Harmonia lyrica w potrydenckiej twórczości polskich poetów metafizycznych – problem trwałości tradycji i nowatorstwa
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Date
2011
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Publisher
0302-7384
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Lyrical harmony (harmonia lyrica) in post-Tridentine poetry of Polish metaphysical poets – the problem of the opposition of the stability of tradition and innovation
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.
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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
Citation
Symbolae Philologorum Posnaniensium, 2011, nr XXI/1, s. 59-80
ISBN
978-83-7654-160-0