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Moralitet „Komedyja Justyna i Konstancyjej” Marcina Bielskiego a karnawał

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Wojtowicz W.

Pamiętnik Literacki

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2018

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vol. 109

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issue 4

39-63

PL

"Komedyję Justyna i Konstancyjej" (1557) Marcina Bielskiego można wiązać z karnawałem dzięki wyraźnemu kategoryzowaniu w niej postaw zarówno nagannych, jak i godnych aprobaty, co właściwe jest poetyce moralitetu. Uwarunkowania teologiczne karnawału spotykają się w debacie Krotofili, Justinusa i Czasu z kontekstem medycznym. Zwraca uwagę rola ars iocandi w przezwyciężaniu melancholii, ogólnie – w utrzymaniu dobrostanu człowieka. Ulubionym tematem przedstawień karnawału – w tym także tekstów literackich – było pożycie małżeńskie i sam akt zawarcia małżeństwa, jak również wszystkie zwyczaje, które ten akt poprzedzały (co wpisuje się także w problematykę skupioną wokół przejawów grzechu nieczystości). Ponadto w sztuce Bielskiego podjęty został problem przemocy, skorelowany tu z decorum na płaszczyźnie językowej. Odbija się tu refleks kultury dworskiej. Bielski wykazuje znajomość kodu dworskiego i tekstów należących bezspornie do tego kręgu społecznego. Interpretacja "Komedyi" wymaga zatem uwzględnienia kontekstów socjokulturowych, komponentów związanych z medycyną, ale także z karnawałem.

EN

Marcin Bielski’s “Komedyja Justyna i Konstancyjej” (“A Comedy of Justyn and Konstancja,” 1557) may be linked to the carnival due to that it clearly categorises both the negative attitudes and the ones which gain approval, which is typical of the morality play poetics. Theological circumstances of the carnival meet in the debate of Krotofila (Burlesque), Justinus and Czas (Time) with a medical context. The role of ars iocandi in overcoming melancholy deserves attention, generally in preserving a man’s well-being. Favourite topics of carnival performances, and also of literary texts, were married life and the act of getting married itself, as well as all the customs preceding this act (which also includes the problems focused on the manifestations of the sin of impurity). Additionally, Bielski’s play raises the problem of violence which correlates here with the principle of decorum on the language plane. The court culture is also reflected here. Bielski shows his knowledge of the court code and the texts which indisputably belong to this social circle. Interpretation of the piece in question thus calls for resort to sociocultural contexts, medicine-related components, and also the carnival.

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The Morality Play Revisited in Margaret Edson’s Wit

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Błasiak E.

Anglica Wratislaviensia

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2015

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issue 53

15 - 24

EN

Taking into consideration the contrasting views of two medieval drama scholars, this article will explore the elements of a medieval morality play in Margaret Edson’s modern play Wit. The proposed hypothesis assumes that although Wit cannot be treated as an example of a full-scope “modern morality play,” it may be seen as a twentieth-century derivative of the genre. The play presents the story of terminally-ill literature professor Vivian Bearing, for whom the last months of her life turn into a pilgrimage towards an education in ethics which she neither expects nor welcomes. Gradually, as in Everyman, all her earthly resources, and above all her knowledge of metaphysical poetry, become irrelevant as she realises that life and death are entirely new concepts when not discussed in the abstract. In order to locate the play within the paradigms of morality play tradition, Wit will be compared to several medieval and Renaissance plays. The aspects of the morality play to be considered in relation to Wit include its potentially instructive purpose, medieval motifs, the idea of the protagonist’s universality and a number of dramatic devices and solutions.

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Józefa Korzeniowskiego próby i kolizje romantyczne Jeszcze raz o tragedii „Mnich”

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Przychodniak Z., Uniwersytet im. Adama Mickiewicza w Poznaniu I. F. P., zbiniak@amu.edu.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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vol. 27

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issue 1

EN

The object of this analysis is a drama by J. Korzeniowski from his time in Krzemieniec: a tragedy called “Mnich – The Monk” (1826, published in 1830). The piece, which depicts the last days of the king Bolesław Śmiały, is distinguished by many references to earlier theatrical and dramatical traditions (from antiquity and classicism to Shakespeare and Schiller’s works), which characterizes the early period of Korzeniowski’s creation. The author of “The Monk” seeks a new formula for the historical-religious drama, combining the historicism and picturesqueness with some elements of the medieval mystery play and psychological conscience drama. The paper also deals with the ambiguous reception of Korzeniowski’s early works by the Romantic writers, the culmination of which was a prominent rejection of “The Monk” by Maurycy Mochnacki, a decision motivated with his ideological convictions.

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1 Acta Universitatis Lodziensis. Folia Litteraria Polonica

1 Anglica Wratislaviensia

1 Pamiętnik Literacki

1 Błasiak E.

1 Przychodniak Z.

1 Uniwersytet im. Adama Mickiewicza w Poznaniu I. F. P.

1 Wojtowicz W.

1 zbiniak@amu.edu.pl

1 2018

2 2015

Moralitet „Komedyja Justyna i Konstancyjej” Marcina Bielskiego a karnawał

The Morality Play Revisited in Margaret Edson’s Wit

Józefa Korzeniowskiego próby i kolizje romantyczne Jeszcze raz o tragedii „Mnich”