual sensory experience with aesthetic reflections in mirror-like complementarity. Sense impressions evoke memories, or set in motion aesthetic reflections and intertextual and intermedial relations, in dialogue with foreign texts and images. The city becomes a kind of ‘palimpsest’ and a Freudian ‘Mystic Writing Pad’ (Wunderblock), inscribed with experiences, impressions and memories. The actual architecture of the city, combined with other traces of past epochs, literary works and paintings, and transfigured into poetic images, is again made legible by an aesthetic staging within the poetic text. This poetic strategy is thematically exemplified by two poems: Torquato Tasso and U Via Appia.
The author devotes attention to four pieces from the poetic cycle Erotics (Erotyki, 1779) of Franciszek Dionizy Kniaźnin, cleary inspired by a few scenes from romantic thread of Tancred and Clorinda in epic poem Godfrey or Jerusalem Delivered (Gofred abo Jeruzalem wyzwolona, 1618) by Tasso‑Kochanowski. The context of consideration are reflections which concern interest in baroque work and characteristic cult of Italian artist, lively in Poland until romanticism. The goal of detailed analysis is to capture multiple signals of connections between Kniaźnin’s rococo lyrics and paralel fragments of seventeenth‑century translation. In the poem’s plot these relations concern meetings of Christian knight with beautiful pagan, his behaviour in these situations, statements which he addressed to both living and departed Clorinda and also the dream in which he was haunted by ghost of the loved woman. Comparative steps aim at determining how epic material was used and processed in the amorous poetry of good taste”.
L’articolo delinea la riflessione sulla donna da parte di Torquato Tasso sulla base del Discorso della virtù feminile e donnesca (Venezia, 1582), nell’ambito del dibattito sulla donna di fine Cinquecento e inizio Seicento. Ci si interroga sulla reale originalità della posizione tassiana all’interno di questo dibattito, presentando i concetti di “virtù femminile” e “virtù donnesca”, di “femina” e “donna eroica”.
PL
W artykule przedstawiono utwór Torquata Tassa pt. Discorso della virtù femminile e donnesca (Wenecja, 1582) i jego rozważania dotyczące płci pięknej na tle debaty na temat kobiet, która toczyła się we włoskiej kulturze pod koniec XVI i na początku XVII wieku. Poddane analizie zostały pojęcia „virtù femminile” oraz “virtù donnesca”, które Tasso wprowadza w swoje rozważania i do których przywiązuje szczególną wagę, aby ocenić oryginalność autora w stosunku do światopoglądu swej epoki.
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.