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The Motif of Arboreal Metamorphosis in the Neo-Latin Pastoral. The Case Study of Jacopo Sannazaro’s Salices and Pierre-Daniel Huet’s Vitis

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Górka E.

Collectanea Philologica

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2023

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nr 26

197-212

IT

L’obiettivo di questo articolo è analizzare due esempi del motivo della metamorfosi arborea nella bucolica neolatina, presente nelle opere di Jacopo Sannazaro (Salices) e Pierre-Daniel Huet (Vitis). In Salices, le ninfe che fuggono dalle divinità sono trasformate in salici, ripetendo il fato di Dafne, di Siringa e delle Eliadi. In Vitis il poeta crea la storia di una ninfa di nome Vite sulla base della storia d’amore del satiro Ampelo e di Dioniso. Per aver tradito Bacco la ninfa viene trasformata in una vite e il suo amante Olmo nella pianta omonima. Il loro destino è simile a quello di Mirra e di Filemone e Bauci in Ovidio. Nella storia di Vite, in particolare nella descrizione della metamorfosi degli amanti, si possono notare diversi prestiti verbali da Sannazaro. Entrambi i poemi bucolici sono collegati dall’ambiguità dello status ontologico delle piante create. Diversa invece è l’interpretazione morale della metamorfosi. La trasformazione delle ninfe in alberi può essere intesa come una sorta di punizione per lo stupro che era stato commesso su di loro, mentre Vite, che aveva commesso un tradimento, viene di fatto premiata e per volontà di Giove rimane unita per sempre al suo amante.

EN

The aim of this article is to analyse two examples of the motif of arboreal metamorphosis in the Neo-Latin bucolic, present in the poems by Jacopo Sannazaro (Salices) and Pierre-Daniel Huet (Vitis). In Salices, nymphs ﬂeeing from the deities are transformed into willows, repeting the fate of Ovid’s Daphne, Syrinx and the Heliades. In Vitis the poet creates a story about a nymph, named Vitis, on the basis of the love story of the satyr Ampelos and Dionysus. For betraying Bacchus, she is turned into a vine and her lover Ulmus into an elm. Their fate is similar to Ovid’s Myrrha and Philemon and Baucis. In the history of Vitis, particularly in the description of the lovers’ metamorphosis, one can see borrowings from Sannazaro. Both bucolic poems are linked by the ambiguity of the ontological status of the newly created plants. They diﬀer in their moral interpretation of metamorphosis. The turning of the nymphs into trees can be understood as some kind of punishment for the rape that had been committed on them. On the other hand, Vitis, who committed treachery, is in fact rewarded and by the will of Jupiter she remains united with her lover forever.

2

„Carmen de triumpho Christi” Macaria Muzia

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Górka E.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2024

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tom 34

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nr 1

77-109

EN

This article presents one of the most famous Renaissance Latin epyllions dealing with the motif of the Harrowing of Hell – Carmen de Triumpho Christi by Macario Muzio (a. 1440–a. 1523), a nobleman from Camerino. Written at the end of the 15th century, the work gained popularity and was eagerly imitated by other humanists (including Erasmus of Rotterdam and Eobanus Hessus). The epyllion, constructed according to the rules of ancient epic, is an example of the Christianisation of classical genres in the Renaissance. The article presents the life of the author and his views on Christian poetry, as well as a thorough analysis of the work. It provides the Latin text of Carmen, accompanied by similia, and its Polish translation, supplemented by a commentary.

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Odwrócony „świat na opak”. O Masce Śmierci Szkarłatnej Edgara Allana Poe w kontekście teorii karnawału

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Górka E. , Wandowicz M.

Przestrzenie Teorii

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2021

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nr 35

235-246

EN

This paper considers The Masque of the Red Death, a short story by E.A. Poe. Understanding the carnival as mundus inversus (temporary inversion of order) and using the theories proposed by M. Bakhtin or V. Turner, the authors present an interpretation according to which Poe’s ball is indeed an inversion of a ball – an anti-carnival. Furthermore, they do not agree with the allegorical understanding of Poe’s works. Indicating a suggestion made by Poe himself, they choose an interpretation related to Eliade’s concept of symbolism. They also disagree with the theory in which The Masque of the Red Death is the story about the non-existence of God. Referring to other religious interpretations and the problems of time, they present their own biblical conclusion.

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Historia Loretańskiego kościoła Matki Zbawiciela Świata bł. Baptysty Mantuana. Wstęp i tłumaczenie

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Górka E. , Bekieszczuk K. J.

Collectanea Theologica

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2023

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tom 93

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nr 3

147-174

EN

The article explores the literary description of the Marian shrine at Loreto written by Blessed Baptista Mantuanus (1447–1516), a prominent Christian poet of the Renaissance. Despite its historical significance, this work has received little attention in the research on the shrine. The origins of the text can be traced back to a brief period in the history of the Loreto Basilica when it was under the administration of the Carmelites, the order to which Blessed Baptista Mantuanus belonged. He played a crucial role in the spiritual renewal of the order at the end of the 15th century, and his personal devotion to the Virgin Mary is reflected in the work. For the first time, this article presents a Polish translation and a scholarly analysis of the text. Written in the 15th century, the work gained popularity and was translated into Italian shortly after its publication. It is divided into three main parts: a description of the miraculous transfer of the Holy House to Italy, an account of the events related to the expansion of the sanctuary and the Carmelites’ stewardship, and a demonstration of the exceptional nature of Loreto by comparing it to other places in salvation history.

PL

Artykuł prezentuje rzadko dotąd uwzględniany w badaniach nad historią sanktuarium maryjnego w Loreto literacki opis tego miejsca ułożony przez bł. Baptystę Mantuana (1447–1516) – czołowego poetę chrześcijańskiego epoki renesansu. Powstanie utworu związane jest z krótkim epizodem z historii Bazyliki Loretańskiej, kiedy opiekę nad nią sprawowali karmelici. Sam bł. Baptysta Mantuanus należał do tego zakonu i był jednym z głównych promotorów jego odnowy duchowej w końcu XV wieku. Dzieło stanowi zarazem jeden z licznych wyrazów osobistej pobożności maryjnej poety. Artykuł udostępnia po raz pierwszy polskie tłumaczenie i opracowanie naukowe tekstu, który krótko po napisaniu zdobył niemałą popularność i został przełożony na język włoski jeszcze w XV wieku. Dzieło bł. Baptysty Mantuana składa się z trzech zasadniczych części: opisu cudownego przeniesienia Świętego Domku do Italii, prezentacji wydarzeń związanych z rozbudową sanktuarium i powierzeniem pieczy nad nim karmelitom, ukazania wyjątkowości Loreto poprzez zestawienie z miejscami z historii zbawienia.