Slavonian version of the 1786 epic poem on Philomela

U Novom i starom svetodaniku iliti kalendaru iliričkom za 1786. godinu kao jedini književni prilog tiskan je spjev Izkazanje od Filomene, kćeri kralja Pandijana. Riječ je o priči o Filomeli, Progni i Tereju što ju je Ovidije ispripovijedao u šestom pjevanju Metamorfoza. Priređivaču je kao predložak poslužila Historija od Filomene, hćere kralja Pandijana fra Ivana od Zadra: čakavski je tekst prenio u štokavsku ikavicu, mnoge je dijelove izostavio, neke je sažeo, neke izmijenio, a kadšto je dodavao nove stihove.The only literary text published in the New and Old Illyric Calendar for the year 1786 was the epic poem The Story of Philomena, Daughter of King Pandian. It is a story about Philomela, Procne and Tereus as told in Book Six of Ovid’s Metamorphoses. The Calendar’s editor, however, used The History of Philomena, Daughter of King Pandion by Fra Ivan of Zadar as a source whereby he translated Fra Ivan’s Chakavian text into Ikavian Shtokavian. In the process of translation, the editor has left out many parts of the source text, summarized and changed certain parts and, occasionally, even added new verses

“Porazenje pravednijeh mladjenaca” by Nikola Marija Antica

Premda poznat osamnaestostoljetnim biografima (Serafin Marija Črijević, Francesco Marija Appendini), međutim kao djelo Antuna Gleđevića, spjev Porazenje pravednijeh mladjenaca Nikole Marije Antice, prepjev djela Giambattista Marina (1569. –1625.) La strage degli Innocenti (Napulj, 1632) nikad nije tiskan u modernom obliku. Od spjeva se sačuvalo prvo pjevanje (119 osmeračkih katrena), naslovljeno “Sumnja Jerudova”, u kojemu je – zbog glasina o Spasiteljevu rođenju – opjevan bijes vladara pakla. Budući da prijepis Ivana Marije Matijaševića završava kustodom, koja sugerira nastavak, ne može se odlučno tvrditi je li Antica spjev dovršio ili ga iz nekoga razloga nije okončao.Porazenje pravednijeh mladjenaca (Massacre of the Innocent) was known to the 18th-century biographers (Serafin Marija Črijević, Francesco Maria Appendini) as a work of Antun Gleđević. However, the poem by Nikola Maria Antica, a poetic translation of Giambattista Marino’s work (1569-1625), La strage degli Innocenti (Naples, 1632) has never been printed in a modern form. The first canto of the epic (119 octosyllabic quatrains) has been preserved as “Sumnja Jerudova” (The Doubt of Erode), in which, because of rumours of the Saviour’s birth, the rage of the rulers of hell was celebrated in verse. Since the transcript of Ivan Marija Matijašević ends with a custoda, which suggests a continuation, it cannot be decidedly said whether Antica completed or did not finish the poem for some reason

On the performance chronology of Držić’s plays

Nakon pregleda prijedloga kronologije Držićevih drama (Armin Pavić, Franjo Petračić, Milan Rešetar, Miljenko Foretić, Nikola Batušić) te priloga u kojima se iznose arhivski podaci koji pomažu da se izvedbe pojedinih djela pobliže datiraju (Petar Kolendić, Miroslav Pantić), predlaže se ponešto dopunjena kronologija. Pritom se pozornost posvećuje nekim prijepornim pitanjima: je li Pomet izveden na otvorenom ili u zatvorenom prostoru, jesu li 1551. iste večeri izvedene Tirena i Pripovijes kako se Venere božica užeže u ljubav lijepoga Adona u komediju stavljena, u čijoj je kući prikazana Tirena s novim prologom, može li se što reći o godini izvedbi komedija Tripče de Utolče i Arkulin.Having first conducted the analysis of the draft on the performance chronology of Držić’s plays (Armin Pavić, Franjo Petračić, Milan Rešetar, Miljenko Foretić, Nikola Batušić) and appendices with archival data that help us date the performances more precisely (Petar Kolendić, Miroslav Pantić), we propose a somewhat updated chronology. Furthermore, some of the controversial issues are discussed: was Pomet performed inside or outside; were Tirena and Pripovijes kako se Venere božica užeže u ljubav lijepoga Adona u komediju stavljena performed on the same evening in 1551; in whose house was Tirena with the new prologue staged; can the performance year of Tripče de Utolče and Arkulin be positively determined

Memory of a gospel dream in the Passion of our lord Jesus Christ by Petar Kanavelić

Although Pilate’s wife is mentioned only in the Gospel of Matthew, Kanavelić gave her a rather important role in his play by especially elaborating her dream. She sees a creature from hell called Nenavidos who tries to change the destiny of Jesus through Pilate’s wife. The paper deconstructs the dream in order to show that Kanavelić wrote his play relying on epic conventions from which he appropriated the motif of hell, Pluto’s anger and the interference of infernal beasts in the life on earth