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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

Thecla’s hymn (symp. 285-292) – did Methodius of Olympus imitate Plato?

88%
Heszen A.
Classica Cracoviensia
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2015
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issue 18
171-184
EN
In this article the author analyses the literary sources of Thecla’s hymn from Methodius of Olympus’ Symposium. It is obvious that Methodius took over his concept of the treaty on chastity from Plato’s Symposium, but in the end of the work, or Thecla’s Hymn, is closer to Origen, from whom he borrowed the concept of mystical marriage of the Church and of the soul. In the hymn there are some common motifs with Song of Songs, especially with regard to the allegorical interpretation of love. The hymn is not Platonic, but it is a poetic summary of philosophical discussion, and praise and glory to Christ.
3
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Le nozze di D’Annunzio. Per una lettura dell’alcaica Per nozze in Primo Vere

88%
Mariotti C.
Italica Wratislaviensia
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2015
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issue 6
135-148
EN
The author of this article examines the genesis of D’Annunzio’s Primo vere, published when D’Annunzio was 16 while he attended the famous Cicognini college in Prato. The first edition appeared in 1879 (the second, in the following year) and it was considered a great work; in fact, it was reviewed by Giuseppe Chiarini, one of the most popular writers of his time. Next, the author provides an analysis of Per nozze, one of the Alcaic lyrical poems in D’Annunzio’s book. This ode belongs to an established literary genre (for instance, poems by Catullus, Claudian, Theocritus, and Sappho are of this genre), and it is an important one because it allows us to foresee the later and greater D’Annunzio. At the end of the article, the author investigates why D’Annunzio used the Alcaic metre in this ode. It is not only a tribute to Horace (one of D’Annunzio’s favourite poets; in the appendix of Primo vere are some of Horace’s lyrics translated by D’Annunzio), who used this metre in 37 of his poems; there is another reason. In fact, we can establish a parallel between the metre and the ode: the Alcaic one has ascending and descending rhythms like D’Annunzio’s Per nozze, and it is full of happiness (a marriage takes place), but also of sadness, as he wants to underline the brevity of life and its vanity.
4
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Renesansowy poemat "Sarca" jako "aemulatio" z autorami antycznymi

71%
Kowalczyk-Cantoro D.
Collectanea Philologica
|
2021
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issue 24
141-153
EN
The aim of this article is to analyse the Renaissance poem Sarca, whose authorship is attributed to the Italian humanist Pietro Bembo, and to indicate the ancient inspirations of the work. The main model for the work is Carmen 64 by Catullus, although the author also refers to other Roman poets. The intertextual relations between Sarca and the hypotexts are presented on various levels. The analysis focuses on showing parallel elements of the setting and takes in consideration the few similarities at the linguistic and stylistic level. Genre-wise Sarca is classified as an epithalamium of an aythiological character. Its characteristics typical of the Renaissance era are also highlighted. The article also brings up the history of the poem and the topic of its attribution, presenting an extensive state of research.
5
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Epitalamium Antoniego Marcina Sienkiewicza dla Marii Zofii Sieniawskiej – chrześnicy króla Augusta II Sasa i cara Piotra I

63%
Botor A.
Meluzyna. Dawna Literatura i Kultura
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2020
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vol. 2 (13)
81-127
EN
This article presents critical edition of enlightenment period’s epithalamium of Antoni Marcin Sienkiewicz (1690–1752) titled “Konstelacyja pierwszych koronnego nieba planet” (“A constellation of the most brilliant planets of the crown sky”). The epithalamium was written in 1724 on the occasion of Maria Zofia Sieniawska’s wedding with Stanislaw Ernest Denhoff. Since some references in the text might be difficult for today’s readers, this article includes the necessary clarifications on mythological characters and the overview of Sieniawski’s and Lubomirski’s families. Moreover, the article presents a short historical note about the author’s biography (he was considered as the most prolific panegyrist of Polish nobility), as well as about Maria Zofia Sieniawska, to whom the work was originally dedicated.
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Zaręczyny Františka Nádašdyego i Elżbiety Batory jako wydarzenie społeczne i fakt literacki XVI wieku

63%
Okoličányová V., Deverová K., Žibritová G.
Roczniki Biblioteczne
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2019
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vol. 63
43-56
PL
Sylwetki Františka Nádašdyego i Elżbiety Batory. Autor "Epithalamion conivgii…" Benedikt Ilošvai. Epitalamium jako rodzaj utworu okolicznościowego. Treść"Epithalamium coniungii…" i jego wyposażenie artystyczne.
EN
The article deals with an occasional publication by Benedikt Ilošvai (Benedictus Ilosvanus), printed in 1571 in Mateusz Siebeiecher’s printing house in Kraków to mark the betrothal of Elizabeth Báthory to František Nádašdy. The authors discuss its historical context associated with the figures of the two spouses, circumstances of the publication, its content as well as editorial layout (with illustrations probably by Jörg Brückner).
7
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God in Australian Great War Poetry

63%
Sheridan D.
Studia Elbląskie
|
2017
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vol. 18
475-485
PL
Przez wieki poeci mówili o Bogu i do Boga w różny sposób. Wołali o pomoc, wyśpiewując chwałę, ale tony ich wierszy nie wynikały z żadnego powiązania z doświadczeniem tryumfującej chwały. Niemniej wszyscy poeci rozpoznawali Boga jako źródło dla sensu rodzaju ludzkiego, moralności i etyki, jak również umiejscowienie prawdziwej jaźni. Tymczasem poeci, którym przyszło żyć w czasie wojny, często mówili o Bogu bardziej żarliwie a nawet natarczywie. Oni widzieli Boga jako opiekuna i wspomożyciela, jako kogoś, kto jest dobry w dobrych czasach i w najgorszych chwilach. Być może wydaje się to nienadzwyczajne i może banalne, jednak australijscy poeci pierwszej wojny światowej, którzy też ujrzeli go również na wojennych drogach, ujrzeli Go również w swoich kolegach i w otaczającym świecie. Postrzegali zniszczenia wojenne jako profanację i świętokradztwo przeciw Niemu. Australijscy poeci, mężczyźni i kobiety, żołnierze, pielęgniarki i cywile, widzieli Boga jako pierwsze i ostatnie schronienie dla zachowania zdrowych zmysłów. Nie w jakikolwiek panteistyczny sposób, Bóg był widziany w żołnierskiej przyjaźni oraz w krajobrazie Australii. W człowieku, który jest uczyniony na obraz Boży, australijscy poeci, reflektując o niewinności i dobrych uczynkach, zobaczyli obraz Boży skojarzony z australijskim krajobrazem identyfikowanym z dziełem stwórczym Bożych rąk. Dla poetów australijskich pierwszej wojny światowej Bóg był wiążącym czynnikiem ludzkiej egzystencji.
EN
Throughout the ages poets have spoken about God and to God in all manner of ways. They cried out for help and sung out in praise, and the tones of their verse have been anything from base familiarity to exultant praise. But all poets have recognised God as a standard for mankind’s sense of morality and ethics, as well as the locus of the true self. However, poets who found themselves living in times of war often spoke of God in a more earnest and even urgent way. They saw God as a means of protection and succour. As someone to be with in good times and to turn to in the worst moments. This is of course most normal, however, theAustralian Great War poets, who also saw God in these ways, saw God in their fellow man and the world around them. They saw the destruction caused by war as a desecration of God and a sacrilege against Him. Australian poets, men and women, servicemen, nurses and civilians, saw God as the first and last refuge of sane men. Not in any pantheistic way, God was seen in the soldier’s fellow man and the landscape of Australia. In the case of man, who was made in God’s image, Australian poets saw God’s image in the reflection of innocence and good deeds, while in the case of the Australian landscape, poets saw God’s hand of creation. For the Australian Great War poet, God was the binding factor of human existence.
8

Fakty i opowieść – Helikon polskiego Apollina Jerzego Władysława Judyckiego z okazji zaślubin Władysława IV i Ludwiki Marii (z edycją wybranych wierszy)

63%
Szafrańska M.
Meluzyna. Dawna Literatura i Kultura
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2018
|
vol. 1 (8)
61-87
EN
The article deals with “Helicon of Polish Apollo” by Jerzy Władysław Judycki, a piece written on the occasion of the wedding of the Polish King, Władysław IV Vasa with a French princess, Marie Louise Gonzaga in 1646. In the text the author presents a literary and editorial frame of the wedding cycle and also attempts at analysing two selected songs, referring to the historical contexts and source texts form that time. It results in indicating differences between the story of events in the epithalamium (King’s participation in celebrations) and historical reality. The text is accompanied by an edition of two songs from “Helicon” uniquely preserved by the Library of the University of Warsaw.
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