Iz svih djela sv. Hildegarde iz Bingena proviru nadahnuće i upute iz Pravila sv. Benedikta. Za života cijenjena, dugo je vremena njezino djelo bilo zastrto pomanjkanjem zanimanja, da bi u 20. ...stoljeću bila “ponovno otkrivena” kao autorica čija djela - književnost (proza, stihovi, dramsko prikazanje), teologija, glazba, prirodna filozofija - i današnjim primateljima progovaraju kao jedinstven spoj poetskoga nadahnuća i nabožne književnosti. Ona uvijek promatra sve stvorenje kao jedno, kao Božje djelo pa stoga traži veze između povijesti svijeta i povijesti spasenja, te između stvorenoga, materijalnoga svijeta i Stvoritelja, tj. one stvarnosti koja je neprolazna. A u središte stvorenja Bog je bio postavio upravo čovjeka koji jest creatura, ali ima i dostojanstvo da bude operarius Dei. Taj panoramski pogled najjasnije dolazi do izražaja u Hildegardinim vizijama, napose u djelu “Scivias” (nastalom između 1142. i 1151. god.) koje obuhvaća različite žanrove i diskurse, od stihova preko (kraćih) teoloških traktata, do prirodnofilozofijskih razmatranja. Uz to u vizijama kombinira različite moduse (pitanja i odgovori, pripovijedanje, opis, tumačenje, komentar), a takav se postupak može nazvati specifičnim višeglasjem ili suzvučjem različitih žanrova i modusa.
All of Hildegard's works derive inspiration from the Rule of St Benedict. Throughout a large part of her adult life Hildegard was well respected, but after her death interest in her opus diminished. She was "rediscovered" in the 20th century as an author whose work - literature (prose, verse, morality-play), theology, music, natural philosophy - tends to touch the modern reader as a very individual, creative fusion of poetic inspiration and theological depth. She views the created universe as one, as the work of God in which man (homo) has a special place. He is God's "plenum opus", body, soul, spirit and senses and is called upon to be God's "operarius", i.e. His helper in shaping the history of the created world. She forges ever new connections and relations between the material world and the transcendent, immortal spheres. Perhaps the most poignant works in which this interplay is thematised are her visions, particularly the book "Scivias" (written between the years 1141 and 1151). It is a very complex work, comprising genres such as vision, contrast/debate, questions and answers, tract and sermon, as well as different discourses (narration, description, dialogue, edification, exegesis, commentary, even verse). Literature and theology coexist in all Hildegard's visions, perhaps most prominently in "Scivias", one stems from the other and they cannot be separated. Therefore, her visions are characterized by a specific polyphony or consonance (symphonia) of various genres and modes. That is arguably the most unique feature of "Scivias", the mixture of poetry, (literary) vision and theological treatise. In that respect "Scivias" is particular among the preserved medieval texts: no vision is so profoundly theological, nor is any treatise so poetic and aesthetically imaginative. The interplay of different modes, discourses and subject-matter has great appeal to the modern recipient, but at times proves to be demanding and somewhat unusual reading.The simile is one of the most commonly used stylistic features, as well as antithesis. Her theology is pictorial, since she uses images from everyday life, nature and the Holy Scriptures to convey the message pertaining to the Truth, which is revealed to her in visions by the voice of the Living Light, i.e. by God himself. And since human language is limited, just as is the human mind and reason, Hildegard is compelled to use comparisons and similes (she often uses expressions such as quasi, velut, imago, forma, apparebant) that function as a bridge between the physical reality and the transcendental.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Dva se latinska neologizma, prilozi tunicaliter i flammanter, zapisani u
Liber vitae meritorum
svete Hildegarde iz Bingena, promatraju kao stilogeni elementi, naglašena mjesta u odlomku iz vizije, te ...kao svojevrstan nadomjestak za definirane teološke pojmove. Hildegarda se izražava slikovito kako bi potaknula osjećaje, maštu, ali i razmišljanje u primatelja. Pritom ti prilozi stvaraju poveznice s poznatim sadržajima (osobito sa Svetim pismom), te se istodobno otvaraju novi vidici za promišljanje izloženoga teksta. Razumijevanje leksičkih inovacija dijelom je otežano jer je riječ o
hapax legomena
, pa interpretacija treba uključiti simboliku tunike i plamena (imenica od kojih su prilozi izvedeni) u Hildegardinu vizionarskom opusu uopće. Uz njih zanimljiva je i sintagma
officiale opus
kojom Hildegarda neizravno određuje čovjeka i njegovu ulogu u spasenjskoj povijesti svijeta.
Two Latin neologisms, the adverbs
tunicaliter
and
flammanter
, written in the
Liber vitae meritorum
of Saint Hildegard of Bingen, are viewed as stylistic elements, highlighted places in the passage from the vision and as a kind of substitute for defined theological terms. Hildegard expresses herself pictorially to stimulate feelings, imagination, and thinking in the recipient. In so doing, these adverbs create links with known contents (especially with the Holy Scriptures), and at the same time, this opens new viewpoints for reflection on the presented text. Understanding the lexical innovations is partly made difficult because they are
hapax legomena
, so their interpretation should include the symbolism of the tunic and flame (nouns from which the adverbs are derived) in Hildegard’s visionary work in general. In addition, also interesting is the phrase
officiale opus
, with which Hildegard indirectly defines man and his role in the salvation history of the world.
Two Latin neologisms, the adverbs tunicaliter and flammanter, written in the Liber vitae meritorum of Saint Hildegard of Bingen, are viewed as stylistic elements, highlighted places in the passage ...from the vision and as a kind of substitute for defined theological terms. Hildegard expresses herself pictorially to stimulate feelings, imagination, and thinking in the recipient. In so doing, these adverbs create links with known contents (especially with the Holy Scriptures), and at the same time, this opens new viewpoints for reflection on the presented text. Understanding the lexical innovations is partly made difficult because they are hapax legomena, so their interpretation should include the symbolism of the tunic and flame (nouns from which the adverbs are derived) in Hildegard’s visionary work in general. In addition, also interesting is the phrase officiale opus, with which Hildegard indirectly defines man and his role in the salvation history of the world
U ovom se radu analiziraju pjesme, uključujući i nekoliko kratkih zapisa, koje se nalaze u naknadno dodanom zborničkom dijelu glagoljskoga beramskoga kodeksa, poznatom pod nazivom Prvi beramski ...brevijar, a čiji osnovni sadržaj čini sanktoral s kraja 14. st. Pjesničku dionicu u ovom smo radu prvi put nazvali Beramskom pjesmaricom. Ona se sastoji od nekoliko skupina pjesama između kojih su zapisani drugi naknadno dodani tekstovi (liturgijski, patristički). U svojem smo istraživanju pozornost usmjerili prema dosad neistraženim pjesničkim tekstovima čiji se predlošci ovdje utvrđuju prvi put. Utvrđeno je kako se među njima, uz već proučene popularne pjesme (Va vse vrime godišća, Sudac gnjevan), nalaze i potvrde jedinstvenih (Milost Duha Svetago, Pohvaļujmo današnji dan) i rijetkih glagoljskih tekstova. Na temelju potvrda postupnoga dopisivanja tematski i funkcionalno povezanih tekstova pokazuje se kako ta pjesmarica pridonosi rasvjetljavanju spoznaja o uporabi (čitanju, slušanju i pamćenju) tekstova koji su u glagoljašku sredinu dospjeli iz posve različitih izvora. Krajnji je cilj pokazati kako Beramska pjesmarica zauzima istaknuto mjesto u povijesti ne samo hrvatskoglagoljskoga nego općenito hrvatskoga srednjovjekovnoga pjesništva.
In this paper authors analyze the poems, together with several short notes, which are found in the subsequently added choral part of the Glagolitic Beram codex, presently known as the First Beram Breviary from the fourteenth century. The basic content of this breviary is the sanctorale cycle. The poetry section of the codex in this work for the first time is named Songbook of Beram. This section consists of several collections of poems, among which someone subsequently added other liturgical and patristic texts. The analysis of these previously uninvestigated poems has showed that among them, besides previously known and investigated pomes such as U vse vrime godišća At this time of year and Sudac gnjevan Die Ires, one can find unique Glagolitic texts such as Milost Duha Svetago Holy Spirit’s Mercy and Pohvaļujmo današńi dan Praise Today. The sequence of subsequently added texts indicates that they are all thematically and functionally connected, and therefore this songbook contributes to knowledge about the use (reading, listening and memorization) of the text that came to the Glagolitic community from various places and sources. In conclusion, the authors have shown that this Songbook of Beram should be considered as very important not only in the corpus of Glagolitic poetry but also as a significant part of Croatian medieval poetry.
Motiv posta i molitve često se zatječe u djelima raznih sadržajnih,
oblikovnih i vrsnih pripadnosti tijekom mnogih stoljeća, pa je moguće govoriti
o motivu dugoga trajanja. U trima se glagoljskim ...kodeksima iz 15. i 16.
stoljeća (u tzv. Oxfordskom, Berčićevu i Grškovićevu zborniku) nabrajaju osobe
iz Biblije i svetci koji su postili i tako postigli spas i milost. U tim je
spomenicima popis likova u velikoj mjeri podudaran. Po tonu i stilu zaključuje
se kako su tekstovi bili namijenjeni širem krugu primatelja, a ne (samo) užoj
redovničkoj ili duhovničkoj zajednici. Tekstovi su analizirani s
književnoteorijskoga polazišta, s naglaskom na njihovoj strukturu, a
identificirane su dvije važne karakteristike hrvatskoglagoljske proze. To su polifunkcionalnost, jer djela često ujedinjuju praktične (npr.
pastoralne, moralne i poučne) funkcije s estetskom, te otvorenost forme, jer se teme, motivi i slike pojavljuju u
uvijek novim kombinacijama i kontekstima (specifična intertekstualnost). U
analiziranim se tekstovima prepoznaju figure i tropi tipični za hrvatsku
srednjovjekovnu prozu (npr. antiteza, paregmenon, nabrajanja, dijade, trijade,
asonancije, sintaktički i leksički paralelizam).
The Croatian
Glagolitic medieval literature consisted mostly of religious texts (e.g.
hagiographies, visions, debates/contrasts, Miracles of the Blessed Virgin,
dialogue poems, miracle and morality plays). Some of them contain the motif of
fasting and prayer as well as the benefits of self-renunciation, allowing men
to become purer and better in their relationships towards both themselves
(through fasting and self-renunciation) and other people (through good deeds
and almsgiving), and to achieve a closer relationship with God (through
prayer). The motif
of fasting and prayer is frequently found
in texts of various themes, forms, and genres over the centuries. It was
present in European Christian literature from its beginnings to the early
modern period, making it a long-standing motif. During the Middle Ages in
Europe, that motif was most notably found in moral-didactic and pastoral texts,
but also in narrative prose texts. Three Croatian Glagolitic manuscript codices
were chosen for this research: Oxford Miscellany (15th c.), Berčić Miscellany
(15th c.) and Gršković Miscellany (16th c.), as collections of texts exhibiting
motifs of fasting, prayer and works of mercy. The recombination of the motif in
different contexts (as a sermon in a debate,
as a motif in a legend and as a starting point of a moral-didactic text)
reflects the memory-based nature of medieval culture – that which is adopted as
one’s own, can be recombined rather freely. The three Glagolitic codices list
Biblical figures and saints who found salvation from evil through fasting and
prayer (e.g. Isaac, Lot, Susanna, Daniel, three young men in the fiery furnace,
Saint Thecla, and Saint Margaret) and those in various ways blessed by God
(e.g. Moses, Elijah, Joachim and Anne, the apostle Paul, Saint Nicholas, Saint
Benedict). The list of characters is consistent to a large extent in all three
manuscripts. The tone and style of the texts indicate that they were intended
not only for a smaller religious community, but also for a wider audience. Two
important features of Croatian Glagolitic prose are present in the analysed
texts: polyfunctionality, because the texts combine practical (e.g. pastoral,
moral and didactic) functions with the aesthetic function; and the openness
of the form, because themes, motifs and
images always appear in new combinations and contexts.
The Croatian Glagolitic medieval literature consisted mostly of religious texts (e.g. hagiographies, visions, debates/contrasts, Miracles of the Blessed Virgin, dialogue poems, miracle and morality ...plays). Some of them contain the motif of fasting and prayer as well as the benefits of self-renunciation, allowing men to become purer and better in their relationships towards both themselves (through fasting and self-renunciation) and other people (through good deeds and almsgiving), and to achieve a closer relationship with God (through prayer). The motif of fasting and prayer is frequently found in texts of various themes, forms, and genres over the centuries. It was present in European Christian literature from its beginnings to the early modern period, making it a long-standing motif. During the Middle Ages in Europe, that motif was most notably found in moral-didactic and pastoral texts, but also in narrative prose texts. Three Croatian Glagolitic manuscript codices were chosen for this research: Oxford Miscellany (15th c.), Berčić Miscellany (15th c.) and Gršković Miscellany (16th c.), as collections of texts exhibiting motifs of fasting, prayer and works of mercy. The recombination of the motif in different contexts (as a sermon in a debate, as a motif in a legend and as a starting point of a moral-didactic text) reflects the memory-based nature of medieval culture – that which is adopted as one’s own, can be recombined rather freely. The three Glagolitic codices list Biblical figures and saints who found salvation from evil through fasting and prayer (e.g. Isaac, Lot, Susanna, Daniel, three young men in the fiery furnace, Saint Thecla, and Saint Margaret) and those in various ways blessed by God (e.g. Moses, Elijah, Joachim and Anne, the apostle Paul, Saint Nicholas, Saint Benedict). The list of characters is consistent to a large extent in all three manuscripts. The tone and style of the texts indicate that they were intended not only for a smaller religious community, but also for a wider audience. Two important features of Croatian Glagolitic prose are present in the analysed texts: polyfunctionality, because the texts combine practical (e.g. pastoral, moral and didactic) functions with the aesthetic function; and the openness of the form, because themes, motifs and images always appear in new combinations and contexts.
Benediktinci su dali golem doprinos razvoju umjetnosti, obrazovanja i kulture u Europi. Početci pismenosti u Hrvatskoj vezani su uz njihove samostane – kako pismenosti na latinskom jeziku, tako i one ...glagoljaške na slavenskom idiomu. U ovom se razmatranju izlaže jedan pogled na sv. Benedikta, iz pera sv. Hildegarde iz Bingena (1098. – 1179.) koji se može iščitati iz njezinih književnih i teoloških djela. Sv. Benedikt je za nju pra–lik duhovnoga oca i uzor vjernicima. Svojim je Pravilom otvorio ravan i umjeren put ne samo redovnicima nego i svim vjernicima. Slikovitim i simboličnim jezikom ona ocrtava značenje Benediktova duhovnoga nasljeđa; to su nadahnuti tekstovi srednjovjekovne redovničke tradicije i književne baštine u kojima sv. Hildegarda povezuje teologiju s literarnim izričajem (vizijama, prenjima, hagiografijom i stihovima).
U radu se ukratko, na temelju nekoliko tipičnih iskaza glagoljaških pisara, kompilatora i prevoditelja, sažimlju neki pogledi na glagoljsku tekstnu zajednicu. Kroz odabrane se citate otkriva ...povezanost raznorodnoga sadržaja rukopisa (a neki od njih slagani su po idealu "što općenitijega" materijala, kao da se stremilo kakovu srednjovjekovnom enciklopedizmu, čemu je najbliže Petrisov zbornik iz 1468. godine) s konkretnim okruženjem, odnosno publikom za koju su tekstovi pisani, te s polifunkcionalnošću velikoga broja prepisanih, prevedenih ili kompiliranih sastava. To je postupak kroz koji je ostvaren specifičan fenomen "migracije", pokretljivosti i prilagođavanja raznih predložaka i izvora, čime su glagoljaši hrvatsku glagoljsku pisanu riječ učinili dijelom zajedničke europske srednjovjekovne kulturne, duhovne i književne tradicije.
In the paper are briefly summarised some views of the community who used the Glagolitic text, based on several typical statements of Glagolitic scribes, compilers and translators. From the selected ...quotations the connection of the diverse content of the manuscripts is revealed (some of them are arranged according to the ideal of "as general as possible" material, as though aiming at some kind of mediaeval encyclopaedism, to which The Petris Miscellany from 1468 is the closest) with a definite environment, i.e. to the audience for whom the texts are written, and with the polyfunctionality of a great number of transcribed, translated or compiled compositions. It is a process through which the specific phenomenon of "migration", mobility and adaptation of various templates and sources was realised, whereby the Glagolitic writers or priests made Croatian Glagolitic written word part of the common European mediaeval cultural, spiritual and literary tradition.
U radu se analizira odnos prema višeznačnosti latinskoga leksema exemplum. Problematika žanrovskog pitanja exemplum-a i njegove uporabe još i danas predstavlja izazov raznim istraživačima. Riječ je o ...pojmu kojim su se u srednjemu vijeku najčešće označavali kratki narativni oblici (egzempl u užem značenju) i retoričke figure. Autori srednjovjekovnih tekstova, uključujući i Johannesa Herolta kao autora zbirke propovijedi prema kojoj su nastali glagoljski Disipuli, njime su označavali ona mjesta u tekstu koja su bila obuhvaćena egzemplifikacijom. U glagoljskim Disipulima na mjestu lat. exemplum-a pojavljuju se leksemi iz triju idioma: eksempl, pelda, prilika. Istraživanje podznačenjskih valera navedenih triju bliskoznačnica pokazalo je postojanje određene dosljednosti u njihovoj uporabi. Exemplum se prevodi kao pelda kada se odnosi na paradigmatski primjer, znatno rjeđe na retoričku figuru. Prilika se pojavljuje na mjestima na kojima je exemplum označavao retoričku figuru, biblijsku parabolu, samo katkad paradigmatski primjer. Srednjovjekovni exemplum kao kratki narativni oblik prevodi se isključivo atinizmom eksempl. U radu se istražuje pokušaj razlikovnoga terminološkoga obilježavanja latinskoga pojma u glagoljskom rukopisu s ciljem utvrđivanja načela na temelju kojih se provodio izbor triju bliskoznačnica.
One of the largest text groups preserved in medieval written sources can be identified as exempla. Yet, their definition as a (small) genre remains open with respect to many aspects. Some of their traits show a certain degree of overlapping with the parable, paradigm, and simile. Exempla are often incorporated into medieval sermons, as is the case in the analysed source: the Glagolitic collection Disipul (the Croatian translation from Latin of Johannes Herolt’s Sermones Discipuli). Medieval authors, among them Herolt, used the term exemplum in various places in texts which had the general function of exemplification. Exemplum is a term which in the Middle Ages was used to denote short narrative forms (exemplum in the narrower sense) and rhetorical figures. The Croatian Glagolitic Disipul has three lexemes from various idioms (eksempl, pelda, prilika) that were used to translate the single Latin term exemplum. The study of different semantic connotations of these lexemes showed that they were used with a certain degree of consistency. Exemplum is translated by the lexeme pelda when it denotes a paradigmatic example, but rarely when it denotes a rhetorical figure. The lexeme prilika is used in places where exemplum pertains to a rhetorical figure, a Biblical parable, but rarely when it pertains to a paradigmatic example. Yet where the Latin exemplum denotes a short narrative form, it is translated exclusively as eksempl. It was possible to determine that short narratives (eksempl) were clearly differentiated from the person/act/virtue to be admired and imitated (pelda, prilika).The analysis of the effort of the Croatian Glagolitic translator to use certain terms consistently also indicates which principles he was guided by when deciding which of the three lexemes to choose when translating the Latin exemplum. This allows us to draw the conclusion that, in the context of the ambiguity of the Latin term exemplum, the Croatian translation of the sermon collection Disipul is unique, as it is among the earliest testimonies to a Croatian translator’s effort to introduce a measure of accuracy and stability in the use of terminology.
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