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The main purpose of the article is to analyze the Latin speech published in Padua in 1642 and delivered at the solemn assembly of the Polish nation at the University of Padua, in the church of St. Anthony of Padua, on May 7 of the previous year. The author of the text was Stanisław Temberski, aKrakow canon and professor at the Jagiellonian University. The author of the article briefly presents his biography and literary works, and then analyzes the speech itself. Avoiding assessing the literary value of the work as such, she tries to present the ideas contained in it and show how the humanistic culture ­characteristic of theearly modern era allows the author to construct eloquent formulas and images that glorify the name of his homeland by praising the glory of its saint. The laudation of Poland is inextricably linked with the praise of its patron, Saint Stanislaus, Bishop and martyr. In Temberski’s oration, ancient tradition and medieval, hagiographic legend intertwine, and everything is processed in accordance with the author’s mentality and the concepts of seventeenth-century rhetoric. The holy martyr is compared to Hercules and the evil tyrant responsible for his death is presented as an instrument of Satan, perceived as “infernal Cerberus.” Temberski’s use of his rhetorical skills for propaganda purposes is noteworthy: on the one hand, he shows his humanistic culture and presents himself as acitizen of the Respublica litteraria. On the other hand, he inscribes the Polish state into the long tradition of Respublica Christiana. In this context, he makes it clear that acountry that produces such pious and heroic men as the holy bishop is worthy of appreciation among the nations of Europe., Lo scopo principale dell’articolo èquello di analizzare il discorso latino pubblicato aPadova nel 1642 epronunciato davanti alla solenne assemblea della nazione polacca presso l’Università di Padova, nella chiesa di Sant’Antonio da Padova, il 7 maggio dell’anno precedente. L’autore del testo fu Stanisław Temberski, canonico eprofessore all’Università Jagellonica. L’autore dell’articolo presenta brevemente la sua biografia ela sua opera letteraria, quindi analizza il discorso. Evitando valutazioni di carattere letterario del lavoro in quanto tale cerca di presentare le idee in esso contenute edi mostrare come la cultura umanistica caratteristica della prima età moderna permetta all’autore di costruire formule eimmagini eloquenti che glorificano il nome della sua patria lodando la gloria del suo santo. La lode della Polonia èinestricabilmente legata alla lode del suo patrono, San Stanislao, vescovo emartire. Nell’orazione di Temberski la tradizione antica emedioevale, la leggenda agio­grafica sono intrecciate etutto èelaborato secondo la mentalità dell’autore eiconcetti della retorica seicentesca. Il santo martire viene paragonato ad Ercole eil malvagio tiranno responsabile della sua morte viene ritratto come uno strumento di Satana, percepito come “Cerbero infernale”. L’uso che Temberski fa delle sue doti retoriche afini propagandistici èdegno di nota: da un lato manifesta la sua cultura umanistica esi presenta come cittadino della Respublica litteraria, dall’altro, inscrive lo Stato polacco nella lunga tradizione della Respublica Christiana. In questo contesto, mette in evidenza che un Paese che produce uomini così pii ed eroici come il santo vescovo èdegno di apprezzamento tra le nazioni d’Europa.

The article was inspired by the jubilee of the coronation of Our Lady of Trokai, origined in Lith uania. On this occasion, The TR published an anniversary work in the Lithuanian language. She included the translation of a 1719 brochure originally written in Latin that described the condi tions and conduct of the coronation ceremony. Her work translated by BP has also been issued in Polish. The author of the article prepared a Polish translation of the brochure for this publi cation. It contains a detailed description of the Triumphal Gates built for that occasion. Most likely, no iconographic representation has survived. Those decorations have never been the sub ject of more detailed studies in Polish scientific literature. The symbolism of the gates, especially the ones prepared by Jesuits, carries a distinct and complex rhetorical message, inscribed in the emblematic structures related to occasional architecture. The author discusses the iconograph ic project presented in the old text in this particular context.

Książka składa się z dziesięciu szkiców, w których podejmowany jest dialog z "cieniami" różnych dawnych poetów, poczynając od starożytności (Alkajos, Safona, Wergiliusz i Horacy, tak bliski Autorce książki), przez twórców reprezentujących renesansowy humanizm (Kochanowski, Buchanan), aż po mistrzów poezji barokowej (Sarbiewski, Tasso). Horacy również wywołuje w swej poezji "cienie", podobnie w średniowieczu i w okresie renesansu czynią Dante i Petrarka; w XVII wieku Bernard Fontenelle umieszcza w zaświatach rozmawiające ze sobą Safonę i Laurę (ukochaną Petrarki). Wśród tych "spirytystów" (czy może "umbrystów") są także poeci oświeceniowi (Bohomolec i Krasicki) oraz romantyk Giacomo Leopardi, a od końca XIX po schyłek XX wieku listy do Horacego piszą Andrew Lang, Helen Coale Crew, Primo Levi i Josif Brodski. Jacek Kaczmarski z kolei zapuszcza się w zaświaty, by spotkać tam Orfeusza.

Prezentowana praca zbiorowa jest panoramicznym spojrzeniem na obecny stan badań nad postrzeganiem natury w Polsce XV-XVIII wieku. Zamieszczono w niej rozprawy omawiające zarówno principia wczesnonowożytnej wiedzy o naturze, uwarunkowania sposobów jej rozumienia i doświadczania, jak i przykłady jej imaginatywnych oraz praktycznie zorientowanych transformacji. A collection of works which offers a panoramic perspective on the state of research concerning the perception of nature in 15th-18th century Poland. It includes dissertations on the principles of early modern natural science, the conditions necessary to understand and explore it and the examples of imaginary and practical oriented transformations.

Albert Ines (1619-1649) was one of the most important Polish-Latin poets of the 17th century. The subject of this text is the of handling the themes of medicine, health and disease in his work, on the example of odes (Lyricorum cen turia) and the collection of epigrams. The article analyses his disparaging jokes about physicians (popular in Roman and Greek tradition), onomastic jokes about health and caricatural imagery of the body, i.eg. obesity, lack of teeth, baldness or wigs. It also points at the fi gures of speech pertaining to the portrayal of the frailty of human condition.

The aim of this study is to show how Kochanowski imitated Horace in various ways and at different levels of his poetry. As to this moment, the matter has been discussed, mainly in regard to the Lyricorum libellus, by Zofia Głombiowska and Józef Budzyński. In this paper, the author briefl y summarises their statements and comments upon them expressing her own view. She also mentions some other publications dealing with the Horatianism of the Polish poet to a lesser degree. The text is divided into four sections. In the first one, the author makes a brief comparison between Kochanowski and Petrarca in the context of their mental kinship with Horace that resulted in poetry which is "Horatian" not only in terms of the verba but also some ideas. The second section is devoted to the Horatianism of Kochanowski’s collection of odes (Lyricorum libellus). The author begins with a brief summary of the previously mentioned scholars’ views. She also demonstrates that some of these views may oversimplify the question of Horatian imitation in case of at least several of Kochanowski’s poems. To illustrate this, she presents an analysis of ode XI (In equum) in the context of its Horatian models; the conclusion is that in this poem, as well as in the entire collection, Kochanowski imitates Horace in a sophisticated and polyphonic way.The third part of the text, after a brief mention of the "loci Horatiani' in Kochanowski’s elegies, shows the interplay of ideas between Horatian poetry and Kochanowski’s Elegy III 1. The author puts emphasis on the fact that Kochanowski adapted some of the elegiac themes to the Horatian rhetoric. Concluding her disquisition, the author argues that Kochanowski’s Horatian imitation is neither superficial nor confined to the imitation verborum, but reaches deep in the structures of Horace’s poetry.

The article briefly discusses a panegyric print "Rosa inter spinas" by Andrzej Kanon SI (published in Kraków by Franciszek Cezary’s printing house in 1648). The main subject of the said print is not Wincenty Kadłubek, but the author devoted some thought to him due to his coat of arms Poraj (the Rose). The coat of arms was traditionally attributed to Kadłubek since Długosz’s times and was also used by the addressee of Kanon ’s print, Stanisław Pstrokoński (ca. 1591 - 1657), a former Jesuit, the Bishop of Chełm and a commendatory abbot of Tyniec. Kanon based his work upon the coat of arms concept and presented famous Różyc bearers in his prose panegyric and several so-called elogia (eulogies). A couple of sentences in the panegyric and part of Elogium III refer to Wincenty Kadłubek. The text analysis shows the author’s rhetoric finesse and an implicit rhetoric message contained that accents the exemplary aspect of the saintly bishop-chronicler, his historiographic activity and humble abdication from the office and leaving for the Cistercian monastery in Jedrzejów.

The story of the Moirai (the Fates) is still one of the most creative and inspiring ancient myths today. Hardly a year goes without a least one if not more ambitious novels with titles like "The Three Fates", appearing on the book market. Recently we have had Nora Roberts' "Three Fates" (2001), Marek Sobol's "Mojry: (2005), Kate Quinn's 2015 historical contribution and many others. Over the centuries the myth has been re-narrated and reinterpreted many times. The Early Modern text which mentions Fates seem to be countless. They include poetry and prose works and a huge number of copiae rerum et verborum and other kinds of phraseological and rhetorical compendia. But already at this stage, we may observe a certain group of works which address the subject as an intensified allegory or with an undeniable dose of irony or distance. Here we may mention Charles Sorel "Le berger extravagant", Hieronim Morsztyn's "Treny", or Jan Andrzej Morsztyn 's naughty poem "Nagrobek Kusiowi". The first aim of my paper is to present a brief examination of the function of the myth in these texts. I then go to look at the work of a few (post)modern authors who invoke the mythical image in a number of ways and reinterpret it in a spirit of their times.

The aim of this study is to establish the place of Jan Kochanowski’s Lyricorum libellus (1580) in the history of Polish Renaissance neo-Latin ode presented against a wider European background. Th e development of this genre in this historico-literary period in Poland has received only fragmentary reporting, e.g. in relation to Horatianism in literature or as a background for the vernacular ode. Yet, as Carol Maddison argues in her Apollo and the Nine, the Neo-Latin ode is, in a sense, a new genre revived and newly "devised" by Renaissance humanists. In her fundamental work, Maddison also presents the development of the ode and its variations in Italy and France. According to ancient patterns used by poets, Horatian odes (including Kochanowski’s odes) can be divided into the "Pindaric" and the "Anacreontic-Sapphic". Th is division coincides to some extent with the classifi cation of odes as "political" or "private". Similar categorisation criteria adopted by various researchers (Zofi a Głombiowska, Jacqueline Glomski, Józef Budzyński) may result in individual odes being assigned to several diff erent categories. The first part of this paper, therefore, emphasises the identity of the NeoLatin ode and its status as a new genre strongly related to Renaissance Humanism. In the second part, the author attempts to assign particular poems from Lyricorum libellus to patterns indicated by Maddison, and deals with previous attempts at classifi cation based on diff erentiating between political and private odes. She also underlines that Kochanowski frequently imitated both pindaric and anacreontic patterns through Horace. In the third part, the author analyses the strophic organisation of individual odes and their metre as well as their rhetorical structure. The odes are here classified with regard to these criteria and interpreted in accordance with their historical context. The author pays close attention to the genre’s borderline between ode and hymn, stylistic “nobilitation” of lyrical poems and t he outright Horationism of the collection. Lastly, she pres ents conclusions concerning the role of Lyricorum libellus in the development of the ode. Before Kochanowski, a signifi cant role in the evolution of the genre was played by the so-called "university ode", which was popular in Silesian and German poetic circles, as well as in odes by Paweł z Krosna. Kochanowski’s odes, however, bear little resemblance to this stage of the development of the genre in Poland. Imitating Horace in the spirit of such poets as Michael Marullus or Giovanni Pontano, Kochanowski demonstrates a mature awareness of the neo-Latin ode, formed at the meeting point of ode and hymn and constituting an element of a cycle organised in accordance with a certain idea.