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    Tytuł:
    Iwaszkiewicz e la lirica italiana: tra imitazione e traduzione
    Autorzy:
    Prola, Dario
    Powiązania:
    https://bibliotekanauki.pl/articles/2081226.pdf
    Data publikacji:
    2017
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Iwaszkiewicz
    Quasimodo
    Petrarca
    imitation
    translation
    Opis:
    Iwaszkiewicz and Italian poetry: imitation and translation – Jarosław Iwaszkiewicz’s great interest in Italian literature has been articulated essentially on three levels: essayist, intertextual and translational. In my article I intend to analyze the third level, concentrating on two of five poems by an Italian poet Salvatore Quasimodo translated by Iwaszkiewicz for a 1961 anthology and a Francesco Petrarca impression included in Iwaszkiewicz’s famous poetry cycle Sonety sycylijskie (Sicilian Sonnets, 1937). The aim of this study is to highlight some aspects of Iwaszkiewicz’s translating practice and their relation with the ideas on poetic translation that the writer expressed in his texts.
    Źródło:
    Kwartalnik Neofilologiczny; 2017, 4; 549-558
    0023-5911
    Pojawia się w:
    Kwartalnik Neofilologiczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    ‘Petrarchs Sonnets’ by Liszt
    Autorzy:
    Nowik, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/780349.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Franz Liszt
    Années de Pèlerinage
    Dèuxieme Année - Italie
    piano music
    Sonetto 47 del Petrarca
    Sonetto 104 del Petrarca
    Sonetto 123 del Petrarca
    Opis:
    The article ‘Petrarch’s Sonnets’ by Liszt revolves around the phenomenon of transformation, which dominated F. Liszt’s works. His impressive composing achievements made Liszt an unequalled author of all types of elaborations, paraphrases, adaptations, transcripts of both his own and other composer’s works, representing various styles and epochs. What is more, the transformation techniques employed by Liszt, different from the commonly applied evolutionary ones, coupled with extended tonality and harmony as well as new textures, resulted in an extremely broad scale of expression and subtly diverse expressive effects. Three of Petrarch’s Sonnets from the Rerum vulgarium fragmenta collection are dedicated to Laura and represent this article’s major area of interest. The Hungarian composer worked on them three times: twice he composed them as songs and once as a piano triptych included in the Années de Pèlerinage. Dèuxieme Année: Italie series. His interpretation of the Sonnets, as well as the remaining works in the series, was inspired by the art of the old Italian masters married with the Romantic idea of correspondence des artes. While it is a part of artistic tradition to turn poetic works into songs (resulting in the vocal lyrics so typical of Romanticism), adding a musical dimension to a sonnet, a piece of poetry with a specific organisation of its content, a unique form and verse discipline, seems risky. It is extremely difficult to successfully transfer equivalent themes and structures onto a different medium i.e. piano music. By turning to Petrarch’s Sonnets, Liszt created congenial palimpsests, reflecting the syntactical and formal rudiments of the verse but, first and foremost, managing to portray Laura in new incarnations, subtly changing in the eternal search for the ideal of femininity, the so-called “Ewig-weibliche”. Especially in the piano version, Liszt seems to have accomplished the esoteric subtlety of the “Sprache über Sprache” available to and understood solely by poets and those in the know.
    Źródło:
    Interdisciplinary Studies in Musicology; 2014, 13; 43-56
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Francesco Petrarca: una obra, una novela
    Francesco Petrarca: a work, a novel
    Autorzy:
    Ciusa, Mario
    Powiązania:
    https://bibliotekanauki.pl/articles/28407435.pdf
    Data publikacji:
    2023
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Petrarca
    text
    novel
    archetype
    system
    texto
    novela
    arquetipo
    sistema
    Opis:
    El presente artículo quiere proponer la necesidad de enfocar la Opera Omnia de Francesco Petrarca como un texto único, fragmentado en diferentes obras individuales. Demostraré que su unidad no demora en elementos extratextuales, históricos o biográficos, sino en la misma forma poética, ya que la coherencia que rige la estructura no es, sino artística. Más aún, que dicha forma tiene que ser leída y considerada como una novela. Para definir este texto y justificar la elección propuesta, recurriré a la enseñanza de unos renombrados teóricos y críticos de la literatura de la contemporaneidad porque es el mismo poeta quien permite referirse a su obra desde un presente siempre nuevo. Si es cierto que Petrarca es un autor clásico, ya que se coloca en aquella tradición retórica y poética, de allí se dirige no solo a sus contemporáneos, sino también ad posteros, y esto significa que es posible considerarlo antiguo a la vez que contemporáneo, y como tal es posible analizarlo. Además, si es cierto que clásico es aquel autor cuya obra nunca acaba de decir lo que tiene que decir, el paso del tiempo no puede ser una penalización, sino un recurso con el que su palabra vive en un presente constante y que por ello es posible leer bajo una óptica hermenéutica actual.
    This article aims to propose the need to approach Francesco Petrarca's Opera Omnia as a single text, fragmented into different individual works. I will demonstrate that its unity is not in extratextual, historical or biographical elements, but in the same poetic form, since the coherence that governs the structure is above all artistic. Moreover, such a form has to be read and considered as a novel. To define this text and justify the proposed choice, I will resort to the teaching of some renowned theorists and critics of contemporary literature because it is the poet himself who allows to refer to his work from an ever-new present. If it is true that Petrarca is a classical author, since he places himself in that rhetorical and poetic tradition, from there he addresses not only his contemporaries, but also ad posteros, which makes it possible to consider him ancient as well as contemporary, and as such it is possible to analyze him. In addition, if it is true that a classic is an author whose work never finishes saying what it has to say, the passage of time cannot be a penalty, but a resource with which his word lives in a constant present and that is why it is possible to read under a current hermeneutic lens.
    Źródło:
    e-Scripta Romanica; 2023, 11; 74-83
    2392-0718
    Pojawia się w:
    e-Scripta Romanica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Damnosa tarditas. Ślady lektury Biblii w listach Francesca Petrarki
    Damnosa tarditas: Traces of reading the Bible in Francesco Petrarca’s letters
    Autorzy:
    Gorzkowski, Albert
    Powiązania:
    https://bibliotekanauki.pl/articles/1036425.pdf
    Data publikacji:
    2020-12-20
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    Petrarca
    Renaissance humanism
    the Bible
    epistolography
    Petrarka
    humanizm renesansowy
    Biblia
    epistolografia
    Opis:
    The following paper is dedicated to the topic of biblical motifs in Francesco Petrarca’s letters, which belong to an ubi leones sphere in historical literary research both in Poland and the whole of Europe. If we are to believe the modest and critical confessions made by Petrarca in his writings, the author of Canzoniere was rather slow in realising the importance of an in‑depth study of the Bible, and he regarded the awareness of this ignorance as gross negligence (damnosa tarditas), which made him blind for the inestimable value of the holy books. References to various biblical passus and pericopes in Familiares and Seniles are rarely used by Petrarca as purely elocutive ornaments or testimonies of his erudition, more frequently playing the role in the area of inventionis of an epistolary structure. From among all the biblical books, Petrarca most frequently and most willingly reached in his letters for The Book of Psalms, which he used (like Saint Augustine) in a very specific argumentation as an authoritative testimony of sapiential character. Biblical characters and motifs, as well as ‘winged words’, derived from prophetic books, the Gospels and Saint Paul’s letters are often found in Petrarca’s letters, which are deeply imbued with thoughts on ultimate matters, painful struggles with one’s own weaknesses, and a dramatical relationship between man and God.  
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria; 2020, 20; 31-42
    2081-1853
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Renesansowa relacja z wejścia na wulkan w De Aetna Pietra Bemba. Nowatorstwo czy kontynuacja tradycji?
    Renaissance account of climbing the volcano in De Aetna by Pietro Bembo. Innovation or continuation of the tradition?
    Autorzy:
    Kowalczyk, Daria
    Powiązania:
    https://bibliotekanauki.pl/articles/446454.pdf
    Data publikacji:
    2015-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Renaissance
    Pietro Bembo
    Francesco Petrarca
    Etna
    Mont Ventoux
    renesans
    Francesco Petrarka
    Opis:
    This article presents how Pietro Bembo described his journey towards the summit of Mount Etna, focusing specifically on the journey’s Renaissance connotations and the way that Petrarch’s Epistolae Familiares 4.1 influenced Bembo. There are similarities and differences between Petrarch’s account of climbing Mont Ventoux and Bembo’s text. The aim is to present two sides of Bembo’s descriptions: the innovation, which is that of empiricism, or, rather, illusory empiricism (called as such because of the unlikely probability of an authentic Etna explosion, allegedly seen by the author), and the continuation of the literary tradition of writing about Etna.
    Artykuł ukazuje w jaki sposób Pietro Bembo opisał swoją wędrówkę ku szczytowi Etny. Skupia się głównie na renesansowych elementach tekstu oraz na inspiracjach, które Bembo zaczerpnął z Epistolae familiares 4.1 Petrarki. Ukazane zostały podobieństwa i różnice między relacją Petrarki z wejścia na Mont Ventoux i tekstem Bemba. Celem artykułu jest ukazanie dwóch stron opisu Bemba: innowacji, którą jest empiryzm, czy też raczej empiryzm iluzoryczny, nazwany tak z powodu nikłego prawdopodobieństwa autentyczności wybuchu Etny rzekomo widzianego przez autora, oraz kontynuacji literackiej tradycji pisania o Etnie.
    Źródło:
    Italica Wratislaviensia; 2015, 6; 95-111
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Between opera and the Lied - ‘Tre sonetti di Petrarca’ by Franz Liszt
    Autorzy:
    Wojtczak, Ziemowit
    Powiązania:
    https://bibliotekanauki.pl/articles/780353.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Liszt
    Tre sonetti di Petrarca
    das Lied
    opera
    belcanto
    songs
    singing aesthetics
    Opis:
    Franz Liszt composed his songs in the time when Europe was at the peak of the development of the Romantic form - das Lied. However, it seems that not all of Liszt’s songs should be discussed from this perspective, pointing at least at significant influences of the 19th century Italian opera. The second version of a set of Tre sonetti di Petrarca reflects not only some changes in the composer’s technique or style, but above all, constitutes an evidence of certain tendencies in perceiving vocal technique and the development of Italian and European vocal aesthetics. It might be assumed that, even though the music construction of the second version of the Sonnets - particularly in the layer of melody of the vocal part - brings to mind the Italian operatic aria in its almost purest form, the deeply emotional musical interpretation of Petrarch’s most beautiful love lyrics seems to strongly derive from the already shaped German Romantic song. On the whole, the masterpiece is a bit eclectic, which in the light of Liszt’s reference to the past (belcanto form of an Italian aria, Renaissance lyrics) constitutes - as it could be called today - the author’s postmodern reinterpretation.
    Źródło:
    Interdisciplinary Studies in Musicology; 2014, 13; 57-66
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    La finzione autobiografica tra mistificazione e paradigma universale nel Secretum meum di Petrarca
    Autobiographical Fiction: Between Mystification and the Universal Paradigm in Petrarch’s Secretum Meum
    Autorzy:
    Maślanka-Soro, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/34670940.pdf
    Data publikacji:
    2024-06-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Petrarch
    Secretum meum
    autobiographical fiction
    mystification
    universal paradigm
    Petrarca
    finzione autobiografica
    mistificazione
    paradigma universale
    Opis:
    Petrarch’s customary reliance on autobiographical themes serves as a guiding principle to nearly all of his works. The Secretum meum is perhaps his most autographical text. It is a treatise in the form of a dialogue in which the speakers, Francesco and Augustine, are characters alluding to Petrarch and St Augustine. The analogies between their respective itinera conversionis determine the strategies endorsing their paradigmatic dimension. In this article, I show that Petrarch uses his own individual case as a point of departure to embark on general discourse; that the Augustinian conflict between ‘the inner man’ and ‘the outer man’ serves as the framework for the construction of the dialogue; and that the story of Francesco’s moral crisis and his attempts to surmount it assume a universal meaning. I also discuss Petrarch as a master of mystification, brilliant at conjuring up an image of himself and cultivating his autobiographical myth built up of a blend of fact and fiction. From the very outset, the reader is up against an instance of unintended internal mystification: Augustine accuses Francesco of unwitting self-deception regarding his deplorable moral condition. By the end of the Secretum, Francesco manages to renounce his weaknesses, recovers his selfcontrol, and resolves to lead a life of virtue. However, Augustine is not at all sure whether his therapeutic methods have indeed worked. Perhaps writing will be the best remedy.
    Per Petrarca l’autobiografismo diventa il filo conduttore di quasi tutta la produzione letteraria. L’opera più autobiografica è forse il Secretum meum, trattato in forma di dialogo i cui interlocutori, Francesco e Agostino, alludono a Petrarca e a sant’Agostino. Le analogie tra l’iter conversionis dell’uno e dell’altro sono strategie che confermano la dimensione paradigmatica di entrambi. Nell’articolo si cerca di dimostrare come Petrarca a partire da un caso individuale sviluppa un discorso generale, come il conflitto agostiniano tra “uomo interiore” e “uomo esteriore” costituisce un’asse portante intorno alla quale è costruito il dialogo e come si universalizza la storia della crisi morale di Francesco e dei tentativi di superarla. Inoltre, l’articolo ha come obiettivo presentare Petrarca come geniale mistificatore che ha saputo creare la propria immagine e coltivare il mito autobiografico in cui confonde verità e finzione. Fin dall’inizio si ha a che fare anche con la mistificazione interna non intenzionata, in quanto Agostino accusa Francesco di ingannare se stesso sul motivo della propria miseria morale, senza esserne consapevole. Il proposito da parte di Francesco di abbandonare le proprie debolezze riacquistando il dominio di sé si fa faticosamente strada verso la fine del Secretum, ma Agostino non ha nessuna certezza che i suoi metodi „terapeutici” siano stati efficaci. Forse la cura reale è la scrittura.
    Źródło:
    Italica Wratislaviensia; 2024, 15.1; 219-237
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    W sporze o Długosza argument nowy: przejątki z Petrarki w Rocznikach Jana Długosza
    Autorzy:
    Koczarski, Zdzisław
    Powiązania:
    https://bibliotekanauki.pl/articles/2052851.pdf
    Data publikacji:
    2020-12-01
    Wydawca:
    Polska Akademia Nauk. Instytut Historii im. Tadeusza Manteuffla PAN w Warszawie
    Tematy:
    Jan Długosz
    Roczniki
    Francesco Petrarka
    przejątek tekstowy
    badania korpusowe
    Annals
    Francesco Petrarca
    textual excerpt
    corpus studies
    Opis:
    Artykuł przedstawia kwestię lektury i wykorzystania dzieł Francesca Petrarki w Rocznikach Jana Długosza. Badanie zostało oparte na komputerowej analizie porównawczej i metodach filologicznych. Omówione zostały rękopisy czytane przez Długosza oraz sposób pozyskiwania przez niego przejątków tekstowych i wplatania ich do kroniki. Przedstawiono również argumenty na poparcie hipotezy o istnieniu kartoteki kronikarza i wyjaśniające metodę jego pracy ze źródłami.
    This article shows how Polish chronicler Jan Długosz used the works of Petrarch. The examination is based on computer-assisted comparative analysis as well as on philological methods. The article describes the manuscripts containing Petrarch’s works which Długosz had at his disposal, and tries to respond a question when the chronicler (in what periods of his life) got with them in touch. It also analyses Długosz’ methods of drawing textual excerpts he inserted into his chronicle. Besides, the arguments supporting hypothesis about the existence of chronicler’s special catalogue, in which he might have collected the extracts from various sources, are considered. Finally, his method of the use of sources is characterised in more detail.
    Źródło:
    Studia Źródłoznawcze. Commentationes; 2020, 58; 101-135
    0081-7147
    Pojawia się w:
    Studia Źródłoznawcze. Commentationes
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Заўвагi да перакладаў CXXXVIII санета Франчэска Петраркi ў Беларусi
    Uwagi na temat tłumaczeń 138 sonetu Francesco Petrarki na Białorusi
    Remarks on the translations of Francesco Petrarch’s Sonnet 138
    Autorzy:
    Мiнскевiч, Сяржук
    Powiązania:
    https://bibliotekanauki.pl/articles/2109151.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
    Tematy:
    Sonet
    Francesco Petrarca
    Melecjusz Smotrycki
    Kszysztof Kraiński
    Juryj Wierchowski
    Uładzimir Skarynkin
    przekład literacki
    analiza literacka
    analiza porównawcza
    Sonnet
    Petrarch
    Meletius Smotrytsky
    Yurij Vierkhovski
    Uladzimir Skarynkin
    literary translation
    literary analysis
    comparative analysis
    Opis:
    W artykule omówiono pierwszy w literackiej tradycji Białorusi przekład sonetu. Przeprowadzono analizę literaturoznawczą przekładu 138 sonetu Francesco Petrarki dokonanego przez Meletiusa Smotryckiego na język łaciński i język polski. Przedstawiono analizę porównawczą tłumaczeń Krzysztofa Kraińskiego (przekład na język łaciński i język polski), JurijaWierchowskiego (przekład na język rosyjski), Uładzimira Skarynkina (przekład na język białoruski). Wskazano na cechy wspólne i odejścia od oryginału. Zwrócono uwagę na manipulację w sferze znaczeniowej tekstu. Tłumacze (w wyniku cenzury lub samocenzury) osiągają zamierzony efekt propagandy własnych lub przytoczonych poglądów stosując szczegóły semantyczne wyrażeń synonimicznych, hiperbolizację i rozstawienie akcentów. Jednocześnie obraz autorski i stylistyka zostają zniwelowane.
    The first translation of sonnet in Belarusian literary tradition is discussed. The author of the article analyzes the translation of Francesco Petrarch’s Sonnet 138 made by Meletius Smotrytsky (into Latin and Polish). Contrastive analysis of the translations made by Krzysztof Kraiński ( into Latin and Polish), Yuriy Vierkhovskiy (into Russian), Uladzimir Skarynkin (into Belarusian) is suggested. Mutual and contrastive features as well as manipulation in semantic content of the original text have been revealed. Translators (as a result of self-censorship and censorship) achieve an effect of propaganda of their opinions and opinions of others using nuances in the semantics of synonymous expressions, hyperbolization and accent positioning. Authors’ images, reflections and stylistics have been eliminated.
    Źródło:
    Białorutenistyka Białostocka; 2015; 189-202
    2081-2515
    Pojawia się w:
    Białorutenistyka Białostocka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Заўвагi да перакладаў CXXXVIII санета Франчэска Петраркi ў Беларусi
    Uwagi na temat tłumaczeń 138 sonetu Francesco Petrarki na Białorusi
    Remarks on the translations of Francesco Petrarch’s Sonnet 138
    Autorzy:
    Мiнскевiч, Сяржук
    Powiązania:
    https://bibliotekanauki.pl/articles/944722.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
    Tematy:
    Sonnet
    Petrarch
    Meletius Smotrytsky
    Kszysztof Kraiński
    Yurij Vierkhovski
    Uladzimir Skarynkin
    literary translation
    literary analysis
    comparative analysis
    sonet
    francesco petrarca
    melecjusz smotrycki
    kszysztof
    kraiński
    juryj wierchowski
    uładzimir skarynkin
    przekład literacki
    analiza literacka
    analiza porównawcza
    Opis:
    W artykule omówiono pierwszy w literackiej tradycji Białorusi przekład sonetu. Przeprowadzono analizę literaturoznawczą przekładu 138 sonetu Francesco Petrarki dokonanego przez Meletiusa Smotryckiego na język łaciński i język polski. Przedstawiono analizę porównawczą tłumaczeń Krzysztofa Kraińskiego (przekład na język łaciński i język polski), Jurija Wierchowskiego (przekład na język rosyjski), Uładzimira Skarynkina (przekład na język białoruski). Wskazano na cechy wspólne i odejścia od oryginału. Zwrócono uwagę na manipulację w sferze znaczeniowej tekstu. Tłumacze (w wyniku cenzury lub samocenzury) osiągają zamierzony efekt propagandy własnych lub przytoczonych poglądów stosując szczegóły semantyczne wyrażeń synonimicznych, hiperbolizację i rozstawienie akcentów. Jednocześnie obraz autorski i stylistyka zostają zniwelowane.
    The first translation of sonnet in Belarusian literary tradition is discussed. The author of the article analyzes the translation of Francesco Petrarch’s Sonnet 138 made by Meletius Smotrytsky (into Latin and Polish). Contrastive analysis of the translations made by Krzysztof Kraiński ( into Latin and Polish), Yuriy Vierkhovskiy (into Russian), Uladzimir Skarynkin (into Belarusian) is suggested. Mutual and contrastive features as well as manipulation in semantic content of the original text have been revealed. Translators (as a result of self-censorship and censorship) achieve an effect of propaganda of their opinions and opinions of others using nuances in the semantics of synonymous expressions, hyperbolization and accent positioning. Authors’ images, reflections and stylistics have been eliminated.
    Źródło:
    Białorutenistyka Białostocka; 2015, 7; 189-202
    2081-2515
    Pojawia się w:
    Białorutenistyka Białostocka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Poetic reception of the illustrations to the “Triumphs of Petrarch” (late 17th and 18th century)
    Poetycka recepcja rycin do „Tryumfów” Petrarki (druga połowa XVII i XVIII wiek)
    Autorzy:
    Grześkowiak, Radosław
    Powiązania:
    https://bibliotekanauki.pl/articles/2089370.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Poetry and graphic art
    Petrarch
    "The Triumphs"
    emblem epigrams
    Polish poetry of the 17th and 18th century
    Symeon of Polotsk (1629–1689)
    Wespazjan Kochowski (1633–1700)
    Franciszek Dionizy Kniaźnin (1750–1807)
    Franciszek Karpiński (1741–1825)
    Francesco Petrarca
    Symeon z Połocka
    Wespazjan Kochowski
    Franciszek Dionizy Kniaźnin
    Franciszek Karpiński
    Tryumfy
    wiersze na ryciny
    Opis:
    The Triumphs (Triumphi) by Petrarch is a series of six poems honouring the allegorical figures of Love, Chastity, Death, Fame, Time and Eternity, who vanquish each other in turn. The Italian poem sequence was virtually unknown in Poland (although a Polish translation of The Triumph of Love appeared c. 1630, only few readers would have read it as it was circulated exclusively in a small number of hand-made copies). The illustrations, however, caught the eye of the printers and became immediately popular. They depicted each of the victorious figures riding on triumphal chariot, followed by procession of captives. This article examines the Polish verses inspired by the illustrations rather than the text of the Trionfi i.e. written in the course of the late 17th and 18th century. The author of the most remarkable poetic response to the pictorial representations of Petrarch's Triumphs was Samuil Gavrilovich Piotrowski-Sitnianowicz (aka Symeon of Polotsk). As a student of the Academy of Wilno, he came across an emblem book with copperplate engravings of the Triumphs designed by Maarten van Heemskerck in 1565. His Polish verses (composed c. 1650–1653) follow loosely the Latin epigrams (subscriptiones) by Hadrianus Junius (Adriaen de Jonghe). Symeon of Polotsk was the first Polish-language author whose verses reflected in extenso the pictorial representation of the Triumphs (before him verses inspired by Petrarch's allegories had been written by Mikołaj Rej, Maciej Stryjkowski and Stanisław Witkowski). Wespazjan Kochowski's volume of miscellaneous pieces in verse published in 1674 includes an epigrammatic poem The Triumph of Love, inspired by Plate One of the Triumphs. However, Kochowski's description suggests that he must have seen an engraving showing Cupid's victims under his feet. That iconographic variant appears, among other, in the woodcuts of Bernard Salomon (1547) and the copperplates designed by one of van Heemskerck's pupils (mid-16th century) or Matthäus Greuter (1596). The following two poems were written about a century later. In 1779 Franciszek Dionizy Kniaźnin published in his second volume of Erotyki [Erotic poems] a song called The Triumph of Love. Its scenic arrangement, inspired by the illustrations of Petrarch's first Triumphus, is adapted to present twenty-one pairs of suitors. The description is stylized in conformity with the current Rococo manner and spiced up with touches of parody. A similar treatment of this subject can be found in some 17th-century paintings, for example in the Triumph of Love by Frans Francken the Younger, or an identically titled picture by the Italian Baroque artist Mattia Preti. The other poem, On the picture of the 'Triumph of Death', can be found in Franciszek Karpiński's Zabawki wierszem i przykłady obyczajne [Diversions in Verse and Moral Exemplars] published in 1780. It names eleven preeminent ancient conquerors and rulers, all cut down by Death personified by a scythe-wielding skeleton. Karpiński's description was no doubt inspired by a copperplate engraving produced by Silvestro Pomarede and designed about 1748–1750 by Gianantonio Buti after Bonifacio de' Pitati. In each of the two prints most of the figures on the ground round the chariot are identified by name. It may also be noted that Karpiński rounds of his poem with two stanzas evoking the last plate in the cycle, The Triumph of Eternity.
    Źródło:
    Ruch Literacki; 2019, 5; 493-510
    0035-9602
    Pojawia się w:
    Ruch Literacki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-11 z 11

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