78 PETER A. ROLLANDKorony, berła, z głów infuły łupię.Bawoły wściekłe karoce mą toczą.Lud wszelkich stanów koptyty ostre tłoczą."Sława skrzydłami pod niebo wzlecona,Brzmiących trąb dźwiękiem wszędy ogłoszona.Chciwe ma Sława zwierzęta za konieSilne, ogromne, narzeczone słonie.Tą Alexander, Juliusz i PlatoSłyną na świecie, i wymowny Cato.Czas bystrolotny przez bystre jelenieDniem, nocą bieży, a stać się nie lenie."Jadę godzinami, Jesień, Zima, Lato,Ze mną biegają, jako widzisz, a toLata mnie psują, jak też one trawie.Wszytko ja depcę, śladu nie zostawię."Wsystko na świecie koniec terminuje,Sam jeden Chrystus wiecznie triumfuje.Nigdy nie cierpiąc zgrzybiałej starości,Z poczetami świętych, w świętej trwa jasności. 21This work is indeed quite puzzling because of the multiplicity of themes,the change of narrative voices, and the myriad of visual images it contains.All of these baffling details are made clear at once, however, when weaccept the fact that this text actually is composed of a series of inscriptionsinspired by some plate or plates illustrating Petrarch's Trionfi. To demonstratethe probability of this hypothesis, it is necessary to consider aninstance of such influence in the writings of the Polish author Mikołaj Rej.21Like maddened horses you run, O Cupidy shameless son of licentious Venus./Whom haveyou not wounded with the arrow of concupiscence?/Hector, Solomon fell by yourmalice./Virtuous poets nor orators you cannot overlook/На, not even Jove./Behold, HolyShame, having broken the arrows/of Cupid, has no small triumph./ Scipio, Joseph unconqueredin the vanguard/go, Suzanna, Judith, virtuous ladies./Restraint, Moderation stand by the carriagewheels/the ladies in the rear prepare an offering of palms./"I, Death, to whatever comesto my eyes/I put an end with my sharp, swift scythc/It is I who papal, royal, episcopal/tiaras,sceptres, and mitres from the head do bash./Wild bulls pull my carriage./They trample allestates with their sharp hooves.'VFame borne up to the heavens on wings/is announced everywhereby the sound of blaring trumpets./Fame has rapacious beasts for horses/strong, huge,called elephants./By this [Fame] Alexander, Julius, and Plato/are renowned in the world, and[<strong>also</strong>] eloquent Cato./Swiftly flying Time, by swift hinds drawn/ day [and] night courses, andhastens not to stop./'Ί drive for hours, Spring, Winter, and Summer/run with me as yousee/and the years spoil me as I consume them./1 touch everything and leave not atrace.'YEverything in [this] world has an end,/only Christ Himself eternally triumphs./Neverhaving suffered bent old age,/ with the community of saints/He remains in holy splendor.
POLACKI'S EARLY VERSE 79In Stowo-Obraz-Znak, his seminal study on the influence of the emblemand related genres in Polish literature, Janusz Pele made a most interestingdiscovery. In the fourth chapter of the 1574 posthumous edition of Rej'sZwierzyniec, there appeared six emblems, entitled "Bóstwo jedyne,""Zacność czystości," "Miłość nieprzystojna," "Sława dobra długo trwa,""Czas prętko bieży," and "Żaden stan śmierci nie umknie." Each of thesewas illustrated by a plate identical to those executed by George Benz, theNuremberg engraver, for the 1547 Venice edition of // Trionfi. Pele concludedthat either Rej or his editor had adapted Benz's engravings to a newpurpose, providing them with new moralistic interpretations and reorderingthem in keeping with the Polish author's intentions. 22A comparison of Polacki's text with the plates used to illustrate Rej'sverse octets offers convincing evidence that the Belorussian poet wasinspired by a similar set of plates. Lines 1 -6 of Potacki's verse, for example,clearly reflect some illustration of Petrarch's "Trionfo d'Amore." Thetheme of these lines—the power of "Indecent Venera"—and such details asCupid running with his bow and arrow next to "maddened horses" and thefigures identified by Połacki as Hector, Solomon, and Jupiter reflect a platesimilar to that used for Rej's "Miłość nieprzystojna." Lines 7-12, in which"Holy Shame, having broken the arrows/ of Cupid, has no small triumph,"contain thematic and visual details similar to the plate illustrating Rej's"Zacność czystości." Both Rej's verse and Poiacki's stanza treat someaspect of Purity, using the same central element of a female figure seatedhigh on a carriage preceded by two female figures (Suzanna and Judith) andtwo male figures (Joseph and Scipio). The two female figures standing nextto the chariot—Moderation (Mierność) and Restraint (Wstrzemięźność)—and those bearing palms are features common to both Benz's plate andPolacki's stanza. They argue convincingly for Połacki having used an illustrationbased on Petrarch's "Trionfo d'Castitá" as his inspiration.Similarly, lines 13-18, in which Death speaks out in his own name,reflect—like Benz's plate used to illustrate Rej's "Żaden stan śmierci nieumknie"—Petrarch's "Trionfo delia Morte." Common to both Potacki'sverses and Benz's plate are the figure of the skeletal "Grim Reaper," withhis scythe, who rides in a carriage drawn by "raging bulls" and, in the background,the cowering figures of a king, a bishop, and a pope—identifiable22Pele, Stowo-Obraz-Znak, pp. 76-80. For this study I consulted D. D. Carcinelli, ed., LordMorley's Tryumphes ofFraunces Petrarcke (Cambridge, Mass., 1971), and Ernest Hatch Wilkins,The Triumphs of Petrarch (Chicago, 1962). Carcinelli supplied sixteenth-century platesdemonstrating the influence Petrarch's work had on painters, engravers, and manuscript illuminators.Gombrich, Symbolic Images, provides as an illustration (fig. 143) a fifteenth-centuryengraving in which all the "Triumphs" are represented on one large plate.
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HARVARDUKRAINIAN STUDIESVolume XVI
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CONTENTSARTICLESOn the Chronology o
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Bella Gutterman, Be-vo ha-Ayma: Yeh
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8 OMELJANPRITSAKIcelandic data on
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10 OMELJANPRITSAKsinum ос moöur
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12 OMELJANPRITSAKhann itrygô at ra
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14 OMELJAN PRITSAK1.5.The anonymous
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16 OMEUAN PRUSAKmep jHİmr skipsogn
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18 OMELJANPRITSAKdrápa, which was
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20 OMELJANPRITSAKILI.Before analyzi
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22 OMELJANPRITSAKsumar Alexius Grik
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24 OMELJANPRITSAK9. ОТ was king o
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26 OMELJANPRITSAKThat slaying occur
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- Page 34 and 35: 34 OMELJANPRITSAK1) The saga can ha
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- Page 88 and 89: 88 DARIUSZ KOŁODZIEJCZYKthe sixtee
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128 ANDREA GRAZIOSIStalin's influen
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130 ANDREA GRAZIOSIlatter, Trotsky
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132 ANDREA GRAZIOSImain leaders of
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134 ANDREA GRAZIOSIBut Stalin, too,
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136 ANDREA GRAZIOSIeconomic region,
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138 ANDREA GRAZIOSIUkraine between
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140 ANDREA GRAZIOSIThe offer was ac
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142 ANDREA GRAZIOSIKarelian leaders
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144 ANDREA GRAZIOSIThis time, to be
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146 ANDREA GRAZIOSIthe expected "so
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148 ANDREA GRAZIOSIconducted negoti
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150 ANDREA GRAZIOSIIn October 1925,
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152 ANDREA GRAZIOSIsocioeconomic fo
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154 ANDREA GRAZIOSI"harnessing of a
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156 ANDREA GRAZIOSIsection), which
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158 ANDREA GRAZIOSIThe ideas and co
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160 ANDREA GRAZIOSIletter to Dzerzh
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164 ANDREA GRAZIOSIThe Soviet syste
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166 ANDREA GRAZIOSIabout the inner
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168 В. N. FLORJAof the history of
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170 В. N. FLORJAthe Lviv Chronicle
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172 В. N. FLORJATranscription(CGAD
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ESSAY*Ukraine between East and West
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176 ШСЖ SEVĞENKOof the West and
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178 fflOR SEVCENKOVenetian elements
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180 IHORSEVCENKOMoscow with the unl
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182 fflORSEVCENKOeighteenth centuri
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REVIEW ARTICLESA Bibliographic Key
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186 MARTA TARNAWSKYthought-out and
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188 MARTA TARNAWSKYResearch Institu
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190 MARTA TARNAWSKYreading and the
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The Captivated Mind: Two Studies of
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194 HAROLD B. SEGELmay never have e
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196 HAROLD B. SEGELRomantic outlook
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198 HAROLD B. SEGELhave come, but a
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200 ReviewsThe number of entries (a
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202 ReviewsThe richest part of the
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204 Reviewsamount of printing error
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206 Reviewswith the original French
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218 Reviewsof that officer corps wh
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220 Reviewsthey remained pro-Bolshe
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222 Reviewsreference are given on t
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224 ReviewsTHE NATIONALITIES FACTOR
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226 Reviewsamply discuss, for examp
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228 ReviewsTwo of the diaries chose
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230 Reviewsshort biography of the a
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236 ReviewsWhile Narys Istorii cont