Sapphic stanza in Polish poetry

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The Sapphic stanza is the only stanzaic form adapted from Greek and Latin poetry to be used widely in Polish literature. It was introduced during the Renaissance, and since has been used frequently by many prominent poets. The importance of the Sapphic stanza for Polish literature lies not only in its frequent use, but also in the fact that it formed the basis of many new strophes, built up of hendecasyllables (11-syllable lines) and pentasyllables (5-syllable lines).

Contents

Metrical components

Classical models

The stanza comes from classical Greece, but it was the Romans, especially Horace, who provided the chief models for Renaissance poets. Horace's Sapphic stanza comprised three "lesser sapphics" and an "adonic":

– u – x – u u – u – – – u – x – u u – u – – – u – x – u u – u – – – u u – –  – = long syllable; u = short syllable; x = anceps: either long or short

Polish verse

In Polish there was no quantitative verse, as phonemic quantity itself was extinct. Nor was there accentual-syllabic versification, save some attempts by Jan Kochanowski. But Polish syllabic lines were available. A syllabic hendecasyllable 11(5+6) took the place of the quantitative lesser sapphic; likewise with the adonic.

Quantitative Lesser Sapphic:      – u – x –   u u – u – – Syllabic Polish Hendecasyllable:  o o o S s | o o o o S s  Quantitative Adonic:   – u u – – Polish Pentasyllable:  o o o S s  o = any syllable; S = stressed syllable; s = unstressed syllable; | = caesura

The hendecasyllable (with caesura after the fifth syllable) is very common in Polish poetry, and the pentasyllable is so typical for Polish verse that Karol Wiktor Zawodziński gave it the name of polonik. [1] Pentasyllables occur in Polish poetry either in a long series of corresponding lines, or in combination with other metrical lines. They can also form a part-line within the metrical patterns of longer lines, such as: 8(5+3), 9(5+4), 10(5+5), 11(5+6), 12(5+7), 12(7+5), 13(8+5), and even 15(5+5+5) and 20(5+5+5+5).

The Renaissance

The Renaissance was the epoch when Polish literature became a great one. [2] Polish poets of the time were well educated, mainly in Italy, knew Latin and sometimes Greek, and worked hard on building a new Polish literature. Many authors wrote in Latin, while some tried to create a modern Polish literary language. As in other European literatures, Polish poets often looked to Greek and Roman literature as a model. Jan Kochanowski, the most prominent of a family of poets, wrote lyrical poems, often in imitation of Horace.

The classic Polish Sapphic stanza was thus 11(5+6) / 11(5+6) / 11(5+6) / 5, typically rhymed AABB. Jan Kochanowski used this Sapphic stanza several times in his Cantos, Laments, and Psalms. An excellent example is Lament XVI.

Nieszczęściu kwoli a swojej żałości,
Która mię prawie przejmuje do kości,
Lutnią i wdzięczny rym porzucić muszę,
Ledwe nie duszę. [3]

Since my misfortunes and my daily sorrow
Pervade my body, pricking to the marrow,
My lute lies silent, my fair rhymes forsaken—
My soul, too, shaken.

—Stanza 1

Mikołaj Sęp-Szarzyński, who was the author of Rymy, abo wiersze polskie (The rhymes or Polish poems) and Sebastian Grabowiecki, who was the author of Setnik rymów duchownych (Spiritual Rhymes) also used Sapphic stanzas in their lyrical pieces. Sebastian Fabian Klonowic (known as Acernus) decided to employ the stanza in a longer epic poem. His Flis, to Jest Spuszczanie Statków Wisłą i inszymi rzekami (The lightening or expediting barges on the Vistula river and other rivers) is because of its stanzaic form an exceptional work, perhaps not only in Polish literature.

Bóg na początku gdy niebo i ziemię
Stworzył i morze i żywych dusz plemię,
Rozdzielił Chaos na cztery osady
Z swej boskiej rady. [4]

When the God in the beginning created
Heaven and earth, the sea and all living beings,
He divided chaos into the four elements
With his divine decision.

—Stanza 24

The whole poem is 471 stanzas long and probably no other work can be compared to it. Tobiasz Wiszniowski, who wrote his own sequence of Laments, employed Sapphic stanza in Tren XVII (Lament XVII). [5]

The Baroque

At the beginning of the Baroque, Kasper Miaskowski employed the Sapphic stanza in some poems. Olbrycht Karmanowski, a minor poet, employed it in the poem O śmierci (On Death). Lenart Gnoiński used Sapphic stanzas in the tenth poem of a sequence named Łzy smutne (Sorrowful Tears). Daniel Naborowski, a Calvinist poet, employed the Sapphic stanza in Lament I from Laments on Death of Duke Radziwiłł, Castellan of Vilnius . The poem consists of eleven strophes. [6] Jan Andrzej Morsztyn, whose poetry (influenced strongly by Giambattista Marino) is most typical for Baroque, used Sappho's stanza in Do lutnie (To a Lute) from Lutnia (The Lute) and in Wiejski żywot (Life in a Village from the book Kanikuła, albo psia gwiazda (Canicula or dog star). Zbigniew Morsztyn shaped his Sapphic stanzas so as to make a long chain of linked strophes, exhibiting many enjambments from one to the next stanza. [7] He is the author of the poem Sławna wiktoryja nad Turkami (The Famous Victory over the Turks), which is an example of the use of the Sapphic stanza in an epic function. [8] Large parts of Klemens Bolesławiusz's Przeraźliwe echo trąby ostatecznej (The Horrifying Echo of Doomsday Trumpet) are composed in Sapphic stanzas. [9] This work, which can be compared to The Revelation of St. John or Dante Alighieri's Divine Comedy, was extremely popular and appeared in eighteen editions from 1670 to 1886. It is another example of the Sapphic stanza serving an epic function in Old Polish literature.

The Enlightenment

The Sapphic stanza was also used in Poland during Enlightenment. Poets of the time preferred the Polish alexandrine (7+6) to the hendecasyllable (5+6), but used the latter metre in Italian forms, such as sesta rima and ottava rima, as well as in Sappho's stanza. Sapphic stanzas can be found in Adam Naruszewicz's poetry. He used the form among others in the poem Pieśń doroczna na dzień ocalenia życia i zdrowia J. K. Mości (Annual song for the day of rescuing life and health of His Majesty, the King). [10] He also employed it in the poem "Piesek" ("A little dog"). [11] Franciszek Karpiński made use of the analysed form [12] in Psalm 8. O wielkości Boga (Psalm 8. On God's grandeur). He repeated it in the Psalmu 64 część. O opatrzności (Part of Psalm 64. On Providence) and in the poem Pieśń do świętych Polaków, patronów Polski (Hymn to the holy Poles, patrons of Poland). Another poet, Franciszek Dionizy Kniaźnin used Sappho's stanza very frequently. [13] Another example of Sapphic stanza is a hymn included in Gorzkie żale (Bitter Lamentations), a typically Polish Catholic devotion, sung in churches on Sundays during Lent, and familiar to many Poles.

Żal duszę ściska, serce boleść czuje,
Gdy słodki Jezus na śmierć się gotuje;
Klęczy w Ogrójcu, gdy krwawy pot leje,
Me serce mdleje. [14]

Grief squeezes soul, and the heart feels pain,
When sweet Jesus is preparing for death
Kneeling in Gethsemane, when the bloody sweat pours,
My heart faints.

Romanticism

Neither Adam Mickiewicz nor Juliusz Słowacki used the classic Sapphic stanza. [15] Słowacki, however, employed its general scheme in his own six-line stanza, discussed below. Cyprian Kamil Norwid, a poet regarded as one of the greatest Polish authors and perhaps the most modern of the poets of the 19th century, used Sapphic stanzas in the poem named Trzy zwrotki (Three strophes), [16] as well as in many other poems [17] including Sieroctwo (Orphanhood). [18] Sometimes he implemented the scheme freely, as in the poem Buntowniki (Rioters). [19]

Second half of the 19th century

The second half of the 19th century in Polish literature was dominated by pozytywizm (positivism), which was the local Polish version of West-European realism. The two greatest poets of the time were Adam Asnyk and Maria Konopnicka. Their poetry was much influenced by French Parnassianism.

Maria Konopnicka published more than twenty poems written in the form. She also used its scheme for constructing more complicated stanzas. Felicjan Faleński attempted a Polish Sapphic stanza more closely resembling the Greek and Latin models, and in translating Horace's poetry used a hendecasyllable with the caesura after the fourth, not the fifth syllable. [20] His Sapphic stanzas influenced the Czech poet Jaroslav Vrchlický. Also Kazimierz Wroczyński tried to imitate Greek rhythm in his poem Strofa Safony [21] (Sappho's strophe). [22] His stanza is composed of three lines of SsSsSsSSsSs and one of SssSs. The SsSsSsSSsSs scheme is just a trochaic hexameter (SsSsSsSsSsSs) with the eighth syllable omitted. For comparison to Horace's standard:

Horace:      – u – x – u u – u – – Wroczyński:  S s S s S s S S s S s (×3)  Horace:      – u u – – Wroczyński:  S s s S s

20th century

In the 20th century classic strophes went out of use together with regular verse. Jarosław Iwaszkiewicz used Sapphic stanza in the poem Marzec w Paryżu (March in Paris). It is composed of four stanzas and three are Sapphic ones. Only the last one is made up of four hendecasyllabic lines. All strophes rhyme ABAB. The Sapphic stanza is still used in translations form Sappho's or Horace's poems. The scheme of Sapphic stanza is so recognizable, that it can be preserved even in free verse. Lucylla Pszczołowska points out that Czesław Miłosz sometimes composed four-line stanzas with last line of five syllables and other lines of different length. [23]

Other forms derived from the Sapphic stanza

The Sapphic stanza's scheme was so attractive to Polish poets that they started to modify it, and many stanzas based on it can be found in Polish literature. Already in the 16th century Jan Kochanowski created a three-line stanza, being just a shortened Sapphic stanza (11/11/5), and used it in his Psalm 34. [24] Much later Kochanowski's proposal was used by Cyprian Kamil Norwid in his famous poem Coś ty Atenom zrobił, Sokratesie? (What Did You Do to Athens, Socrates?) [25] Juliusz Słowacki, a romantic poet, frequently used a sexain [ check spelling ] rhyming ABABCC, and invented a stanza [15] using this rhyme scheme but suggesting the Sapphic stanza in its metre: 11a/11b/11a/5b/11c/5c. [26]

Smutno mi Boże! Dla mnie na zachodzie
Rozlałeś tęczę blasków promienistą,
Przede mną gasisz w lazurowej wodzie
Gwiazdę ognistą,
Choć mi tak niebo ty złocisz i morze,
Smutno mi Boże! [27]

I am so sad, O God! Thou hast before me
Spread a bright rainbow in the western skies,
But thou hast quenched in darkness cold and stormy
The brighter stars that rise;
Clear grows the heaven ’neath thy transforming rod:
Still I am sad, O God! [28]

—Translated by Paul Soboleski

It is also possible that Słowacki was inspired by the well-known Burns stanza which also consists of four longer lines (iambic tetrameters) and two shorter (iambic dimeters):

But Mousie, thou art no thy-lane,
In proving foresight may be vain:
The best laid schemes o’ Mice an’ Men
Gang aft agley,
An’ lea’e us nought but grief an’ pain,
For promis’d joy!

Maria Konopnicka used Słowacki's stanza in her well-known poem with the Latin title "Contra spem spero", and in the poems "Do ziemi" ("To the soil") and in "Zima do poety" ("Winter to the poet"). In another poem, "Jej pamięci" ("To her memory"), she employed a very similar strophe, also 11/11/11/5/11/5, but rhymed AABBCC. In the lyric "Preludium" ("Prelude") she employed a seven-line stanza, built in much the same way: 11a/11b/11a/11a/5b/11c/5c. Once again she suggested Sappho's stanzaic pattern in the poem "Posłom wielkopolskim" ("To the deputies from the Greater Poland"), which goes 11a/11b/11a/5b/11c/11c; she repeated this scheme in "Improwizacja" ("Improvisation") and in "Ave, Patria". In the poem "Idź, idź w pokoju!" ("Go away in peace") Konopnicka used a six-line strophe 5a/11b/11b/11c/11c/5a. Another form used by Konopnicka suggestive of the Sapphic stanza is a quatrain composed of three hendecasyllabic lines and one trisyllable, [29] used in "Kto krzywdę płodzi" ("Who begets harm"). More complicated is an eight-line stanza 11/11/11/5/11/11/11/3 (rhymed ABABCCAB), as was employed in the "W Porta Pia" ("In Porta Pia"). Another form developed by Konopnicka is the five-line strophe including decasyllabic lines and masculine rhymes: 10m/5f/10m/10m/5f, used in "Którzy idziemy" ("We that are going").

Adam Asnyk wrote an epigram (Italian strambotto) "Ironia" ("Irony") in the form of ottava rima with the last line being a pentasyllable. He also often combined octosyllables with a pentasyllable, making a quasi-Sapphic stanza of 8/8/8/5. He was not the first poet to use such a stanza, being preceded by Franciszek Dionizy Kniaźnin [13] and by the Romantic poet Kazimierz Brodziński. [30] There are also more unusual forms. Jerzy Szlichting, a poet from 17th century, in his Pieśń (Song) made Sapphic-like strophe 13(8+5)a/13(8+5)a/16(8b+8b)/5x. It is an example of stanza with internal rhymes. The strophe is built of segments of five or eight syllables.

Related Research Articles

In poetry, a hendecasyllable is a line of eleven syllables. The term "hendecasyllabic" is used to refer to two different poetic meters, the older of which is quantitative and used chiefly in classical poetry and the newer of which is accentual and used in medieval and modern poetry. The term is often used when a line of iambic pentameter contains 11 syllables.

A strophe is a poetic term originally referring to the first part of the ode in Ancient Greek tragedy, followed by the antistrophe and epode. The term has been extended to also mean a structural division of a poem containing stanzas of varying line length. Strophic poetry is to be contrasted with poems composed line-by-line non-stanzaically, such as Greek epic poems or English blank verse, to which the term stichic applies.

Caesura Pause or break in poetry or music

A caesura, also written cæsura and cesura, is a metrical pause or break in a verse where one phrase ends and another phrase begins. It may be expressed by a comma (,), a tick (✓), or two lines, either slashed (//) or upright (||). In time value, this break may vary between the slightest perception of silence all the way up to a full pause.

Ottava rima is a rhyming stanza form of Italian origin. Originally used for long poems on heroic themes, it later came to be popular in the writing of mock-heroic works. Its earliest known use is in the writings of Giovanni Boccaccio.

The Sapphic stanza, named after Sappho, is an Aeolic verse form of four lines. Originally composed in quantitative verse and unrhymed, since the Middle Ages imitations of the form typically feature rhyme and accentual prosody. It is "the longest lived of the Classical lyric strophes in the West".

Syllabic verse is a poetic form having a fixed or constrained number of syllables per line, while stress, quantity, or tone play a distinctly secondary role — or no role at all — in the verse structure. It is common in languages that are syllable-timed, such as French or Finnish — as opposed to stress-timed languages such as English, in which accentual verse and accentual-syllabic verse are more common.

Accentual verse has a fixed number of stresses per line regardless of the number of syllables that are present. It is common in languages that are stress-timed, such as English, as opposed to syllabic verse which is common in syllable-timed languages, such as French.

The Alcaic stanza is a Greek lyrical meter, an Aeolic verse form traditionally believed to have been invented by Alcaeus, a lyric poet from Mytilene on the island of Lesbos, about 600 BC. The Alcaic stanza and the Sapphic stanza named for Alcaeus' contemporary, Sappho, are two important forms of Classical poetry. The Alcaic stanza consists of two Alcaic hendecasyllables, followed by an Alcaic enneasyllable and an Alcaic decasyllable.

Polish poetry has a centuries-old history, similar to the Polish literature.

Aeolic verse is a classification of Ancient Greek lyric poetry referring to the distinct verse forms characteristic of the two great poets of Archaic Lesbos, Sappho and Alcaeus, who composed in their native Aeolic dialect. These verse forms were taken up and developed by later Greek and Roman poets and some modern European poets.

Sappho 31 is an archaic Greek lyric poem by the ancient Greek poet Sappho of the island of Lesbos. The poem is also known as phainetai moi after the opening words of its first line. It is one of Sappho's most famous poems, describing her love for a young woman.

Sappho 16 Fragment of a poem by Sappho

Sappho 16 is a fragment of a poem by the archaic Greek lyric poet Sappho. It is from Book I of the Alexandrian edition of Sappho's poetry, and is known from a second-century papyrus discovered at Oxyrhynchus in Egypt at the beginning of the twentieth century. Sappho 16 is a love poem – the genre for which Sappho was best known – which praises the beauty of the narrator's beloved, Anactoria, and expresses the speaker's desire for her now that she is absent. It makes the case that the most beautiful thing in the world is whatever one desires, using Helen of Troy's elopement with Paris as a mythological exemplum to support this argument. The poem is at least 20 lines long, though it is uncertain whether the poem ends at line 20 or continues for another stanza.

Felicjan Medard Faleński

Felicjan Medard Faleński was a Polish poet, playwright, prosaist and translator.

Polish alexandrine is a common metrical line in Polish poetry. It is similar to the French alexandrine. Each line is composed of thirteen syllables with a caesura after the seventh syllable. The main stresses are placed on the sixth and twelfth syllables. Rhymes are feminine.

 1 2 3 4 5 6 7 1 2 3 4 5 6  o o o o o S x | o o o o S x Moja wdzięczna Orszulo, bodaj ty mnie była  S=stressed syllable; x=unstressed syllable; o=any syllable.
Sebastian Grabowiecki

Sebastian Grabowiecki was a Polish Catholic priest and poet. He was the author of Setnik rymów duchownych and Setnik rymów duchownych wtóry. His work, focused entirely on religious themes, was strongly influenced by Italian poetry, especially by Rime Spirituali by Gabriele Fiamma. One of the founding fathers of Polish lyric poetry, Grabowiecki was one of the first poets to write sonnets in Polish. Thus he holds a position comparable to Thomas Wyatt, Henry Howard, Earl of Surrey and Portuguese poet Francisco de Sá de Miranda, who introduced the sonnet into their native literatures. He also wrote the first Polish poem in ottava rima, and was an early adopter of the Sapphic stanza in Polish poetry. His best-known poem is a sonnet similar to Philip Sidney's Sonnet 89 from Astrophel and Stella, with the use of epistrophe instead of rhyme.

Olbrycht Karmanowski was a Polish nobleman, member of Polish Brethren Church, courtier, poet and translator. He is regarded as one of the minor poets of Polish late Renaissance and Baroque.

Sappho 94 Fragment of poem written by Sappho

Sappho 94, sometimes known as Sappho's Confession, is a fragment of a poem by the archaic Greek poet Sappho. The poem is written as a conversation between Sappho and a woman who is leaving her, perhaps in order to marry, and describes a series of memories of their time together. It survives on a sixth-century AD scrap of parchment. Scholarship on the poem has focused on whether the initial surviving lines of the poem are spoken by Sappho or the departing woman, and on the interpretation of the eighth stanza, possibly the only mention of homosexual activities in the surviving Sapphic corpus.

Sonnet on the Great Suffering of Jesus Christ

"Sonnet on the Great Suffering of Jesus Christ" is a poem by the 17th-century Polish poet Stanisław Herakliusz Lubomirski. The poem is the last in the sequence The Poems of Lent.

A Funeral Rhapsody in Memory of General Bem

"A Funeral Rhapsody in Memory of General Bem" is a poem by Polish poet Cyprian Norwid, a descendant of the Polish king John III Sobieski. It is an elegy for a famous Polish commander, Józef Bem, who was a hero of three nations, Polish, Hungarian and Turkish. It was written in 1851. The poem is a description of an imaginary funeral. It is described as a funeral of a medieval knight or Slavic warrior, encased in armour, with his horse and a falcon, accompanied by groups of boys and girls. The poem is especially interesting because of its form. It was written in rhymed hexameter. All the lines are made up of fifteen (7+8) syllables according to the pattern ' x ' x x ' x || ' x x ' x x ' x.

Sappho 2 Poem written by Sappho

Sappho 2 is a fragment of a poem by the archaic Greek lyric poet Sappho. In antiquity it was part of Book I of the Alexandrian edition of Sappho's poetry. Sixteen lines of the poem survive, preserved on a potsherd discovered in Egypt and first published in 1937 by Medea Norsa. It is in the form of a hymn to the goddess Aphrodite, summoning her to appear in a temple in an apple grove. The majority of the poem is made up of an extended description of the sacred grove to which Aphrodite is being summoned.

References

  1. ↑ Michał Głowiński, Teresa Kostkiewiczowa, Aleksandra Okopień-Sławińska, Janusz Sławiński, Słownik terminów literackich, Wrocław 2002 (polonik).
  2. ↑ Andrzej Borowski wrote a monograph about Polish literature of 16th century: Andrzej Borowski, Renesans, Wydanie pierwsze, Wydawnictwa Szkolne i Pedagodgiczne, Warszawa 1992.
  3. ↑ Jan Kochanowski, Tren XVI at Staropolska.pl
  4. ↑ "Flis to jest spuszczanie statków Wisłą/Tekst poematu - Wikiźródła, wolna biblioteka". Pl.wikisource.org (in Polish). Retrieved 2016-12-31.
  5. ↑ Tobiasz Wiszniowski, Treny. Opracował Jacek Wóycicki, Wydawnictwo Neriton, Warszawa 2008.
  6. ↑ See: Treny na śmierć ksiecia Radziwiłła, kasztelana wileńskiego. Tren I [in:] Daniel Naborowski, Poezje wybrane. Wyboru dokonał i opracował Krzysztof Karasek, Ludowa Spółdzielnia Wydawnicza, Warszawa 1980, p. 118-119.
  7. ↑ Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 115.
  8. ↑ Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 111.
  9. ↑ See: Klemens Bolesławiusz, Przeraźliwe echo trąby ostatecznej. Wydał Jacek Sokolski, Instytut Badań Literackich, Warszawa 2004.
  10. ↑ "Pieśń doroczna na dzień ocalenia życia i zdrowia J. K. Mości - Wikiźródła, wolna biblioteka". Pl.wikisource.org. Retrieved 2016-12-31.
  11. ↑ "Piesek - Wikiźródła, wolna biblioteka". Pl.wikisource.org (in Polish). 2016-12-02. Retrieved 2016-12-31.
  12. ↑ Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p.157.
  13. 1 2 Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 157.
  14. ↑ "Gorzkie Żale - tekst - Parafia św Wojciecha w Nasielsku". Wojciech-nasielsk.plock.opoka.org.pl. Retrieved 2016-12-31.
  15. 1 2 Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 222.
  16. ↑ "Cyprian Norwid: Wiersze wybrane". Literat.ug.edu.pl. Retrieved 2017-01-05.
  17. ↑ Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 223.
  18. ↑ "Cyprian Norwid: Wiersze wybrane". Literat.ug.edu.pl. Retrieved 2017-01-05.
  19. ↑ "Cyprian Norwid: Wiersze wybrane". Literat.ug.edu.pl. Retrieved 2017-01-05.
  20. ↑ Kazimierz Wóycicki, Forma dźwiękowa prozy polskiej i wiersza polskiego, E. Wende i S-ka, Warszawa 1912, p. 211.
  21. ↑ "Antologia wspolczesnych poetow polskich". Archive.org. 2010-07-21. Retrieved 2016-12-31.
  22. ↑ Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 287.
  23. ↑ Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 329.
  24. ↑ Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 64.
  25. ↑ "Archived copy". Archived from the original on 2003-12-12. Retrieved 2004-08-31.{{cite web}}: CS1 maint: archived copy as title (link)
  26. ↑ Wiktor Jarosław Darasz, Mały przewodnik po wierszu polskim, Towarzystwo Miłośników Języka Polskiego, Kraków 2003, p. 145-146.
  27. ↑ "Hymn (Smutno mi, Boże...) - Wikiźródła, wolna biblioteka". Pl.wikisource.org (in Polish). 2016-12-11. Retrieved 2016-12-31.
  28. ↑ Poets and poetry of Poland; a collection of Polish verse, including a short account of the history of Polish poetry, with sixty biographical sketches of Poland's poets and specimens of their composition translated into the English Language by Paul Soboleski, Chicago, 1881, p. 280-282.
  29. ↑ Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 262.
  30. ↑ Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 191.
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