|Terminus:||Rocznik VI (2004), zeszyt 1 (10)|
|Dział:||rozprawy i przyczynki|
|Tytuł:||Pieśń I 19 M. K. Sarbiewskiego jako przykład barokowej parodii|
This present article, entitled „Song I.19 by M.K. Sarbiewski as an example of Baroque parody” is one of numerous publications dealing with Baroque parodies of Horace’s works. The author endeavors to demonstrate the character of a polemic paraphrase of Horace’s ode on the example of Song I.19. Sarbiewski, evoking biblical topic of a temple, the motives of Song of Songs and Dantean tradition, engages into a polemic with the Venuzian, whose poem is shaped under the influence of Epicurean and Stoic philosophies as well as of Greek love lyric.
The comparative analysis of both songs (I.19) shows that for Sarbiewski Horace’s ode is an example of metric and compositional perfection (the poet uses the same metrum – versus asclepiadeus III). Nevertheless, Horace’s composition is linear and coherent, based on triads which appear subsequently in each verse. Sarbiewski builds his work up vertically and makes it more spacious (as we can observe it in the architecture and sculpture of Baroque).
As far as the theme is concerned, both songs (I.19) are different, although on the surface they may seem to touch the same subject. Horace expresses the desire which the lyrical subject feels towards Glycera – this being love in its earthly dimension – whilst Sarbiewski, according to the concept of A. Possevino, reinterprets Horace’s ode, replacing erotic love towards Glycera with the longing of an exile after his „heavenly home”, which represents the soul’s yearning towards God and paradise. This attitude speaks of another difference: Horace is afraid of death and thinks that immortality can be achieved by literary creation (II.20; III. 30). Sarbiewski, on the other hand, does not negate the poetic fame but is of the opinion that this fame is not going to make his soul immortal. It is difficult to compare both authors on this point, especially since they lived in different and distant epochs and also, in quite different philosophical systems.