Silazak u podzemlje ili katabaza mitološki je, ali i književni motiv prisutan u religijama i književnostima mnogih naroda. U proučavanju epske književnosti katabaza se definira kao priča o silasku ...žive osobe koja posjeduje određene kvalitete u podzemni svijet mrtvih s nekim ciljem i njezino vraćanje među žive. U ovom se radu prikazuju reprezentativni primjeri katabaze u grčkoj, rimskoj i hrvatskoj novolatinskoj književnosti. Počinje se s grčkom epikom, odnosno 11. pjevanjem Odiseje i homerskom Himnom Demetri, a nastavlja se pričama o katabazi Tezeja i Piritoja i Heraklovu silasku u Had po Kerbera. U rimskoj književnosti, uz najpoznatiju katabazu, Enejinu u 6. pjevanju Eneide, predstavlja se i Orfejeva katabaza u 10. pjevanju Metamorfoza te Psihina u Apulejevim Metamorfozama ili Zlatnom magarcu, te se spominje i obrada toga motiva u Apokolokintozi Seneke Mlađeg. Hrvatski humanistički autor Jakov Bunić izložio je Heraklovu katabazu u epiliju De raptu Cerberi, pridajući joj alegorijsko tumačenje u kontekstu kršćanske vjere. Također, u radu se primjenjuje klasifikacija J. L. Calva Martineza, prema kojoj po razlogu silaska u podzemlje postoji nekromantska katabaza (npr. Odisejeva), romantična (npr. Orfejeva) i obijesna (npr. Heraklova) katabaza.
This study examines the most characteristic features of the Scandinavian prose romances. The contrast between the translated and original chivalric sagas is illustrated on the Norwegian translation ...of the Song of Roland and on the late Icelandic re-working of Tristan. Our aim was to explain the changes in the context of the Old Norse culture as well as literary conventions. The Old Norse translations were partially shaped to satisfy the expectations of the target audience unused to the genre. The dissolving courtly ideals in the late-medieval Icelandic tradition are, according the author, rather similar to the development of the late German Artusroman than purely a sign of Scandinavian incomprehension of the concepts.
The article is a research attempt to show the participation of a group of negative adjectives and adjectival participles formed using prefixes nie- and bez- in 8 romantic poems representing the ...textual corps of Polish romantic poetry. The negatives with prefix nie- are nine times more numerous than negatives formed using prefix bez-. Almost each negative is in romantic poems less numerous than his not negative equivalent. The participation of negatives reach 1,45% of the vocabulary and 0,34% of the text of analyzed corps. From among 7 romantic poets C. Norwid uses negatives most willingly. Most frequently represented are negatives: niemy, nieruchomy, niewinny, nieznajomy and niezwykły. Negatives in romantic poems are used for semantic and stylistic purposes. Most often they serve the poets to specify the description of characters and things.
The paper considers the perception of metals such as gold, silver, bronze and iron in Hesiod’s Theogony and Works and Days, composed around late 8th or early 7th century BC. An analysis reveals that ...gold appears exclusively as an attribute of the gods. Only gods wear objects of gold and their works are golden, too; indeed, they are described as golden themselves. Arguably this metal not only serves as a metaphor for the quality of the immortal and unreachable gods, i.e. Aphrodite, Dionysus, Hera, Zeus and Apollo, but also appears in the ‘distant territories of the divine cosmos’ – golden is Triton’s palace, golden are the apples guarded by a horrible snake on the edge of the earth. Hesiod’s golden race, the first mortal race, excellent in all aspects, free of troubles and hard work, is, significantly, also closest to the gods. The silver race, created after the golden one, is inferior to the first just as silver is less precious than gold. Hardly ever mentioned in Hesiod’s poems, this metal is omitted from descriptions of jewellery or weapons. What is described as silver are river whirlpools, the colossal pillars of the underworld, and the feet of the nymph Thetis. A possible interpretation is that all these objects are untamed and unreachable, similar to gold but not divine anymore. After the silver race, the gods create the bronze race. This is a race of violent giants, fierce and strong, who are born from the ash tree. Bronze is therefore even farther from the divine: it is human. Moreover, it is the first alloy, and the manufacture of bronze objects demands much more knowledge and skill in comparison with gold and silver. Hesiod uses bronze as a synonym for all that is hard and strong in both poems – bronze is the material of the anvil, of the high walls, door, and doorstep which hold back the Titans in Tartarus, and of the arms carried by Memnon and Heracles. The only race not associated with metals is the race of heroes, exempted in this respect from the progressive devaluation. The fifth and last race is the iron race, to which the poet himself belongs. It is described as beset by the sorrow, hard work and cares sent by the gods. Made of iron are mostly tools and weapons; iron is the soul of Death, hard and heartless. With iron, the worst of all metals, the cycle of devaluation is complete. However, archaeological investigations present a somewhat different picture. In the early Iron Age, i.e. contemporary with the two Hesiodic poems, iron ultimately prevails in the territory of today’s Europe. Yet it is not used only to produce weapons and tools – this period reveals a rapid increase in iron jewellery as well. The abundance of the latter shows that iron was not only new but even fashionable, despite being unsuitable for the making of jewellery. In fact, it may have been prized more than gold itself in this period. Why, then, does the poet characterise the iron race as the worst, despite all the advantages brought by this metal? Simply because iron is the material supplying tools and weapons, which are used in labour and warfare respectively. In the golden age, by contrast, men lived in peace, leisure, and opulence like the immortal gods. Innovation and technological progress, such as the knowledge of iron and its techniques, are not perceived to contribute to tranquillity and prosperity; rather, they are associated with harrowing work and war.
Silazak u podzemlje ili katabaza mitološki je, ali i književni motiv prisutan u
religijama i književnostima mnogih naroda. U proučavanju epske književnosti
katabaza se definira kao priča o silasku ...žive osobe koja posjeduje određene
kvalitete u podzemni svijet mrtvih s nekim ciljem i njezino vraćanje među
žive. U ovom se radu prikazuju reprezentativni primjeri katabaze u grčkoj,
rimskoj i hrvatskoj novolatinskoj književnosti. Počinje se s grčkom epikom,
odnosno 11. pjevanjem Odiseje i homerskom Himnom Demetri, a nastavlja
se pričama o katabazi Tezeja i Piritoja i Heraklovu silasku u Had po Kerbera.
U rimskoj književnosti, uz najpoznatiju katabazu, Enejinu u 6. pjevanju Eneide,
predstavlja se i Orfejeva katabaza u 10. pjevanju Metamorfoza te Psihina
u Apulejevim Metamorfozama ili Zlatnom magarcu, te se spominje i obrada
toga motiva u Apokolokintozi Seneke Mlađeg. Hrvatski humanistički autor Jakov
Bunić izložio je Heraklovu katabazu u epiliju De raptu Cerberi, pridajući
joj alegorijsko tumačenje u kontekstu kršćanske vjere. Također, u radu se primjenjuje
klasifikacija J. L. Calva Martineza, prema kojoj po razlogu silaska u
podzemlje postoji nekromantska katabaza (npr. Odisejeva), romantična (npr.
Orfejeva) i obijesna (npr. Heraklova) katabaza.
Publikacja zrealizowana w ramach projektu Wolne Lektury (http://wolnelektury.pl). Okładka i ilustracje: Adam Kołakowski.
Publikacja zrealizowana w ramach projektu Wolne Lektury ...(http://wolnelektury.pl). Okładka i ilustracje: Adam Kołakowski.
Publication made as part of the Free Reading project (http://wolnelektury.pl). Co-financed by the Minister of Culture and National Heritage.
Publikacja zrealizowana w ramach projektu Wolne Lektury ...(http://wolnelektury.pl). Dofinansowano ze środków Ministra Kultury i Dziedzictwa Narodowego.
Publikacja zrealizowana w ramach projektu Wolne Lektury (http://wolnelektury.pl). Dofinansowano ze środków Ministra Kultury i Dziedzictwa Narodowego.
Publication made as part of the Free Reading project (http://wolnelektury.pl) based on the text available on the Wikisource.org website (http://pl.wikisource.org). The technical editors were made by ...Paulina Choromańska, and the correction with the source of wikiskis. Co-financed by the Minister of Culture and National Heritage.
Publikacja zrealizowana w ramach projektu Wolne Lektury (http://wolnelektury.pl) na podstawie tekstu dostępnego w serwisie Wikiźródła (http://pl.wikisource.org). Redakcję techniczną wykonała Paulina Choromańska, a korektę ze źródłem wikiskrybowie. Dofinansowano ze środków Ministra Kultury i Dziedzictwa Narodowego.
Publikacja zrealizowana w ramach projektu Wolne Lektury (http://wolnelektury.pl) na podstawie tekstu dostępnego w serwisie Wikiźródła (http://pl.wikisource.org). Redakcję techniczną wykonała Paulina Choromańska, a korektę ze źródłem wikiskrybowie. Dofinansowano ze środków Ministra Kultury i Dziedzictwa Narodowego.
Publication made as part of the Free Reading project (http://wolnelektury.pl) based on the text available on the Wikisource.org website (http://pl.wikisource.org). The technical editors were made by ...Paulina Choromańska, and the correction with the source of wikiskis. Co-financed by the Minister of Culture and National Heritage.
Publikacja zrealizowana w ramach projektu Wolne Lektury (http://wolnelektury.pl) na podstawie tekstu dostępnego w serwisie Wikiźródła (http://pl.wikisource.org). Redakcję techniczną wykonała Paulina Choromańska, a korektę ze źródłem wikiskrybowie. Dofinansowano ze środków Ministra Kultury i Dziedzictwa Narodowego.
Publikacja zrealizowana w ramach projektu Wolne Lektury (http://wolnelektury.pl) na podstawie tekstu dostępnego w serwisie Wikiźródła (http://pl.wikisource.org). Redakcję techniczną wykonała Paulina Choromańska, a korektę ze źródłem wikiskrybowie. Dofinansowano ze środków Ministra Kultury i Dziedzictwa Narodowego.
To the companies Miłkowski, Zygmunt; Miłkowski, Zygmunt
2015.11.24
Web Resource
Publication made as part of the Free Reading project (http://wolnelektury.pl) based on the text available on the Wikisource.org website (http://pl.wikisource.org). The technical editors were made by ...Paulina Choromańska, and the correction with the source of wikiskis. Co-financed by the Minister of Culture and National Heritage.
Publikacja zrealizowana w ramach projektu Wolne Lektury (http://wolnelektury.pl) na podstawie tekstu dostępnego w serwisie Wikiźródła (http://pl.wikisource.org). Redakcję techniczną wykonała Paulina Choromańska, a korektę ze źródłem wikiskrybowie. Dofinansowano ze środków Ministra Kultury i Dziedzictwa Narodowego.
Publikacja zrealizowana w ramach projektu Wolne Lektury (http://wolnelektury.pl) na podstawie tekstu dostępnego w serwisie Wikiźródła (http://pl.wikisource.org). Redakcję techniczną wykonała Paulina Choromańska, a korektę ze źródłem wikiskrybowie. Dofinansowano ze środków Ministra Kultury i Dziedzictwa Narodowego.
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