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«Poesis Artificiosa»

Between Theory and Practice

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Edited By Agnieszka Borysowska and Barbara Milewska-Wazbinska

Poesis artificiosa was known in the literary heritage of ancient Greeks and Romans, and in the Far and Middle East. Its tradition was preserved in the Middle Ages and practiced later. Poesis artificiosa gained an unprecedented popularity in the Baroque – a period most inclined towards all manner of special effects. The aim of this book is to present problems related to the Neo-Latin pattern poetry created from the 15th to the 18th century in Central Europe, mainly in the Polish-Lithuanian Commonwealth, German Pomerania, and Silesia. In the initial chapters, the authors discuss the practical application of pattern poetry in religious works, in compositions intended for the commemoration of the departed, and in poems featuring panegyric content. The remaining chapters refer to its theoretical aspects.

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Poesis Artificiosa ad Gloriam Dei. Paul Zacharias and His Disticha Sacra. Anna Kapuścińska, Piotr Urbański

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Poesis Artificiosa ad Gloriam Dei Paul Zacharias and His Disticha Sacra Anna Kapuścińska University of Szczecin Piotr Urbański Adam Mickiewicz University, Poznań Born in 1557, Paul Zacharias, an eminent citizen of Stettin, won the ac- claim and admiration of his contemporaries. His death on 16 July 1612 was registered in the chronicles of Paul Friedeborn (1571–1637), and Jo- hannes Micraelius (1597–1658).1 The poet became indelibly imprinted on the collective consciousness of the people of Pomerania – largely for his chronograms in verses – for good half century after his death. He was mentioned, for instance, in the volume Chur-Brandenburg uhr-altes Recht und Praetension wegen des Angefälls, Tituls und Wagen, auch endlichen Besitz und Einnahm der Herzogthümer in Vor- und Hinter-Pommern (Stralsund, 1678).2 This volume mentions an apocryphal distich attributed to the po- et, in which he was to anticipate the demise of the House of Griffins, the partition of Pomerania between Brandenburg and Sweden, as well as the events of 1677. On this occasion, not only does the author list basic factu- al details about the life of Zacharias, but also questions the distich’s at- tribution to the poet. To substantiate his claim, the author states that nei- ther Micraelius nor Friedeborn make any note of the distich. The follow- ing text (from page K2r) proves that Disticha Sacra were widely read long after the author’s death, therefore testifying to his enduring posthumous recognition that fully accounts for the scarcity of extant copies:...

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