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«Poesis Artificiosa»

Between Theory and Practice


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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Emblematics towards Visual Poetry. The Example of the Via triumphalis Polonorum et Svecorum Regem...Vladislaum IV... celebrata... ducens... (1634). Magdalena Górska


Emblematics towards Visual Poetry The Example of the Via triumphalis Polonorum et Svecorum Regem... Vladislaum IV... celebrata... ducens... (1634) Magdalena Górska The Institute of Literary Research of the Polish Academy of Science According to Karol Estreicher, the Via triumphalis (Lublin: P. Konrad, [1634]) printing is attributed to the Jesuit Paweł Żuchowicz (vel Zucho- wicz, 1607–1648) who lived at the College of Jesuits in Lublin only since 1641.1 The title of the printing refers directly to the ancient idea of entry ceremonies (cf. triumphus, adventus)2 which was presented by uniting po- etry and pictorial motives; it is possible that the speculum principis types of books were the inspiration. The portrayal of virtues of the Polish king, Vladislaus IV as Mars Smoleński (‘Mars of Smolensk’) was joined with the characteristic of the extraordinary circumstances of Moscow armies capit- ulation which were commanded by Mikhail Borisovich Shein in the battle of Smolensk (25 February 1634).3 Woodcuts in Via triumphalis are the ex- ample of borderline and common iconographic tradition of genres recog- nized as artful, used to demonstrate the tendency of visual poetry from before the half of the seventeenth century to inspire by emblem books.4 1 Via triumphalis Polonorum et Svecorum Regem, bellicosissimum, Moschorum domito- rem fortissimum, de septemtrione triumphatorem felicissimum, et dominum in potentia clementissimum Vladislaum IV a Regia Suae Sacrae Maiestatis per victorias Moschovi- ticas, ad perennis gloriae Capitolium ducens in Collegio Lublinensi Societatis Iesu cele- brata, et eius S.R.M. domini sui et parentis optimi...

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