Please use this identifier to cite or link to this item: https://hdl.handle.net/10593/4257
Title: Harmonia lyrica w potrydenckiej twórczości polskich poetów metafizycznych – problem trwałości tradycji i nowatorstwa
Other Titles: Lyrical harmony (harmonia lyrica) in post-Tridentine poetry of Polish metaphysical poets – the problem of the opposition of the stability of tradition and innovation
Authors: Fischer, Jakub
Keywords: religious hymn
religious sensitivity
musical effects in poetry
lyric harmony
lyric poetry
rhyming and rhythmic schemes
Old Polish metaphysical poetry
Medieval tradition
metaphysical model of religious hymn
formal experiments
Polish poetry after the Council of Trent
Baroque
humanism
compositional techniques
Renaissance tradition
Melic element
Issue Date: 2011
Publisher: 0302-7384
Citation: Symbolae Philologorum Posnaniensium, 2011, nr XXI/1, s. 59-80
Abstract: This article concentrates on question, which was the essence of the Old Polish poetry, in the beginning of seventeenth-century. Especially: what was the source of this poetry and which were the relations between this new model of poetry and literary tradition. Very interesting are also the connections between rhyming and rhythmic schemes, used by Grabowiecki, Grochowski and Twardowski, and music. The main attitude of this group of polish metaphysical poets was to attain musical effects in poetry – real lyric harmony (harmonia lyrica). They created new poetry: very innovative, but as well grounding in tradition.
Description: The most important and fascinating question, which concerns Old Polish poetry in the beginning of seventeenth-century, is the problem of relationship between poetry and music. After the Council of Trent the whole literature and art in catholic countries have been subordinated to Counter-Reformation purpose. In particular the religious poetry acquired a new autonomy. Old Polish metaphysical poetry grew up from medieval traditions (especially medieval hymn – which is characterized by the “natural” junction of text, music and ceremony), tradition of “hymn for reading” (typical for Counter-Reformation religious poetry) and tradition of nonliturgical hymn. The beginning of metaphysical poetry means also a progress of new poetic forms, rhyming and rhythmic schemes, formal experiments – harmonized precisely with all the content. The new model of religious hymn – “metaphysical singing” – was initiated in Polish literature by the group of poets in the turn of the sixteenth- and seventeenth- century: by Sebastian Grabowiecki, Stanisław Grochowski and Kasper Twardowski. They created a new pattern of religious poetry, a kind of lyric and “thinking” prayer. The most important was the attainment in every poem lyric harmony (harmonia lyrica). Fundamental was here a symbiosis between music and words, gesture and meaning. Musical effect in metaphysical poem has very momentous meaning. It could be a formal principle, an aesthetic tendency or a general idea – always expecting phenomenon. The metaphysical poetry of Grabowiecki, Grochowski and Twardowski, is distinct polymorphous combination of medieval and renaissance traditions, however begins a new epoch in Old Polish literature: this metaphysical creation is a beginning of Baroque. This new poetry is curious composition of renew humanistic contents, deeper reflections about human condition, religious sensitivity mixed with melic element – and last, but not least: this poetry is an important instrument, intended to renovate spiritual life.
URI: http://hdl.handle.net/10593/4257
ISBN: 978-83-7654-160-0
Appears in Collections:Symbolae Philologorum Posnaniensium, 2011, nr XXI/1

Files in This Item:
File Description SizeFormat 
Fischer_Symbolae_Philologorum_Posnaniensium_XXI_1.pdf243.85 kBAdobe PDFView/Open
Show full item record



Items in AMUR are protected by copyright, with all rights reserved, unless otherwise indicated.