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Remembering the Poor in Serbian and South-Slav Oral Poetry

100%

Petrović S.

nr 1

170-194

Memories of the poor and impoverished in Serbian and South Slavic oral poetry are linked to contradictory beliefs: poverty is explained by reasons of fate, some offence, sin, or misfortune, however, the poor (as well as orphans, widows, wretched, etc.) are considered to be intermediaries between this world and the next, therefore close to God and the ancestors, and who possess certain healing and miraculous powers. These beliefs are merged and intermixed with other ideas about the poor, which entered oral tradition through human experience and everyday life, and were influenced by historical, social and economic changes (the poor who do not work or do not wish to contribute to their community, become a social threat and their lifestyle and use of welfare are disapproved of). In Serbian and South Slavic folk songs and ballads, representations of the poor and impoverished are diverse regarding aspects, such as, the selection of motifs and genre, time, place, context of recording, etc. Representations of the poor and impoverished in Serbian and South Slavic oral poetry vary from tragic to comic, from idealistic to ironic, or the subject can be depicted from a moral or realist standpoint. Poverty is usually related to the person’s private life, his or her feelings and moods, and may reflect their attitudes toward family, nature, community or society. Different portrayals of the poor and impoverished may reveal personal experiences, collective customary law and practices, way of life, ethical and religious norms, a system of values, as well as psychological motivation or background. Special attention will be paid to poverty as a fact of daily life, and to realistic details which make the songs and the characters particularly convincing and vivid.

O alegorii jako warunku arcydzielności epickiej

86%

Czechowicz A.

nr 7(10)

175-188

This article concerns the potential of figurative meaning in heroic poems as well as the links between epic mimesis and allegorical interpretation. It also deals with an early modern idea of a literary masterpiece and its standards. As an outstanding work, a poem should be attractive for both trained and less advanced readers, those who are capable to grasp intellectually each level of the text, and those who simply want to enjoy poetry as a source of pleasure and otium. The analysis of Alegoria del poema by Torquato Tasso and De perfecta poesi by Maciej Kazimierz Sarbiewski proves that in the early modern period the idea of figurative meaning of epic poems was still widely recognized. This multidimensional semantic structure, conceptualized by writers and critics, combines both didactic and the ‘pleasure-giving’ aspect of a poem as well as makes the epic plot a vivid actualization of moral beauty, and thus influences a reader in a long-lasting way typical of poetry and art. An allegorical interpretation, built over a structure of a heroic fable, unites the sensual beauty of things with an intellectual experience of the great order of the world. It also adds universal qualities to the mimesis of a poem and opens it up to a cognitive and ethical perspective. The process of intense reading, although described in academic terms in Renaissance and Baroque literary criticism, is initiated in a reader’s mind, as (s)he gets exposed to poetic beauty by the very nature of poesis perfecta.

Heroikomika w poematach dygresyjnych Juliusza Słowackiego

72%

Dąbrowski R.

tom LXXI

57-67

The starting point of the considerations which constitute the core of the article is the similarity between two genres: mock heroic poem and digressive poem. As mock heroic category is vital for the former, the question is whether it plays a part in the latter. The aim of this article is to scrutinise this issue on the basis of The voyage to the Holy Land from Naples by J. Słowacki. The focus is put on those fragments of the poem in which mock heroic category manifests itself clearly. The poet`s stance on the evoked conventional elements of epic tradition, such as invocation to Muse, introduction or Homeric simile, and their place in the poem is crucial. The presented analyses in the article lead to a conclusion that in a Romantic digressive poem, mock heroism functions as a subject of ironical poet`s play, who in this way demonstrates the power of his talent.