Means of expression of Ukrainian baroque poetry: linguistic style view

The mysterious world of Baroque poetry has scientific interest among both literary critics and linguists for a long time. However, despite some elaboration of the problem, there are some gaps that need linguistic and stylistic coverage. It determines the relevance of the consideration of expressive and pictorial means of different linguistic nature, manifested in the poetic works of the Baroque era. The purpose of the research is to identify and characterize the means of linguistic and artistic expression of the language of the Ukrainian Baroque poetic. Fundamental in the formation of a system of artistic means, realized in Baroque poetry at all levels of language, is a combination of rational and irrational principles. In the poetry of that time, the “atmosphere of the literary game” was consistently created, which was embodied with the help of certain linguistic and expressive units. The author concludes that Ukrainian Baroque poetry is characterized by the use of various tropes and stylistic figures, including assonance and alliteration, equiphony and metaphony, paronymic attraction and phonetic epanalepsis, sound imitation and capitalisation, metaphor and metonymy, comparison and epithets, personification and periphysis, hyperbole and meiosis, parallelism and gradation, antithesis and oxymoron, polyptoton and annomination, doubling and anadiplosis, anaphora and epiphora, homeothelium and chiasm, amplification and polysyndeton. Among them, the artists mostly used figures based on exaggeration, opposition, repetition, and metaphor. The masterful combination of different stylistic means ensured the creation of an expressive, unique and perfect linguistic and artistic picture of that time. The logical continuation of the started research is to find out the influence of the Baroque tradition of decorating the fabric of a poetic work on the further formation of the Ukrainian poetic language.

Cláudio Grugel do Amaral e Frei Bernardo de Brito: sentidos da paródia / Cláudio Grugel do Amaral and Friar Bernardo de Brito: Parody Meanings

Resumo: Cláudio Grugel do Amaral (Rio de Janeiro, c. 1681-Lisboa, 1752) é um poeta luso-brasileiro cuja obra, reunida num volume manuscrito, ficou inédita. De conteúdo globalmente satírico, a sua poesia – cuja edição será apresentada no decurso de 2020 – constitui, pelo menos em parte, uma paródia de uma conhecida obra do quinhentismo português: Sílvia de Lizardo (1597), de Frei Bernardo de Brito (1569-1617). O artigo dá conta do diálogo entre o poeta brasileiro e o polígrafo português, tendo o cuidado de apresentar devidamente a desconhecida obra do primeiro.Palavras-chave: Cláudio Grugel do Amaral; Frei Bernardo de Brito; poesia barroca; paródia.Abstract: Cláudio Grugel do Amaral (Rio de Janeiro, c. 1681-Lisbon, 1752) is a Luso-Brazilian poet whose work, assembled in a manuscript volume, remained unpublished. His poetry – whose edition will be presented in the course of 2020 – is globally satirical, and at least in part a parody of a well-known Portuguese 16th century book: Sílvia de Lizardo (1597), by Friar Bernardo de Brito (1569-1617). The article gives an account of the dialogue between the Brazilian poet and the Portuguese polygraph, making sure to properly present Cláudio’s unknown work.Keywords: Cláudio Grugel do Amaral; Friar Bernardo de Brito; Baroque poetry; parody.

KIM JEST AMFINOGEN KRYŻANOWSKI – TAJEMNICZY MNICH Z SATYRY SYMEONA Z POŁOCKA

Morality pieces belong to the mainstream of baroque poetry. This genre was frequently and aptly exploited by Symeon of Polotsk. In one of his works he turned his verse into a shrewd satire dressed up as birthday wishes to a mysterious clergyman. The monk, Amfinogen Kryżanowski was a real figure and, according to scarce historical sources, he made himself known mostly owing to the wicked ways in which he conducted himself. Symeon of Polotsk directed the sword of his satire at him, incensed by the fact that Kryżanowski smeared Peter Mogila, Symeon’s beloved tutor and mentor at the Kiev Academy. In this paper, the author dissects the poem, traces the fortunes of the infamous monk and concludes that Symeon took an active interest in both the social and political upheavals of his time.

A quest for unification with the divine: Crashaw’s Teresa Poems “A Hymn to the Name and Honour of the Admirable Saint Teresa” and “The Flaming Heart”

As a metaphysical poet, Richard Crashaw (1613-1649) is recognized for his stylistic experimentation and deep religious faith. In the course of his short life, he became a fellow at Cambridge, was later introduced to Queen Henrietta Marie, Charles I’s wife, in France after his exile during the Interregnum, converted to Catholicism from Anglicanism and was highly influenced by Baroque poetry and the martyrdom of St. Teresa of Avila in his style and themes. He is a poet with a “most holy, humble and genuine soul” and in the last six years of his life, which coincided with a period of great crisis in both personal and professional spheres, he worked intensively on the religious phase of his literary career (Shepherd 1914, p. 1). He reflected his devotion to St. Teresa and to God in his religious poems. Within this context, this study analyses Crashaw’s two Teresian poems, “A Hymn to the Name and Honour of the Admirable Saint Teresa” and “The Flaming Heart” featuring the themes of the quest for divine love and unification with the divine along with Crashaw’s divergence from other metaphysical poets, his affection for the European style(s), and his religious views concerning both his country and other countries in Europe.