Kobieta jako postać literacka w łacińskiej poezji renesansu: Italia i Polska
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Wrocław
Wydawn. Uniw. Wrocławskiego
2014
|
| Schriftenreihe: | Acta Universitatis Wratislaviensis
3561 |
| Schlagworte: | |
| Online-Zugang: | Klappentext Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Woman as a literary character in Latin poetry of the Renaissance |
| Beschreibung: | 232 S. Ill. 24 cm |
| ISBN: | 9788322934210 8322934211 |
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| adam_text | ì
Spis treści
Wprowadzenie....................
Rozdział i. Mała dziewczynka
Rozdział ii. Dorastająca córka
Rozdział iii. Kochanka ............
Rozdział iv. Małżonka i matka
Rozdział v. Starsza kobieta .......
Rozdział vi. Virago ...........
Zakończenie....................
Bibliografia...................
Summary.........................
Indeks nazw osobowych..........
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lS
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224
Woman as a literary character
in Latin poetry of the Renaissance
Italy and Poland
summary
The book is devoted to a historical-literary analysis, the chronological framework of which encom-
passes the period between the second half of the 14th century and the early 17th century The author
analyses works by Italian and Polish authors. The most frequently mentioned figure among the Ital-
ian poets is Giovanni Pontano, a master of familial poetry. In addition, the author takes into account
works by Giovanni Boccaccio, Baltazar Castiglione, Gregorio Correr, Cristoforo Landino, Baptista
Mantuanus, Modius (Moggio) Parmensis, Francesco Petrarca, Angelo Poliziano, Jacopo Sannazzaro,
Tito Vespasiano Strozzi and Ugolino Verino. A special place is occupied by Filippo Buonaccorsi (Cal-
limachus), a figure bringing together both countries, Italy and Poland. In addition to Callimachus,
other foreigners associated with Poland and included in the analysis are Pedro Ruiz de Moros, or
Piotr Roizjusz, and Alexander Suchten. Among Polish poets, the author has chosen Joachim Bielski,
Jan of Wiślica, Klemens Janicki, Jan Kochanowski, Andrzej Krzycki, Szymon Szymonowie and Adam
Świnka.
The book consists of six chapters, each of which presents a type of female heroine: 1. Little girl,
2. Adolescent daughter, 3. Mistress, 4. Wife and mother, 5. Elderly woman, 6. Virago. The arrange-
ment of chapters is based on two criteria: age and role served. The first five chapters present women
in their private life, from childhood until old age, in various roles: daughters, granddaughters, wives,
mothers, grandmothers as well as nannies and mistresses (both young and old). The last chapter (Vi-
rago) examines women not conforming to the traditional roles, women trying to compete with men:
brave and holding power. The chapters are preceded by an Introduction, in which the author analyses
ancient and Renaissance views on the nature of women and their social status.
In Renaissance poetry an important role was played by literary tradition, which is why each
chapter presents ancient inspirations: auctores, with whom humanists play a literary game (aemu-
latio) creating their own female protagonists. There are also references to the Bible, sometimes also
to medieval literature regarded as a “link” in tradition. In addition, each chapter includes a recon-
structed historical, cultural and social context shaping the awareness of humanists and determining
their views on the nature and role of women.
The portraits selected by the author include both mythical figures (e.g. Pentesilea and the Ama-
zons) and figures who had their real-life models in the Renaissance (e.g. Adriana and other women
from Giovanni Pontano s family circle). They also represent various literary genres and are shaped
by different conventions, both in an exalted and caricatural manner, with a funeral laudatio on one
extreme and unrefined iambs on the other.
A literary figure is always an amalgam of various components: rules of poetry, genre conventions,
literary tradition, as well as the author s proprium, his inventiveness, personal experiences, immer-
sion in a concrete historical and cultural environment.
Summa ky
221
Using the same rules of poetry and the same poetic models means that female portraits created
by the Italians and the Poles have many features in common. Conventionality is at its most evident
in the creation of the heroines of erotic poems. Especially in descriptions of their looks, represented
in accordance with the beauty canon (descriptio pueilae)y and in a tendency to simultaneously make
mistresses heroic and unheroic. One figure, such as Fannia Swiytochna (Callimachus’ heroine), may
combine extreme qualities.
What is interesting is a combination of tradition, a literary convention and inspirations deriving
from the poets’ own experiences. Renaissance poetry is often treated as a literary game and erudite
play. At the same time, using a well-known code (ancient motifs and images), humanists arc able
to convey their own feelings and reflections. For example, we can find in the poems great sensitiv-
ity of Renaissance poets to children, even unborn children, as is the case of Callimachus, who tries
to prevent Fannia from having an abortion. I his sensibility and subtlety of family feelings are what
the Italian and Polish authors have in common. In the creation of heroines, too, the authors’ views
and emotions often “show through” classical topics. An analysis of the works selected has thus made
it possible to reconstruct the poets’ attitudes to women of “flesh and blood,” and to discover the
authors’ ideal of womanhood. rlhe Italian and the Polish poets agree in their views on the female
nature and main vocation of women, i.e. motherhood. Both the Italian and the Polish heroines find
their natural environment in the family and their most important quality is fertility. rlhis conviction
conforms to the customs of the period and to views propagated by humanists in scholarly treatises
(e.g. De institutionefeminae christianae by Juan-Luis Vives).
As we know, a man of authority in the Renaissance, also in matters of gender roles, was Aristotle.
In his theory, described from todays point of view as gender polarity, the woman becomes a nega-
tive of the man. Aristotle’s theory was referred to by many humanists. The subject was also raised
by Renaissance women, primarily by the Italian puellae doctae: Casandra Fedele, Isotta Nogarola
and Laura Cereta. Entering into a polemic with Aristotle, these learned ladies, drawing on the ideals
of humanism, suggested a solution that we would call today gender complementarity, i.e. a relation
respecting the value and distinctive nature of both genders, which complement each other. We can
come across attempts to treat both genders as complementary in the poetic oeuvre of some male
authors as well. For instance, in Giovanni Pontanos familial poetry the spouses are partners, they
complement each other creating a whole, and the death of one of them is a disaster and violation of
the cosmic Order for the other. Pontanos poetic images conform to the views of Renaissance theolo-
gians and preachers stressing the beauty and value of marriage as a sacrament established in paradise,
even before the original sin, a sacrament joining together two perfect and separate Gods creatures:
a man and a woman.
The question of division of roles and separate duties for each gender often recurs in Renaissance
works. There also appears the question of transgression, which is a complex problem provoking
various judgements. There are women who choose the “male way” for good out of their own will
(e.g. Pentesilea), which usually provokes criticism on the part of men, who see in them anti-models
of femininity. There are also women who take on men’s obligations forced to do so by their situation
(e.g. Princess Wanda), in which case they can enjoy the respect of men, who can appreciate their
heroism. However, when it comes to transgression, we can notice a certain difference of opinions
among the authors, who also apply different genre conventions. Petrarca and Boccaccio believe that
male qualities elevate women. “Male spirit” is also regarded as a compliment in panegyrics written
for female rulers, both Italian (Regina della Scala) and Polish (Anna, wife of Conrad III of Masovia,
or the legendary Wanda). This difference of poetic rules applied can be seen in the case of Szymon
Szymonowic. In his epithalamium for the wedding of Sigismund III Vasa and Anna of Austria, the
poet expects valour from the bride, who is to encourage her royal spouse to fight his enemies. On the
other hand, in his parenetic tragedy Pentesilea, the author explains that the virago is a transgression
of the laws of nature, a violation of the order established by God himself.
It is worth noting certain differences of mores between Italy and Poland, differences stemming
from different political, economic and social situations. The virago is a more often encountered and
222 Summary
socially more easily accepted type in Italy than in Poland. In addition, we can find differences in
womens education; puellae doctae are more numerous among the Italians than among the Poles.
A good illustration of these differences is Łukasz Górnickis Polish Courtier, an adaptation of the
Italian II Cortegiano by Baldassare Castiglione. Górnicki eliminates women from participants in the
dialogue, explaining that Italian women are better educated and socially more independent than Pol-
ish women. Another telling example is the figure of Queen Bona, an educated and ambitious virago,
who provoked controversial feelings among her Polish subjects. The queens Italian ladies-in-waiting,
too, were different from Polish women, taking active part in social life and having interesting con-
versations with men.
We can arrive at some interesting conclusions, as we examine the motivation attributed by men
to women who take on mens duties. It can be excessive ambition and a desire to compete with men,
but also heroism and being capable of sacrifice. Worthy of note is the fact that both Boccaccio and
Plutarch, whose treatise De mulierum virtutibus could not have been known to the Florentine author,
believe that very often the impulse that urges women to transgress the boundaries set for the weaker
sex and to break social conventions is love. Women are capable of sacrifice and heroism to save their
loved ones, or to avenge their beloved man: father, husband, son or brother. We can, therefore, say that
in the case of some viragines, the cause of their male courage and valour is very feminine (heroic love).
However, brave women are exceptions and they operate usually in extreme situations. In most
cases female bravery is manifested in the privacy of the home, among ordinary chores — by the spin-
dle and the distaff. Spinning, this basic task of women, becomes an emblem of perfect womanhood.
Another recurring theme in the analysed works is reflection on transience, on the need to pass
through successive stages of life, to serve new roles etc. The youngest heroines are infants, the oldest,
Leonarda (Pontanos grandmother), is 110 years old. Often, a womans life is compared to the exist-
ence of a flower: first a timid bud which flowers after a while, only to wither with time. In Antiquity
— a fact referred to by humanists — the successive stages of a womans life had specific qualities
attributed to them. What befitted young girls was suavitas and verecundia, matrons — gravitas and
prudentia, while women of all ages were expected to have pudicita.
Thus, the suavitas befitting young girls should with time give way to the gravitas, a quality associ-
ated with mature age. Ancient and Renaissance poets encouraged girls to “pick flowers” and enjoy
love until youth lasted. However, there comes a day in a womans life, when she no longer hears: carpe
florem! but carpe pensa (seize the yarn). While early maturity is laudable, the reverse phenomenon
always deserves a reprimand — an older woman is not forgiven, when she tries to behave like a young
girl.
When ladies are unable to accept transitoriness, when they try to deceive time and retain their
youth at all costs, e.g. by using cosmetics, they are laughed at by the poets. Humanists have a different
recipe for overcoming the merciless passage of time: poetry. The best situation is that of a girl whose
lover is a poet. She can expect that he will immortalise in his poems her beautiful youthful portrait
that will never be disfigured by wrinkles. This is what Callimachus promised his Fannia:
At quecumque meis fuerit cantata libellis
Vivet, et ex ipso funere maior erit!
Non illi auratos variabunt tempora crines,
Non trahet in rugas curva senecta genas, (Carm. 1 15, 35-38)
Time can also be defeated by motherhood. By giving birth to children, women prolong their
own life.
In a later period, in the 18th century, Richard Steele, an eminent representative of the British
Enlightenment, said: “A woman is a daughter, a sister, a wife and a mother, a mere appendage of the
human race.” This is a controversial and extremely androcentric view. However, as many works ana-
lysed here suggest, the value of women is determined not only by their qualities, but above all by their
Summary 223
relation with men: as obedient daughters, affectionate mistresses, faithful wives. Women are also
often treated by male authors as a pretext for analysing their own feelings and expressing their own
experiences. Men are, in fact, the main protagonists of many works devoted to the fair sex (e.g. of
erotic poems). Women can also be used as a means to achieve poetic fame. Thus, Renaissance poetry
is marked by androcentrism, though also by huge fascination with this mysterious being, i.e. woman.
|
| any_adam_object | 1 |
| author | Łukaszewicz-Chantry, Maria |
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| building | Verbundindex |
| bvnumber | BV042383534 |
| classification_rvk | KO 3020 |
| ctrlnum | (OCoLC)910814903 (DE-599)BVBBV042383534 |
| discipline | Slavistik |
| era | Geschichte 1420-1600 gnd |
| era_facet | Geschichte 1420-1600 |
| format | Book |
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| id | DE-604.BV042383534 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:20:05Z |
| institution | BVB |
| isbn | 9788322934210 8322934211 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027819563 |
| oclc_num | 910814903 |
| open_access_boolean | |
| owner | DE-12 DE-739 |
| owner_facet | DE-12 DE-739 |
| physical | 232 S. Ill. 24 cm |
| publishDate | 2014 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | Wydawn. Uniw. Wrocławskiego |
| record_format | marc |
| series | Acta Universitatis Wratislaviensis |
| series2 | Acta Universitatis Wratislaviensis |
| spelling | Łukaszewicz-Chantry, Maria Verfasser aut Kobieta jako postać literacka w łacińskiej poezji renesansu Italia i Polska Maria Łukaszewicz-Chantry Wrocław Wydawn. Uniw. Wrocławskiego 2014 232 S. Ill. 24 cm txt rdacontent n rdamedia nc rdacarrier Acta Universitatis Wratislaviensis 3561 Zsfassung in engl. Sprache u.d.T.: Woman as a literary character in Latin poetry of the Renaissance Geschichte 1420-1600 gnd rswk-swf Kobieta / w literaturze łacińskiej Frau Motiv (DE-588)4113617-2 gnd rswk-swf Lyrik (DE-588)4036774-5 gnd rswk-swf Renaissance (DE-588)4049450-0 gnd rswk-swf Latein (DE-588)4114364-4 gnd rswk-swf Latein (DE-588)4114364-4 s Lyrik (DE-588)4036774-5 s Frau Motiv (DE-588)4113617-2 s Renaissance (DE-588)4049450-0 s Geschichte 1420-1600 z DE-604 Acta Universitatis Wratislaviensis 3561 (DE-604)BV004668106 3561 Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027819563&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Klappentext Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027819563&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027819563&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Łukaszewicz-Chantry, Maria Kobieta jako postać literacka w łacińskiej poezji renesansu Italia i Polska Acta Universitatis Wratislaviensis Kobieta / w literaturze łacińskiej Frau Motiv (DE-588)4113617-2 gnd Lyrik (DE-588)4036774-5 gnd Renaissance (DE-588)4049450-0 gnd Latein (DE-588)4114364-4 gnd |
| subject_GND | (DE-588)4113617-2 (DE-588)4036774-5 (DE-588)4049450-0 (DE-588)4114364-4 |
| title | Kobieta jako postać literacka w łacińskiej poezji renesansu Italia i Polska |
| title_auth | Kobieta jako postać literacka w łacińskiej poezji renesansu Italia i Polska |
| title_exact_search | Kobieta jako postać literacka w łacińskiej poezji renesansu Italia i Polska |
| title_full | Kobieta jako postać literacka w łacińskiej poezji renesansu Italia i Polska Maria Łukaszewicz-Chantry |
| title_fullStr | Kobieta jako postać literacka w łacińskiej poezji renesansu Italia i Polska Maria Łukaszewicz-Chantry |
| title_full_unstemmed | Kobieta jako postać literacka w łacińskiej poezji renesansu Italia i Polska Maria Łukaszewicz-Chantry |
| title_short | Kobieta jako postać literacka w łacińskiej poezji renesansu |
| title_sort | kobieta jako postac literacka w lacinskiej poezji renesansu italia i polska |
| title_sub | Italia i Polska |
| topic | Kobieta / w literaturze łacińskiej Frau Motiv (DE-588)4113617-2 gnd Lyrik (DE-588)4036774-5 gnd Renaissance (DE-588)4049450-0 gnd Latein (DE-588)4114364-4 gnd |
| topic_facet | Kobieta / w literaturze łacińskiej Frau Motiv Lyrik Renaissance Latein |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027819563&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027819563&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027819563&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV004668106 |
| work_keys_str_mv | AT łukaszewiczchantrymaria kobietajakopostacliterackawłacinskiejpoezjirenesansuitaliaipolska |