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Jan Kochanowski Dieci Saggi CONFERENZE 140 ALINA NOWICKA-JEżOWA JAN KOCHANOWSKI DIECI SAGGI ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 140 ALINA NOWICKA-JEżoWA JAN KOCHANOWSKI DIECI SAGGI ROMA 2018 INDICE Pubblicato da Accademia Polacca delle Scienze Biblioteca e Centro di Studi a Roma vicolo Doria, 2 (Palazzo Doria) 00187 Roma tel. +39 066792170 e-mail: [email protected] www.rzym.pan.pl Pubblicazione finanziata dall’Accademia Polacca delle Scienze con il supporto dell’Accademia Polacca delle Scienze e delle Lettere (PAU) e l’Università di Varsavia, Facoltà “Artes Liberales”. Traduzioni dal polacco: Andrea Ceccherelli, Capitolo VIII Danilo Facca, Capitoli I, III, IV Leonardo Masi, Capitolo II Stefano Redaelli, Introduzione, Capitoli V, VI, IX, X Jacopo Saturno, Capitolo VII Progetto grafico: Anna Wawrzyniak Maoloni Redazione tecnica: Beata Brózda Impaginazione: Anna & Marcin Pisarek ISSN 0239-8605 ISBN 978-83-63305-54-3 © Accademia Polacca delle Scienze Biblioteca e Centro di Studi a Roma Stampa: Agencja Wydawniczo-Poligraficzna GIMPO ul. Grzegorzewskiej 8, 02-778 Warszawa INDICE Saggio INTroduTTivo 9 CAPITOLO PRIMO LA liberTÀ umana nel pensiero dell’Umanesimo polacco 17 E nella poesia di Jan KocHanowski CAPITOLO SECONDO “AL cospeTTO di Dio TUTTI bufFoni” 41 CAPITOLO TERZO POETA DOCTUS – POETA VATes di fronTE alla conoscenza E alla fede 65 CAPITOLO QUARTO TRen XIX OVVERO IL SOGNO. Saggio D’inTerpreTazione 85 CAPITOLO QUINTO IL sole nella poesia rinascimenTale. 107 Conrad CelTis – Jan KocHanowski – SZYmon SZYmonowic CAPITOLO SESTO L’Alfio oraziano redivivo. il confliTTO Tra civilizzazione E naTura 125 nella poesia rinascimenTale polacca CAPITOLO SETTimo IL peTrarcHismo nelle poesie D’amore di Jan KocHanowski 141 CAPITOLO OTTavo IL soneTTO in Polonia da KocHanowski A MorszTYN. ITinerari creaTivi 159 CAPITOLO NONO KocHanowski Tra I poeTI CHE mediTano sulla Roma ETerna 177 CAPITOLO decimo L’ “ITalianismo” di KocHanowski – un problema aperTO 197 INDICE DEI NOMI 231 NOTA bibliografica I TESTI POLACCHI DI KOCHANOWSKI – sono tratti dell’edizione di J. Krzyżanowski: Jan Kochanowski, Dzieła polskie, 12 ed., Warszawa, Państwowy Instytut Wydawniczy, 1989. Psałterz Dawidów (a cura di J. Woronczak e M. Perz), Treny (a cura di M.R. Mayenowa, L. Woron- czakowa, J. Axer), Pieśni (a cura di M.R. Mayenowa, K. Wilczewska, B. Otwinowska, M. Cytowska), Proza (a cura di B. Kreja, B. Otwinowska, M. Szymański) hanno l’edizione critica nella collana Wydanie Sejmowe Dzieł wszystkich del poeta (“Biblioteka Pisarzów Polskich. Seria B”, n. 23, 24, [25], 26). Le Elegie latine di Kochanowski sono citate dall’edizione: J. Kochanowski, Elegiarum libri IV. Eiusdem foricoenia sive Epigrammatum libellus, Cracovia, Typ. Łazarzowa, 1584. [Bibl. Jagiellońska, Cim. 5945. Edizione principe], rep. su http://neolatina.bj.uj.edu.pl/neolatina/page/show/id/1160.html [Cfr. Z. Głombiowska, Elegie łacińskie Jana Kochanowskiego. Dwie wersje, Warszawa, Państwowe Wydawnictwo Naukowe, 1981]. LE TRADUZIONI ITALIANE – delle Fraszki sono prese da Nullo Minissi (J. Kochanowski, Frasche, introduzione, traduzione e note a cura di N. Minissi, Milano, Biblioteca Universale Rizzoli, 1995). Le traduzioni di Pieśni sono sono prese da Anton Maria Raffo (J. Kochanowski, Foricoenia I cena­ fuori; Pieśni Le odi, a cura di A. M. Raffo, “In forma di parole”, n. 3, 2011). Le altre traduzioni sono di Andrea Ceccherelli, Danilo Facca, Leonardo Masi, Stefano Redaelli, Jacopo Saturno. LE EDIZIONI PRINCIPI DEI TESTI PUBBLICATI IN ITALIA, QUI RIVEDUTI, AMPLIATI E CORRETTI: La libertà umana nel pensiero dell’Umanesimo polacco. Sulle pagine della poesia di Jan Ko­ chanowski, in: Il concetto di libertà nel Rinascimento. Atti del XVIII Convegno Internazionale (Chianciano­Pienza 17­20 luglio 2006), a cura di L. Secchi Tarugi, Firenze, Franco Cesati Editore, 2008, pp. 445­468. Il cammino di un poeta polacco: Jan Kochanowski – poeta doctus e vates di fronte al mistero del­ la fede, in: Il sacro nel Rinascimento. Atti del XII Convegno Internazionale. (Chianciano­Pienza, 17­20 luglio 2000), a cura di L. Secchi Tarugi, Firenze, Franco Cesati Editore, 2002, pp. 449-468. L’Alfio oraziano redivivo, in: Città e campagna nel Rinascimento. Atti del XXVII Convegno Inter­ nazionale (Chianciano Terme ­ Pienza, 21­23 luglio 2016), a cura di L. Secchi Tarugi, Firenze, Franco Cesati Editore, 2018. Il sonetto di Jan Andrzej Morsztyn – marinista, “Ricerche slavistiche”, XLIII: 1996, La Fenice Edi- zioni, pp. 147-181. Poeti polacchi del XVI secolo sulla città eterna, in: Roma pagana e Roma cristiana nel Rina­ scimento. Atti del XXIV Convegno Internazionale (Chianciano Terme­Pienza 19­21 luglio 2012), a cura di L. Secchi Tarugi, Firenze, Franco Cesati, 2014, „Quaderni della Rassegna” 90, pp. 357-377. Osservazioni sul petrarchismo nella lirica d’amore di Jan Kochanowski, in: Profesor Jolancie Żurawskiej. Studia ofiarowane przez kolegów i przyjaciół / Alla Professoressa Jolanta Zurawska. Studi offerti da colleghi e amici, a cura di N. Minissi e W. Walecki, Kraków-Warszawa-Napoli, Colle- gium Columbinum, 2008, pp. 195-217. [Nel presente volume nuova traduzione di Jacopo Saturno] SAGGIO INTRODUTTIVO ELLA MAPPA DELLA CULTURA DEL XVI SECOLO L’ATTIVITÀ DI JAN KOCHANOWSKI (1530-1584), rappresentante della generazione di Montaigne, si estende su un ampio spazio della Rzeczpospolita, da Cracovia al dominio lituano dei Radziwiłł, ma anche oltre i suoi confini: nella Nprussiana Królewiec, a Padova, Venezia, Roma e Parigi. Non solo la prove- nienza topograficamente estesa, ma innanzitutto la profonda conoscenza delle humanae litterae e la partecipazione alla comunità europea delle idee, fanno sì che l’opera del poeta sia parte del Rinascimento europeo, sebbene il legame più profondo rimanga con il bel paese della Ausonia: Quartus, ni fallor, Tecini, hic vertitur annus, Externo ut longas ducis in orbe moras Ne tamen ad patrios remeaveris ante penates, Quam fines magnae videris Hesperiae. Tu licet omne obeas iter experientis Ulyssei, Erravit vasto qui duo lustra mari, Et qua Peliaca primus trabe navit Iason, Dum petit auratae nobile vellus ovis; Cultius Ausonio nil Sol vagus aspicit orbe, Oceano surgens Oceanumque petens. (Elegia IV Lib. III, vv. 1-10) Le opere poetiche, offerte con magnanimità “a nessuno, o piuttosto a tutti” (come leggiamo nella dedica dei Pieśni), custodiscono l’intimità del poeta in esse espressa. Esteriormente semplici ed accessibili, abitate da 140 CONFERENZE 9 JAN KOCHANOWSKI – DIECI SAGGI funzionari regali, ecclesiastici, cavalieri, dotti, amici, compagni di diverti- mento, signore oneste e fanciulle delle locande di Cracovia e Padova, invitano ad una conversazione confidenziale anche i maestri antichi e perfino il Dio dei cristiani. Si rivelano infine all’autore come un labirinto, che difende il mistero in esso contenuto, forse così inquietante come il Minotauro. Fraszki nieprzepłacone, wdzięczne fraszki moje, W które ja wszytki kładę tajemnice swoje, Bądź łaskawie Fortuna ze mną postępuje, Bądź inaczej, czego snać więcej się najduje. Obrałliby się kiedy kto tak pracowity, Żeby z was chciał wyczerpać umysł mój zakryty: Powiedzcie mu, niech próżno nie frasuje głowy, Bo się w dziwny Labirynt i błąd wda takowy, Skad żadna Aryjadna, żadne kłębki tylne Wywieść go móc nie będą, tak tam ścieżki mylne Na koniec i sam cieśla, który to mistrował, Aby tu rogatego chłopobyka chował, Nie zawżdy do wrót trafi, aż pióra szychtuje Do ramienia, toż ledwe wierzchem wylatuje. (Fraszki III 29, Do fraszek) O voi frasche mie care, né certo assai pagate, Che tutti i miei segreti pensieri riportate, Sia quando la Fortuna benigna è a me d’appresso, Sia quando a me è contraria, come m’accade spesso. Persona incontrerete talmente diligente Che voglia in voi scoprire la mia nascosta mente? Ditegli pur che invano si frastorna la testa Tanto di strani intrighi è l’opera contesta, Né alcuna Arianna o filo indietro non riporta Chi avventura il suo corso per quella via contorta. Si ricordi l’artefice, che il Labirinto ha ordito, Affinché il Minotauro vi fosse custodito: Lui stesso per sortire non ritrovò la via Ma, aggiunte piume al dorso, in alto volò via. Nonostante questo avvertimento, gli studiosi da più di cento anni hanno seguito “ścieżki mylne” (sentieri fuorvianti) della poesia di Jan Kochanowski, che hanno condotto in direzioni diverse. Finanche quegli interpretatori convinti che nel mosaico variopinto delle opere kochanowskiane si nascon- desse un’unità criptica, che cercavano di trovare la mappa del labirinto1 1] La figura del labirinto è ricostruita e interpretata da: J. Schulte, Jan Kochanowski i renesans CONFERENZE 140 CONFERENZE europejski. Osiem studiów, a cura di M. Rowińska-Szczepaniak, K. Wierzbicka-Trwoga, Warszawa, 10 SAGGIO INTRODUTTIVO per impossessarsene, hanno seguito strade differenti. Tra i piani di questa spedizione appare particolarmente interessante il progetto di Zygmunt Kubiak, presentato nel saggio dedicato alla memoria di Lidia di Padova. L’autore – esperto traduttore, poeta e al contempo conoscitore della cultura classica antica – andava cercando i contorni del labirinto nei profondi strati di significati, nascosti nelle elegie latine e nella lirica polacca di Kochanowski. Seguendo “la piccola luce splendente nel labirinto” della dichiarazione “solus amor docuit blandos me fingere versus”, ha afferrato – come il filo di Arianna – il motivo della meditazione del poeta sull’amore, il bello e l’arte poetica; meditazione consapevole delle dottrine filosofiche, ma al sicuro dalla loro erudizione
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