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Motiv posta i molitve često se zatječe u djelima raznih sadržajnih, oblikovnih i vrsnih pripadnosti tijekom mnogih stoljeća, pa je moguće govoriti o motivu dugoga trajanja. U trima se glagoljskim kodeksima iz 15. i 16. stoljeća (u tzv. Oxfordskom, Berčićevu i Grškovićevu zborniku) nabrajaju osobe iz Biblije i svetci koji su postili i tako postigli spas i milost. U tim je spomenicima popis likova u velikoj mjeri podudaran. Po tonu i stilu zaključuje se kako su tekstovi bili namijenjeni širem krugu primatelja, a ne (samo) užoj redovničkoj ili duhovničkoj zajednici. Tekstovi su analizirani s književnoteorijskoga polazišta, s naglaskom na njihovoj strukturu, a identificirane su dvije važne karakteristike hrvatskoglagoljske proze. To su polifunkcionalnost, jer djela često ujedinjuju praktične (npr. pastoralne, moralne i poučne) funkcije s estetskom, te otvorenost forme, jer se teme, motivi i slike pojavljuju u uvijek novim kombinacijama i kontekstima (specifična intertekstualnost). U analiziranim se tekstovima prepoznaju figure i tropi tipični za hrvatsku srednjovjekovnu prozu (npr. antiteza, paregmenon, nabrajanja, dijade, trijade, asonancije, sintaktički i leksički paralelizam)., The Croatian Glagolitic medieval literature consisted mostly of religious texts (e.g. hagiographies, visions, debates/contrasts, Miracles of the Blessed Virgin, dialogue poems, miracle and morality plays). Some of them contain the motif of fasting and prayer as well as the benefits of self-renunciation, allowing men to become purer and better in their relationships towards both themselves (through fasting and self-renunciation) and other people (through good deeds and almsgiving), and to achieve a closer relationship with God (through prayer). The motif of fasting and prayer is frequently found in texts of various themes, forms, and genres over the centuries. It was present in European Christian literature from its beginnings to the early modern period, making it a long-standing motif. During the Middle Ages in Europe, that motif was most notably found in moral-didactic and pastoral texts, but also in narrative prose texts. Three Croatian Glagolitic manuscript codices were chosen for this research: Oxford Miscellany (15th c.), Berčić Miscellany (15th c.) and Gršković Miscellany (16th c.), as collections of texts exhibiting motifs of fasting, prayer and works of mercy. The recombination of the motif in different contexts (as a sermon in a debate, as a motif in a legend and as a starting point of a moral-didactic text) reflects the memory-based nature of medieval culture – that which is adopted as one’s own, can be recombined rather freely. The three Glagolitic codices list Biblical figures and saints who found salvation from evil through fasting and prayer (e.g. Isaac, Lot, Susanna, Daniel, three young men in the fiery furnace, Saint Thecla, and Saint Margaret) and those in various ways blessed by God (e.g. Moses, Elijah, Joachim and Anne, the apostle Paul, Saint Nicholas, Saint Benedict). The list of characters is consistent to a large extent in all three manuscripts. The tone and style of the texts indicate that they were intended not only for a smaller religious community, but also for a wider audience. Two important features of Croatian Glagolitic prose are present in the analysed texts: polyfunctionality, because the texts combine practical (e.g. pastoral, moral and didactic) functions with the aesthetic function; and the openness of the form, because themes, motifs and images always appear in new combinations and contexts.

Više zbornika neliturgijskih tekstova hrvatske srednjovjekovne književnosti sadrži apokrif o Bogorodičinoj smrti i uznesenju. Dok je u jednima to prijepis prijevodne prerade grčkoga teksta Pseudo-Ivana apostola i evanđelista, koji pripada betlehemskoj predaji apokrifa (Vinodolski zbornik, 15. st. i Grškovićev zbornik, 16. st.), drugi sadrže prijepis prijevodne prerade latinskoga prijevoda grčkoga Pseudo-Melitonova teksta, koji pripada palminoj predaji (Fatevićev zbornik duhovnog štiva, 1617. i latinički zbornik Codex Varia Variorum br. 39, 17. st.). Usporednom jezikoslovnom i tekstološkom analizom najstarijega sačuvanog hrvatskoglagoljskog teksta betlehemske predaje iz Pazinskih fragmenata (14. st.) i Vinodolskoga zbornika u odnosu na grčki izvornik, zatim usporednom analizom teksta iz Vinodolskoga zbornika i njemu srodnoga teksta iz Grškovićeva zbornika te naposljetku usporednom analizom tekstova iz Fatevićeva zbornika i Codex Varia Variorum 39 utvrđuju se osobitosti jezika svih četiriju zborničkih tekstova na svim jezičnim razinama s obzirom na udio staroslavenskih jezičnih elemenata i elemenata narodnoga govornoga jezika. Na primjeru apokrifa o uznesenju Bogorodice u hrvatskoj srednjovjekovnoj glagoljičkoj i latiničkoj književnosti prati se povijesni razvoj jezika od hrvatskostaroslavenskoga preko starijega i mlađega hrvatsko-staroslavenskoga do hrvatskoga narodnoga jezika sa staroslavenskim elementima. Rad donosi i transliterirano izdanje tekstova iz Vinodolskoga zbornika i iz Grškovićeva zbornika., Several non-liturgical texts in Croatian medieval literature contain the apocryphon on Virgin Mary’s death and assumption. In some of them it is the transcript of the rewritten Croatian-Church Slavonic translation of the Greek text of Pseudo-John the Apostle and Evangelist, which belongs to the Bethlehem manuscript tradition of the apocryphon (Vinodol Miscellany, 15th century, and Gršković Miscellany, 16th century), while the others contain the transcript of the rewritten Croatian-Church Slavonic translation of the Latin translation of the Greek text of Pseudo-Meliton, which belongs to the Palm tradition (Fatević Miscellany, 1617, and Latin Codex Varia Variorum 39, 17th century). A comparative linguistic and textological analysis of the oldest preserved Croatian Glagolitic text of the Bethlehem tradition from the Pazin Fragments (14th century) and the text from the Vinodol Miscellany in relationship to the Greek original, further a comparative analysis of the text from the Vinodol Miscellany and the cognate text from the Gršković Miscellany, and finally a comparative analysis of the texts from the Fatević Miscellany and the Codex Varia Variorum 39 show the main features of the language of all four miscellany texts on all linguistic levels regarding the impact of the Old Church Slavonic linguistic elements and the elements of the Croatian vernacular. Using the example of the apocryphon of Mary’s assumption in Croatian medieval Glagolitic and Latin literature, the paper explores the historical development of the language from the Croatian Church Slavonic, older and newer Croatian-Church Slavonic to the Croatian vernacular language with Old Church Slavonic elements. The paper also provides a transliterated edition of the texts from the Vinodol Miscellany and Gršković Miscellany.

In the course of the Middle Ages, apocryphal and hagiographic texts of The Acts of the Apostles of various origins became part of the Croatian Glagolitic literature. The Passion of Saint Andrew, for example, is documented in the sanctorale of nineteen Croatian Glagolitic breviaries dating from the period between the 14th and mid-16th centuries. The Glagolitic Passion is an abbreviated translation of the Latin Epistula presbyterorum et diaconorum Achaiae (BHL 428) from the 6th century. The texts of the Passion of Jamesthe Apostle (Jacobus Maior, apost., filius Zebedaei, frater Johannis, Passio, BHL 4057) are found in two Glagolitic breviaries, namely the Breviary of Vitus of Omi?alj (1396) and the Second Breviary from Novi Vinodolski (1495). The Glagolitic Passion of Philip the Apostle is part of the sanctorale in eighteen breviaries. The breviary texts translate a part of the apocryphal Vita b. Philippi apostoli (BHL 6816), describing Philip the Apostle?s fight with the dragon.

This paper attempts to uncover the textual relationships between Croatian manuscripts of the Story of Akir the Wise and other South Slavonic copies of the same text. The Story of Akir the Wise, an apocryphal text originating in the ancient Middle East earlier than 500 B.C., was translated into Church Slavonic, probably in the 12th or the 13th century. The story was disseminated mostly among the Orthodox Slavs, but was also transmitted to the Catholic Slavs in Croatia. The South Slavonic copies, although outnumbered by the Russian ones, include the oldest extant manuscript preserved at the Savina Monastery in Montenegro. The question of the Slavonic archetype of the Story is still open because of the absence of a Greek recension. In Croatia, three copies have been preserved in Glagolitic, Cyrillic, and Latin scripts. This paper treats the South Slavonic copies of the Story, composed from the 14th to the 17th century inside and outside Croatia, and points out some textual features connecting the Croatian copies with other Cyrillic copies composed in Serbia and Bulgaria. Based on text-critical analysis, it is argued that the Croatian copies have a common source, which is a descendent of another older source that appeared in the Slavia Orthodoxa; some Serbian and Bulgarian copies also derived from that source. The paper also argues that the scribes of the Story not only copied their source texts but furthermore intentionally engaged in editing their texts in accordance with the language practices and social environment within which they worked., Priča o Akiru premudrom, apokrifna priča koja potječe s antičkoga Bliskog istoka iz vremena prije 500. g. pr. Kr., prevedena je na crkvenoslavenski jezik najvjerojatnije u 12. ili 13. stoljeću. Priča je bila raširena pretežno među pravoslavnim Slavenima, većinom u Rusiji, no ipak je prispjela i do Hrvatske, u Dalmaciju. Najstariji prijepis sačuvan je na Balkanu, što sugerira da je prvi prijevod nastao na južnoslavenskom području, premda konačno rješenje pitanja o nastanku slavenskoga prijevoda još i danas ostaje otvoreno, zbog nepostojanja grčke verzije. U Hrvatskoj je priča poznata po trima prijepisima, napisanim na glagoljskom, ćiriličnom i latiničnom pismu. U radu se predstavlja tekstualni odnos južnoslavenskih prijepisa Priče, nastalih između 14. i 17. stoljeća, te se iznosi dosada neprimijećena povezanost triju hrvatskih prijepisa s dvama rukopisima očuvanima u Srbiji i Bugarskoj. Na temelju analiza jezičnih i sadržajnih značajka južnoslavenskih prijepisa Priče prikazuje se postanak različitih redakcija hrvatskih i drugih južnoslavenskih prijepisa. Ističe se kakva je pri tome bila uloga prepisivača, koji nisu samo prepisali, nego su preradili prethodni tekst u skladu s jezičnom praksom i društvenim uvjetimau kojima su djelovali.

Naslov hrvatskoglagoljskoga prenja s najsloženijom kompozicijom zapravo je doslovan citat iz Biblije: Milost’ i Istina sretosta se Pravda i Mir’ obcelivasta se (Ps 85,11). To otvara nove mogućnosti razumijevanja teksta-alegorije i njegove višeslojne poruke. Središnji bih postupak nazvala “očuđnjenjem” biblijskoga teksta jer slijedi priča s preradbom povijesti ljudskoga roda, od Adamova grijeha, preko Kristove otkupiteljske žrtve, do najave konca vremena kad će svima biti suđeno. Gradba prenja indicira da nije namijenjeno (samo) široj pastvi, nego prije svega krugu onih kojima je bliska lectio divina. U oblikovanju cjeline autor je (pa tako i prevoditelj) posebno nastojao oko postupka/načela varietas: vraćanje na dijelove početnoga prenja četiriju Božjih kćeri (a to su personificirane vrline Milost, Istina, Pravda i Mir), gotovo poput glazbenoga oblika ronda. Pritom se uvijek javljaju makar i neznatne varijacije, novi detalji i stilski postupci. Na agaru psalamskoga retka izrasli su i alegorija-prepirka Božjih kćeri i prerada spasenjske povijesti svijeta te njezino viπeslojno tumačenje/razlaganje, po čemu je djelo jedinstveno među našim prenjima., The title of the most intricate Croatian Glagolitic dispute is a direct quotation from the Bible: Milost’ i Istina sretosta se Pravda i Mir’ obcelivasta se (Psalm 85,11 or 84,11). This opens new paths for the understanding of this allegorical text and its multi-layered meaning. I propose the term estrangement for the focal structural technique applied, because the Biblical stories of Adam’s fall, Christ’s redemptive sacrifice and the looming Judgement Day are told through a series of new but easily recognizable motifs. The structure of the texts includes narration, debate and sermon, which indicates that it was primarily intended for the audience familiar with lectio divina. The work as a whole indicates that the author (and hence the translator) aimed to achieve the effect of variation: the constant return to the initial debate between the Four Daughters of God (i.e. the personified virtues of Charity, Truth, Justice and Peace), albeit always with some degree of variety in introducing new elements and stylistic procedures. This creates an effect of a musical rondo and is at the same time a form of ruminatio because it constantly keeps reminding the audience of the main plot. The work is distinctive because it comprises not only a debate between the characters, but also a multilayered exegesis of the narrated events. On the agar of a Psalm quotation allegory was born a debate between the Daughters of God, and a paraphrase of the Biblical history of salvation, as well as a multi-layered exegesis. Its complex composition makes this text unique among preserved Croatian Glagolitic debates/contrasts.

U članku se razmatraju neki misaoni aspekti hrvatskoglagoljskoga proznog sastava Viđenje sv. Bernarda. To je jedno od možda najpopularnijih latinskih prenja u nas sačuvano u dvama zbornicima iz 15. stoljeća. Ono zrcali opća mjesta kršćanske srednjovjekovne duhovnosti, a odjeveno je u pokrenut, dramatičan dijalog. Premda se sudbina protagonista (upravo agonista) unaprijed zna, njihov prijepor obilježen je stilski uspjelim varijacijama pouke koja je u bitnom smislu upravljena primateljima: odvratite se od grešnosti navrijeme, jer pokojnik ne može biti pokajnik., The paper considers some contemplative aspects of the Croatian Glagolitic prose text The Vision of St. Bernard. It originates from one of the potentially most popular Latin contrasts, and is preserved in two Croatian Glagolitic miscellanies from the 15th century. It mirrors general aspects of the medieval Christian spirituality and is draped in a vibrant, dramatic dialogue. Although the fate of the protagonists (agonists, in fact) is known in advance, their argument is marked by stylistically successful variations of the teaching essentially addressing the receivers. The version of the work recorded in the “Oxford Miscellany” (Oxford, Bodleian Library, Ms. Can. Lit. 414) includes a dream vision (assigned to one of the most important medieval theologians and thinkers, St. Bernard of Clairvaux); at the end, the narrating author, in a manner typical of Croatian Glagolitic texts, directly addresses the audience with his lesson and a call to repentance. Similarly to other preserved Croatian medieval works of religious content, this work is also multi-functional: in addition to its aesthetic qualities, it also has a clear edifying character. The text is largely composed as a dramatic debate/contrast between the soul and the body of a dying sinner, engaged in a mutually accusatory debate as the soul is condemned to an ever-burning hell. The contrast includes a lot of emotions; the soul’s part reflects all the sins committed by the dying man. The soul is engaged in self-pity and lamentation, without showing any sense of guilt or remorse. To that extent, this work serves as a mirror for the audience – they can recognize what they are like and what they should be like through the wording of the dialogue (which also has some features of performability), with its underlying message being a call to repentance.

Apokrif Usnuće Bogorodice o posljednjim danima i smrti Bogorodice u hrvatskoglagoljskoj književnosti sačuvan je u četirima rukopisima: Pazinskim fragmentima (početak 14. st.), Vinodolskom zborniku (prva polovica 15. st.), Grškovićevu zborniku (16. st.) i Fatevićevu zborniku (1617.). Među njima se Pazinski fragmenti odlikuju po tom što pripadaju najstarijemu sloju hrvatskoglagoljske književnosti i sadrže najstariji oblik hrvatskostaroslavenskoga jezika. Tekst iz Pazinskih fragmenata redigirani je prijepis staroslavenskoga prijevoda grčkoga teksta Pseudo-Ivana apostola i evanđelista, koji pripada tzv. betlehemskoj rukopisnoj predaji apokrifâ. Istraživanje načelā prevođenja i jezična usporedba hrvatskostaroslavenskoga teksta s grčkim tekstom u izdanju C. von Tischendorfa (Codex Ambrosianus A 60 sup., 11. st.) i F. X. Bergera (Codex Monacensis graec. 66, 16. st.; Codex Monacensis graec. 146, 11. st.) na fonološkoj, morfološkoj, sintaktičkoj i leksičkoj razini pokazuje znatan utjecaj grčkoga jezika na najstariji oblik hrvatskostaroslavenskoga jezika. Usporedba teksta iz Pazinskih fragmenata s tekstovima drugih slavenskih redakcija toga apokrifa – fragmentarno sačuvanim najstarijim tekstom ruske redakcije iz zbornika Zlatostruj (12. st.), najstarijim tekstom srpske redakcije iz Mihanovićeva homilijara (13. st.) i tekstom ruske redakcije iz Zbornika Čudovskoga manastira (14. st.) – u odnosu na grčki izvornik, potvrđuje arhaičnost njegova jezika, vjernost grčkomu izvorniku i jezičnu srodnost s najstarijim slavenskim tekstovima., The apocryphon Transitus Mariae has been preserved in the Croatian Glagolitic literature in four manuscripts, i.e. Pazin Fragments (early 14th century), Vinodol Miscellany (first quarter of 15th century), Gršković Miscellany (16th century) and Fatević Miscellany (1617). Among them, Pazin Fragments are insofar distinguished as they belong to the oldest period of the Croatian Glagolitic literature and are written in the oldest form of the Croatian Church Slavonic language. The text from the Pazin Fragments is a redacted transcript of the Old Church Slavonic translation of the Greek text of Pseudo-John the Apostle and Evangelist, which belongs to the so-called Bethlehem manuscript tradition of this apocryphon. The analysis of translation principles and a linguistic comparison of the Croatian Church Slavonic text with the Greek text edited by C. von Tischendorf (Codex Ambrosianus A 60 sup., 11th century) and F. X. Berger (Codex Monacensis graec. 66, 16th century; Codex Monacensis graec. 146, 11th century) on the phonological, morphological, syntactical and lexical level show a significant influence of the Greek language on the oldest form of the Croatian Church Slavonic language. The comparison of the text from the Pazin Fragments with the texts of other Slavonic redactions of that apocryphon – the oldest text of the Russian redaction from the miscellany Zlatostruj (12th century), the oldest text of the Serbian redaction from the Homiliary of Mihanovich (13th century) and the text of the Russian redaction from the Miscellany of the Tschudowski Monastery (14th century) – in relationship to the Greek original text, confirms the archaicity of its language, faithfulness to the Greek original and linguistic propinquity to the oldest Slavonic manuscripts.

Texts on the Last Judgement produced by the »textual« and »emotional community« of medieval Croatian Glagolitic monks were analyzed with the goal of learning more about the nature of their »emotional« engagement with the world's end.

Iz hrvatskoglagoljskoga književnog korpusa usredotočit ćemo se na sačuvane animalističke odlomke moralno-didaktičkoga traktata znana pod nazivom Cvijet kreposti ili Cvijet mudrosti. Riječ je o prijevodu popularnoga djela talijanske pučke književnosti, Fiore di virtù, koje je prevođeno, a potom i tiskano tijekom nekoliko stoljeća na nekoliko vernakulara. Djelo je podijeljeno na poglavlja, a svako se sastoji od četiri ključne cjeline. Pozornost ćemo usmjeriti na odlomak kojim se predstavlja neka životinja u svrhu vizualizacije apstraktnih pojmova koji objašnjavaju čovjekovu narav poput okrutnosti, milosrđa, gnjeva, darežljivosti i sl. U radu ćemo klasificirati sve životinje po vrstama, a potom ih prikazati u tablici uz njihovo simboličko značenje u tekstu te transliterirani odlomak iz glagoljskih i jednog ćirilskog rukopisa koji sadrže prijevode traženih odlomaka. Na taj način ćemo sustavno po prvi put predočiti sve životinje u hrvatskoj varijanti Cvijeta kreposti uz kratak osvrt na neke od njih te otvoriti smjernice budućim kulturnoanimalističkim vizurama istraživanja glagoljskih tekstova., In this paper we will focus on the preserved animalistic paragraphs of the moralisticdidactic treatise known as the Flower of Virtue or Flower of Wisdom from the Croatian Glagolitic literary corpus. It is a translation of a popular Italian folk literary work, Fiore di Virtù, which was translated into several vernacular languages and after that printed during the following several centuries. The work is divided into chapters, and each consists of four key units. Our attention will be directed onto those paragraphs in which a certain animal is introduced with the purpose of visualizing abstract notions such as cruelty, mercy, anger, generosity and similar that explain human nature. In the paper we will classify the animals according to species, and then present their list in the form of a table which gives information on their symbolical meaning in the text as well as the transliterated paragraph from several Glagolitic manuscripts and from one Cyrillic manuscript that contain translations of the analysed paragraphs. In this way we will, for the first time, systematically present all the animals in the Croatian version of the Flower of Virtue and give a short overview of some of them.

The medieval Croatian Glagolitic Bible has not been preserved in the form of a complete codex. Its existence, however, is indicated by archival data and extensive biblical readings found in Glagolitic missals and breviaries that enable us to reconstruct the Croatian Glagolitic Bible. Based on the current state of research, one can conclude that the Croatian Glagolitic biblical translation was not uniform, that it originated from various periods of time and from various different textual sources. It partly consists of biblical readings that adhere to the Cyrillo-Methodian translation of the Bible and partly of new translations that follow younger, Latin liturgical patterns. Croatian Glagolitic biblical translations are also interesting for the study of the continuity of the parimejnik tradition, as well as for the literary and linguistic study of the Croatian biblical tradition. The article includes a descriptive overview of the relevant textological research on Croatian Glagolitic biblical translations and the corpus for the reconstruction of the Croatian Glagolitic Bible., Studi Slavistici, Studi Slavistici XIII • 2016

O raširenosti kulta ranokršćanskoga Svetoga Lovre svjedoče brojne latinske hagiografije koje su ušle i u tradiciju hrvatske kulture. U starijoj hrvatskoj književnosti poznato je Prikazanje života svetoga Lovrinca mučenika, a u glagoljskoj literaturi uz kratke brevijarske pasije postoji i opširno Žitie svetago Lovrenca u Petrisovu zborniku (1468). U ovome su radu opisane i izdane u latiničkoj transliteraciji neobjavljene glagoljske pasije iz 2. Novljanskog brevijara (1495) i Petrisova zbornika. Utvrđeni su i izvori glagoljskim tekstovima (BHL 4764d i BHL 4770)., Dissemination of the early Christian cult of St. Lawrence is evident in various Latin hagiographies, many of which were well known among the Croats. The old Croatian literature incorporates the Representation of the Life of St. Lawrence Martyr. Croatian Glagolitic literature encompasses eighteen short breviary Passions, while the longer one - The Life of St. Lawrence - is included in the Petris Miscellany (1468). This paper identifies the Latin sources of the Croatian Glagolitic texts. Furthermore, it incorporates the Latin-script transliteration of the unpublished Croatian Glagolitic Passions from the II Novi Breviary (1495) and the Petris Miscellany

U članku se objavljuju prva povijesna i književnopovijesna analiza te transliteracija kasnosrednjovjekovnoga teksta ot er(u)s(o)l(i)ma i groba b(o)žiê čt(enie) koji je zapisan u Vinodolskom zborniku (Zagreb: Arhiv HAZU, sign. III a 15). Posrijedi je jedini zasad poznati hrvatski srednjovjekovni itinerar po Svetoj zemlji, koji je vjerojatno bio sastavljen na temelju nepoznata latinskoga ili romanskoga teksta. Obrazlaže se hipoteza prema kojoj hrvatskoglagoljski itinerar nije bio zamišljen kao praktičan hodočasnički vodič, nego kao poučan tekst namijenjen učvršćivanju »kolektivnoga pamćenja« o Svetoj zemlji kao prostoru na koji kršćani imaju isključivo pravo. Osim toga, iznosi se hipoteza da je hrvatskoglagoljski itinerar mogao biti namijenjen razmatranju povijesti Spasenja u obliku virtualnoga hodočašća., This article presents a literary and historical analysis of the text ot er(u)s(o)l(i)ma i groba b(o)žiê čt(enie) [The reading on Jerusalem and God’s Sepulchre] which is preserved in a late medieval Glagolitic codex known as the Vinodol miscellany (Zagreb: Archives of the Croatian Academy of Sciences and Arts, sign. III a 15). In addition it contains the first edition of the source. The text is identified as a member of the itineraria genre and it is the only known medieval itinerary in the Holy Land written in the Croatian language. While the direct source of the Croatian texts has not been found, a few idiosyncratic toponyms point to the conclusion that the Croatian writer was using a Latin or a Romance source. The itinerary describes the pilgrimage from the Holy Sepulchre in Jerusalem to Hebron, where the creation of Adam was to be commemorated. In this article, I argue that the pilgrims’ progression through the sites could have been envisaged as the commemoration of the history of salvation in a reverse order. Given that the text refers to the contemporary Muslim presence in the Holy Land only once, it was unlikely to be intended as a practical guide for a real pilgrimage. The avoidance of the references to the Muslim presence allow for an interpretation of the itinerary as an instructive text which was promoting the western construct of the Holy Land as a sacred area to which the Christians have the exclusive right. A further support for the conclusion that the text was not a practical guide comes from the codicological placement of the itinerary between texts which were written for the purpose of religious instruction. Apart from serving the purpose of Christian memory building, the itinerary could have also been used as a script for a meditative religious devotion in the form of a virtual pilgrimage.

The texts of The Story of the Sage Ahiquar are preserved in three Croatian manuscripts: in the Glagolitic Petris Miscellany, in the Cyrillic Dubrovnik Libro od mnozijeh razloga and finally in Latin script Derečkaj Miscellany.

Slovo meštra Polikarpa, prenje prevedeno s latinskoga jezika, zanimljivo je i s gledišta performativnosti jer je gotovo isključivo oblikovano kroz razgovor dvaju likova. Pritom personificirana Smrt govori znatno više od meštra Polikarpa, ali i njezini dugi monolozi su uzbudljivi, dramatični, slikoviti i puni emotivnih poticaja što dozvoljava pomišljanje na prelekciju kao razmjerno suzdržanu izvedbu djela pred publikom. Unutarknjiževni signali, napose dijalog i kompozicija, dozvoljavaju da se pomišlja na takvu vrstu izvedbe, odnosno i na slušnu recepciju. Djelo upućuje i na potrebu odmicanja od dihotomije usmeno-pisano za hrvatsku srednjovjekovnu književnost., Slovo meštra Polikarpa is a contrast or a morality play translated from medieval Latin literature in which dialogues between a mortal human and Death personified were known in numerous versions, e.g. as Dialogus magistri Polycarpi cum morte, or as Colloquium de morte. The Croatian Glagolitic version of the text has been preserved in two miscellany manuscripts (the Petris miscellany and Ljubljana miscellany) dating from the 15th century. It is possible that these are the oldest extant translations of this Latin debate in the Slavic written tradition. Slovo meštra Polikarpa is interesting from the viewpoint of performability, because it is almost entirely composed as a dialogue between two characters. The monologues of the personified Death are much longer than the lines that the character of master Polikarp has, and as a result the text may seem more like a “monologue embedded in a conversation” than a real dialogue. This is the main feature which distinguishes Slovo meštra Polikarpa from other extant Croatian Glagolitic contrasts. Nonetheless, the discourses of Death are exciting, dramatic, colourful and full of emotional impulses, which allows for the possibility of prelection as a kind of subdued performance in front of an audience. Other performance features are also included in the written text, most notably in the dialogue and composition. The presented literary text highlights the need for moving away from the oral – written dichotomy pertaining to the Croatian medieval literature; it also points to some difficulties in the attempts to produce clear generic definitions of Croatian Glagolitic medieval texts.

U radu se razrađuju neki aspekti odnosa pisanoga i usmenoga u hrvatskoglagoljskim tekstovima i čitavim zbornicima. Pritom je posebna pažnja usmjerena na autoritet zapisanih tekstova, na etičnost i retoričnost čitanja, kao i na načela dekompozicije i kompiliranja već postojećih tekstova. Ukazano je i na literarne/estetske značajke odabranih glagoljskih tekstova (primjerice, vizija i hagiografija) koje supostoje s praktičnim funkcijama dotičnih ostvaraja., The paper deals with some aspects of the relation between writenness and orality in Croatian Glagolitic texts and miscellany codices. Special attention is given to the authority of written texts, to ethics and rhetoric of reading, as well as to decomposition and compilation of already existing texts. The formulation »čte se« not rarely found in Glagolitic miscellanies is chosen as an illustration of the relationship of Glagolitic scribes to tradition. The creative process went through phases of reading/hearing, memorizing, writing and compiling, which resulted in a »poliphony« in the memories of the recipients. The medieval metaphor about books as spiritual nourishment can be applied to the method or process of reading and writing new compositions, thus creating a specific interdiscourse and openness of form in presented Croatian Glagolitic works. Written texts were also sources for new creation, where the aesthetic and practical functions were inextricable. Literary/aesthetic qualities of chosen texts (e. g. visions and hagiography) are pointed out, because they co-exist with practical functions of these particular works.

Hrvatskoglagoljska Meštrija od dobra umrtija tiskana u Senju godine 1507./08. prijevod je s latinskog i spada u iznimno popularnu tradiciju "Artes bene moriendi" kasnoga srednjeg vijeka. Ona je značajan izvor za proučavanje povijesti mentaliteta, religije i kulture, jer odražava pogled, strahove i nade svoga vremena. Meštrija govori o napastima kojima đavao iskušava umirućega, a za razliku od drugih djela ona ima smirujući ton i pruža nadu i ohrabrenje. U radu se ukazuje na to kako struktura Meštrije zrcali opće značajke hrvatskoglagoljske pismenosti, a to je miješanje modusa i žanrova (npr. poučni tekstovi, molitve, egzempla) te njihovo međuprožimanje. To je djelo u kojemu se spajaju vjera i umjetnost riječi, a tekst poziva na zajedništvo, na communio peccatorum. Djelatnost tiskare nesumnjivo je vrhunac senjskoga glagoljaškog kruga, a djelo tipa Meštrije od dobra umrtija pokazuje kako su glagoljaši znali i umjeli u svoju sredinu prenijeti suvremena strujanja zapadnoeuropske kulture i književnosti., The Croatian glagolitic script ‘Meštrija of dobra umrtija’ [‘Art of dying well’] printed in Senj 1507/08 as a translation from Latin, belongs to an exceptionally popular tradition of late medieval ‘Artes bene moriendi’. This is an important source for studying the history of mentality, religion and culture because it reflects perceptions, fears and hopes of its time. ‘Art’ talks about the temptations by which the devil tests a dying person and when compared with other similar scripts, it gives in contrast a calming atmosphere, of hope and encouragement. The structure of ‘Art’ reflects some general characteristics of the Croatian glagolitic literature as is indicated in this paper. This is obvious through a mixture of modes and genres (for example educative texts, prayers and examples) and their interaction. This is a work where belief and the art of words connect and the text calls for unity, communio peccatorum. The work is undoubtedly from the top of the Senj glagolitic printing circle and scripts such as ‘Art of dying well’ indicated that glagolitic masters knew how in their surroundings to transmit contemporaneous streams of western European culture and literature.

U članku su razrađeni odlomci Lucidara koji se odnose ne ljudsku reprodukciju: anatomija maternice, rast i hranjenje ploda, te narav ploda koja je uvjetovana ponašanjem roditelja. Ti odlomci odražavaju antičke nazore (osobito aristotelijanske) i poglede nekih skolastičkih mislilaca i duboko su prožeti kršćanskom filozofijom. Posebna je pozornost posvećena izrazima matrikš, plodnica i monstrum sangvinis. Promatrani tekst odražava ponešto pojednostavnjeno znanje, ali i duhovno i intelektualno ozračje hrvatskoga glagoljaštva u kasnom srednjovjekovlju. U članku je napose obrađen problem miješanja riječi “menstruum” i “monstrum”, što može biti pisarska pogrješka ili pokazatelj nepoznavanja latinske terminologije, ali možda upućuje i na pisarov stav o nižoj vrijednosti žena. To je oprimjereno činjenicom da su neki devijantni oblici ponašanja muškaraca u srednjovjekovnim religioznim djelima bili nazivani monstruoznima, što se povezivalo sa ženskom menstruoznošću. Time se očituje nastojanje hrvatskih glagoljaša da povežu tumačenje s reguliranjem., The article outlines parts of Lucidar dealing with human reproduction: the anatomy of the uterus, growth and feeding of the fetus, and the fetus’ nature which is determined by the parents’ behavior. These parts reflect views of authors of the Antiquity (notably Aristotle) and some scholastic thinkers, and are deeply permeated by Christian philosophy. Particular attention is given to the words matrikš, plodnica and monstrum sangvinis. A simplified form of konwledge can be discerned from these texts, as well as indications of the spiritual and intellectual atmosphere of Croatian Glagolism of the late Middle Ages. Particular attention is given to a probable mixing up of words “menstruum” and “monstrum”, which can be a simple lapsus calami or indication of lack of knowledge of Latin terminology, but it can also reflect the scribe’s oppinion on the lesser value of women? This is illustrated in the paper by the fact that some forms of male deviant behavior were termed monstruous in medieval religious literature, which were brought into connection with female mensturuosity. It is shown how medieval Croatian Glagolitic texts tried to unite explaining with regulating.

The Croatian Glagolitic Rule of St Benedict, written in the monastery of SS Cosmas and Damien on the island of Pašman, contains instructions on the care for the sick and infirm.