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The paper offers a sample of a commentary to Jan Kochanowski's two foricoenia, namely Ad Lu-clnam (21) and De Neaera (4). The commentary is effectuated in connection with a new edition of the poet's Carmina Latina. When interpreting the two epigrams, an important context is made not only by antique works (e.g. from The Greek Anthology) to which the poet referred within the framework of the Renaissance aemulatio, but also by New Latin ones, inter alia Andrea Navagero's Lusus and Michael Marullus' epigrams. Forlcoenia enters into intertextual relationships with the works of other humanists and contributes to the common good of Renaissance Europe. [ABSTRACT FROM AUTHOR]

The paper discusses a recently completed critical edition of Jan Kochanowski's Fraszki (Trifles), which will before long be issued as a subsequent volume of his Dzieła wszystkie (Collected Works). Different aspects of the publication are presented, including facsimile, transcription, and commentary. As a representative sample, a few actual passages from particular trifles are discussed in length. These include the following poems: I 48, I 55, I 78, II 55, III 1, III 39, III 46, III 53, III 63, and III 69. The most remarkable added value of the edition is that it contains countless minute discoveries--individually marginal-- creating much broader, much richer, and much deeper picture of Trifles than the previous editions might suggest. [ABSTRACT FROM AUTHOR]

The aim of this paper is to show how Polish renaissance poets reinterpreted the legend of Wanda and modelled the character of the princess depending on the chosen genre and the target readers. The author analyses the following source texts: Jan of Wislica, Bellum Prutenum; Klemens Janicki, Vitae Regum Polonorum; Georgius Sabinus, De nuptiis Sigismundi Augusti et Elissae; Petrus Roysius, Hedvigis and Ad Proceres Polonos de matrimonio regio carmen; Joachim Bielski, Istulae convivium. In nuptiis Stephani Primi Regis Poloniae et Principis Annae; Jan Kochanowski, Elegiarum libri IV. In the canon of ancient rulers of Poland there is a woman called Wanda, daughter of Krak. This gallant virgin-king (in Poland a king could be male or female) who can be found in the oldest chronicles is also a character in neo-Latin poetry. Jan of Wislica in his epic poem Bellum Prutenum and Klemens Janicki in his cycle of historical epigrams Vitae Polonorumprincipium praise Wanda as a brave woman who equals Camilla, Semiramis and Tomyris in valour. In these two works the poets place the emphasis on Wanda's heroic qualities as an excellent ruler and leader. On the other hand, Piotr Rojzjusz looks disparagingly upon Wanda. In his poem Ad Proceres Polonos... he criticises her suicide as a sign of recklessness and concentration on her private life, which resulted in her shirking responsibility for the state she was entrusted with. Wanda's story is a persuasive exemplum that was supposed to induce Sigismund August to consider a new matrimony that was crucial for reasons of state. In another poem, Hedvigis, Rojzjusz reproaches Wanda for her exaggerated bashfulness, which drove her to such a desperate act. Wanda is also a character in royal epithalamia. Jerzy Sabinus in his De nuptiis... presents Wanda as a beautiful, gallant and pure woman who lived the life of an Amazon. Her beauty attracted the attention of Istul, the god and king of Vistula. He kidnapped Wanda into the current of the river and made her his wife. In Istulae convi-cium... Joachim Bielski also depicted her as the unusually charming and refined spouse of the king of rivers. In both of these epithalamia Wanda does not commit suicide, but instead enters into matrimony. This is an innovation that departs from the canonical version of the legend. Jan Kochanowski dedicated one of his most beautiful elegies to Wanda, in which the Cracow Amazon becomes a responsible ruler and leader who acts according to the ethos of chivalry. The elegy is an aitiological epyllion that explains the origins of the name Mogila upon Vistula. It is also in artistic rivalry with Propertius (IV 4). Here the brave Wanda becomes the opposite of the traitor Tarpei. For renaissance authors the legend of Wanda is an opportunity to cleverly combine the ancient history of Poland with the tradition of ancient heroes, or a native legend with the legacy of Roman poetry, and thus to undertake emulation of the ancient poets. [ABSTRACT FROM AUTHOR]

The aim of this study is to characterise Pieśni nabożne by Remigiusz Suszycki and to reflect on the vision of the hereafter presented in this poetic cycle. Pieśni nabożne were first printed in 1697 by the print house of Franciszek Cezary the Younger in Kraków. They were subsequently reprinted and supplemented in 1700 and 1702. The collection is internally diverse. The third part, collectively titled Świat górny, contains two genres of works: songs and echoes. On close reading, it is possible to recognise Remigiusz Suszycki's literary strategy, which consisted in juxtaposing songs and echoes, creating a form of dialogue between two subjects in two corresponding works. The dialogue that takes place between the two pieces is intended to highlight two different perspectives -- the earthly one (representing the human viewpoint) and the heavenly one (showing the vision of the heavenly intelligences). The whole is tied together by an idea related to the tradition of negative theology: throughout Świat górny, unscientific faith is valued positively, while the attitude of man possessing uncertain knowledge is valued negatively, against the background of man's intellectual achievements in the field of natural science presented in the work. These observations also allow us to present the profile of a little-known author, namely Remigiusz Suszycki. A fuller characterisation of Pieśni nabożne also fills a gap in research on late Baroque religious poetry [ABSTRACT FROM AUTHOR]

The study on the amount of income of the lesser clergy in the late Middle Ages was until now based mostly on fiscal registers. An unavoidable disadvantage of them is the recording only of an estimated sum of earnings. The only source, which allows for a truly precise appraisal of income from benefice remain personal bills. These sources are rare and are hitherto known only to the owners of parish benefices. In this context, the accounting book of the alter of St. Martin in the Nysa parish church (1500 – 1597) is quite exceptional. The chantry was funded at the turn of the 14th and 15th centuries, and its first noted owner was Paul Scheiban, who assumed it before May 1st, 1406. The founder of the benefice undoubtedly came from the Nysa patriciate. It would be plausible to see Henry Czeicz, mayor of the city in the 80s of the 14th century, in this role. In 1500 the chantry took Wenceslaus Sculteti of Kłodzko., who did not reside in Nysa, and his liturgical obligations were filled by a deputy. The collection of his benefits was executed through a procurator. It seems that it is this cession of the management of finances to a procurator that gave rise to the accounting book in question. Because the entrusted funds had to be settled, the scrupulous notation of all incoming and outgoing payments was necessary. This source allows us, like no other, to discover the real proceeds from altar stipends at the end of the Middle Ages. The total income from the chantry in 1500 was three marks. In reality, however, not every year was the entire due amount obtained. The example of the altar salary of St. Martin is a perfect illustration of the main problems of the credit market in the Middle Ages: dispersion of payments, difficulty in executing payments from rural rents, reluctance of payers and catastrophes that could even result in complete loss of profits. The Nysa accounts also give us information on the ways of executing provisions, the system of cash transfers and the costs associated with the handling of alter benefices (laundry, wax, repairs, etc.). Thanks to the preserved accounting book we can state the amount of the contributions for the Bohemian king and the payments for the bishop.

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The article concerns Ludovico Ariosto's Orlando Furioso, and its interpretation according to which it may be read as a poem about women who break the traditional male monopoly on heroism in the epic literature. The author aims to prove Ariosto's innovative approach by analyzing Orlando Furioso's protagonists. Hence the paper is mainly dedicated to three of Ariosto's characters - Angelica, Marfisa and Bradamante. Those women are presented in a comparative perspective against their traditional prototypes with particular reference to those moments in the poem that render visible Ariosto's novelty in creating his protagonists. Angelica, Marfisa and Bradamante, especially in contrast with the poem's male cavalieri seem to be more in line with the canonical representations of heroism. In the first part of the study, the author presents Ariosto's Angelica, often interpreted as a mere capricious object of man's desire. Nevertheless, the character appears as self-aware and confident, striving to make her own decision when it comes to choosing the partner for life. The second part of the article is dedicated to Ariosto's most canonical virago - Marfisa. Undefeated in the battlefield till the end of the poem, she often breaks her stereotypical comical image and consciously resigns from love. The last part of the study concentrates on Bradamante, who combines both amori and armi: the Christian knight, future founder of the Este noble family despite being in constant pursuit of her lover Ruggero, not sacrificing her passion for chivalry. According to the author of the article, Bradamante should be perceived as the central character of Orlando Furioso, as she carries the main idea of Ariosto's masterpiece. [ABSTRACT FROM AUTHOR]

Copyright of Quarterly of the History of Material Culture / Kwartalnik Historii Kultury Materialnej is the property of Instytut Archeologii i Etnologii Polskiej Akademii Nauk and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper presents a short story entitled Wanda by Zuzanna Orlińska as a posthumanist reinterpretation of the traditional ethnocentric legend. Subtle changes in te character’s motivation and expanding the plot of Wanda’s story into two other texts create a new understanding of community (not only a national one), as well as a new model of women’s participation in it. The foundations of this new model are agency, care and interdependence. [ABSTRACT FROM AUTHOR]

In this paper, the author shares some comments on the exhibition Wisła królowa polskich rzek (The Vistula River: The Queen of the Polish Rivers) organized in the National Museum in Cracow (29.03.2022-4.09.2022). The curator Iwona Długopolska gathered maps, atlases, engravings and literary works from the 16th-mid 19th centuries from the collection of the National Museum. All of them deal with the Vistula River. The author focuses on the cultural dimensions of the representations of the river. At the beginning of the paper, there are remarks about the physiology of viewing. The author stresses the fact that exhibitions can be a way of carrying out historical research. In the next parts, he puts forth a classification of the interpretations of the river as a cultural phenomenon into four major groups, i.e. the economy, the war, the city and the expressions of the Polish national identity. He also links literary works by Polish authors with the visual representations of the Vistula. [ABSTRACT FROM AUTHOR]

The author gathers and scrutinizes the cases in which Jan Kochanowski, the most prominent poet of the Polish Renaissance, mentions Naples or Campania, one of his destinations while travelling through Italy in 1555. One of the designations in question appears to be „Parthenopea lues" from his Latin elegy III 17, a periphrastic term for syphilis, a disastrous veneral disease which truly decimated the population of then Europeans. It's mentioned as part of a long tirade against a woman who, according to the poet's wishes, is going to pay high price for her wrongdoings, especially those against love. The ultimate punishment she will suffer, right before immersing herself in the abyss of Tartarus, will be, devastating for her health, „morbus gallicus". The paper ponders on the right identification of the female protagonist of the elegy, taking into consideration the existing theories about it as well as comments on a peculiar name syphilis was given by the poet and the medical knowledge he shares with a reader. [ABSTRACT FROM AUTHOR]

Miazek-Męczyńska Monika, Lukrecja -- wzór dla Rzymianek. Historia niezbyt słodka (Lucrece as a model for Roman women. The story that is not very sweet). The article presents the story of Lucrece, legendary heroine and noble wife of Lucius Tarquinius Collatinus, whose suicide was presented many times in the ancient Roman and Renaissance literature by historiographers and poets. The author compares few versions of Lucrece's story focusing on her virtues (like castitas, obstinata pudicitia, decus muliebris) that became canonical features characterising the Roman matrona. [ABSTRACT FROM AUTHOR]

The objective of the article is to provide background for the reading of a new annotated bilingual edition of Maciej Kazimierz Sarbiewski's ode to Saint Stanislaus Kostka. Written in 1638, when Kostka had not yet been canonized, the ode was published posthumously, many years after the poet's death. First, the origins of the poem are presented, including the suggestions advanced by Stanisław Łubieński, the bishop of Płock, that Sarbiewski should create odes worshipping Polish saints. Other texts devoted to the venerable young man written by, or attributed to Sarbiewski are also briefly discussed. This is followed by an analysis of the ode, with special focus on its visual and theatrical properties, and on the poet's emphasis on the mystic experiences of the Jesuit saint and his special bond with Mary. The manner of portraying the saint's life deployed by Sarbiewski is shown to be modelled on the contemporary iconographic tradition, especially a drawing by Giacomo Lauro, which, copied by an anonymous artist was subsequently included in the collection Icones et miracula sanctorum Poloniae (Cologne 1605). Literary hagiographic works on which Sarbiewski might have drawn - both poetry and prose - are also mentioned. After the introductory section, the ode is presented in two language versions: the original Latin and the new Polish translation. The text is provided with comments detailing historical facts, discussing the ancient similia and elocutionary relations to Sarbiewski's other texts. [ABSTRACT FROM AUTHOR]

The aim of this essay is to highlight an important gap in the research into the works of Maciej Kazimierz Sarbiewski (1595-1640), Jesuit neo-Latin poet and philosopher, namely the fact that his still unpublished lectures on one God in three persons and on angels, held in Vilnius Academy in the years 1631-1633, have remained largely unexplored by researchers so far. The main thesis is that these thomistic commentaries can considerably deepen our understanding of the dialectical and theological context of Sarbiewski's poetry. For example, they shed new light on his Marian imagery (inter alia, the usage of the invocation 'purum sine fraude vitrum'), or on his way of avoiding the danger of the infinite regress of concepts as being similar to mirror reflections. The argument concentrates on the figure of echo in two poems: the praise of Jan Karol Chodkiewicz and the ode Secunda leuca seu Vaca as influenced by a new version of the Litany of Loreto (Litaniae Deiparae Virginis Mariae). It makes use of the definition of echo as taught in the Coimbra Jesuit Aristotelian courses. The phenomenon of echo is taken together with other species of refraction: the rainbow and reflection (Aristotle, Posterior Analytics, 98a.24-29), and set against the background of new technologies, such as the production of crystal mirrors. [ABSTRACT FROM AUTHOR]

The article deals with traces of the legendary Polish ruler Wanda in Polish and French literature of the 19th century. On the one hand, the interpretative potential inherent in the legend, exploited by Polish Romantic writers, is evoked; on the other, the history of the French reception of the story of Wanda from the sixteenth century onwards is presented, as well as the circumstances of the popularity of "la question polonaise" in Paris thanks to the Great Emigration. The comparative analysis discusses the works by Zygmunt Krasiński (Wanda), Juliusz Słowacki (Król-Duch and a drama about Beniowski) and Cyprian Norwid (Wanda), who re-write Wanda's legend, as well as the French works whose heroines bear the name of Wanda: in particular, Alfred de Vigny's poem Wanda. Histoire russe and Honoré de Balzac's novel L'Envers de l'histoire contemporaine. Second épisode: L'initié. The comparative approach leads to an exposition of Polish and French critical and creative reinterpretations not only of the story of Wanda, but also of the stereotype of Polishness. [ABSTRACT FROM AUTHOR]

The paper includes two Polish translations of two Latin elegies of Jan Kochanowski. Their author is a Late-Renaissance poet Jan Daniecki (died after 1611), known for his passion for the antique tradition since he also translates some works of Lucian of Samosata. The first work tells the heroic deeds and tragic death of the legendary princess Wanda; the second one presents the story of two lovers, Odatis and Zariadres, overcoming all odds to unite and live happily ever after. [ABSTRACT FROM AUTHOR]

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The treaty of Jan Płoczywłos Mrowiński, who signed himself as the burgher of Kazimierz city and a nobleman, was published in 1561 and has an eclectic, confessional profile. The author reflects on marriage using both Catholic and Protestant sources, including the Greater Catechism of Martin Luther or the anonymous (attributed to Stanisław Murzynowski) treatise “Oeconomia, albo Gospodarstwo” (1545), which was a translation of the treatise by Justus Menius. However, unlike the Lutheran texts, this treatise is not a formation book. The author of the sketch proves that the appreciation of eroticism, the approval of two-faith marriages and the shaky stance on divorce presented in the “Stadło małżeńskie” testify to Płoczywłos’s intention to adopt selected reformers’ proposals to the Catholic ground. This means that the compilation piece is intended to introduce elements of a Protestant approach to marriages on a Catholic basis. [ABSTRACT FROM AUTHOR]

The purpose of the article is to analyze the roles of women described in the drama by Szymon Szymonowic entitled "Pentesilea" . Continuing on the topic of the Trojan War and the accession of Pentezylea as the main heroine of this drama, it begins with a reflection on the woman's place in the world, her responsibilities, rights and privileges. The author describes the behavior of all women who appear in the text, shows the differnces xbetween them, their personalities and their opinions about gender. The conclusions from the article, in addition to the references on the situation of women from the previous centuries, also deal with the Szymonowic's personal views. [ABSTRACT FROM AUTHOR]

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Ryczek proposes a rhetorical interpretation of a Latin ode by Maciej Kazimierz Sarbiewski, addressed to a certain Wojciech Turski (Lyrica IV.32). The second part of the article contains a transcript, Polish translation and a discussion of the text. Ryczek examines two of Sarbiewski's lyrical narrations, both of which focus on the poet's flight in vast expanses - his ironic renouncement of Horatian influences, as well as his evocation of the ambivalent myth of Icarus (the triumph of sublimation or the failure of imitative creativity). Their analysis from the perspective of the rhetoric of the dream makes it possible to bring to light and to describe the mimentic and semiotic mechanism involved in the creation of a textual world. [ABSTRACT FROM AUTHOR]

This paper presents the history of a motif that the author calls De consolatione somni. It is based on the Boethian pattern of consolation brought about by a woman who appears in a dream. Lady Philosophy, who in De consolatione Philosophiae morally and philosophically comforts Boethius when under sentence of death, is later introduced by Dante and Petrarch into renaissance poetry. The motif was applied to two ends: to express love in amorous poetry and grief in poetry of mourning. In Dante's Vita nova and Petrarch's Canzoniere (the author analyses verses No. 282 and 359) the deceased beloved appears to the bereaved lover in a dream and brings him comfort. Boccaccio, the third jewel in the "Tuscan crown," in his eclogue Olympia introduces this motif to literature of mourning, creating the patterns of poetry dedicated to deceased girls (his influence is visible, for instance, in the Middle English poem The Perl, in the Dialogue en forme de vision nocturne by Margaret of Navarre or in Lament XIX by Kochanow-ski). The 15th-century lyric bonds mourning and erotic elements together even more strongly, adding a sensual dimension. Giovanni Pontano, in his poems dedicated to the memory of his late wife (the author analyses works from Lyra 9, Eridanus II 1; II 32, Hendecasyllabi II 29), evokes dream visions in which her spirit visits him. This consolation, however, had a clear sensual and erotic character, for the dead wife would come to her husband's bed. He also likewise envisioned the prospective unification of the spouses in Elysium. In the next two centuries, in anti-Petrarchan poetry such consolation experienced in erotic dreams appeared both in poems of mourning (when the beloved passed away) and in love poems (when fulfilment was impossible for other reasons). The latter option is here illustrated in elegy I 10 by Secundus. A dream that compensates for the deficiencies of reality is a frequent motif in baroque poetry (G.B. Marino, A. Morsztyn). Yet the target point of this study is determined by the works that constitute the compositional frame of book II of Jan Kochanowski's Elegiarum libri IV. Here we come across a rather unusual idea. A betrayed lover wishing to free himself from his humiliating love has a dream in which the goddess Venus appears (elegy II 4). Like Lady Philosophy (the Boethian pattern is particularly visible in a previous version of the elegy that is preserved in a manuscript), Venus tries to convert her charge to her domain, that is, to renew love in him. (This character, and especially her way of reasoning, is reminiscent of the creation of the Mother in Lament XIX). The triumph of the comforter is not long -- elegy 11 brings another concept: a suicide committed in a dream that symbolically puts an end to unhappy love. Another significant aim of this paper is to draw attention to the influence that Boethius and his version of Platonism had on renaissance poetry, and on Jan Kochanowski in particular. It seems especially important for recognising the sources of Lament XIX and elegies from book II of the printed volume. The first to have noticed Boethius' impact on Kochanowski's work was Izydor Richter (1912) but his discovery has not been exploited by later researchers. To sum up, the paper presents the history of a non-obvious (singled out by the paper's author) motif in modern poetry and its relation to both love poetry and poetry of mourning as well as the neo-Platonian basis of renaissance erotic lyric. It also explains the origin and the meaning of the dream vision in Kochanowski's book II of Elegies and (although it is not the chief aim of the paper) the genesis of the comforting Mother who appears with Orszulka, the departed daughter of the poet, in Lament XIX. [ABSTRACT FROM AUTHOR]