| 61. |
- Zillén, Erik, et al.
(författare)
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”Så går ock til/ när wåld för rätt regerar i et land”. Historieskrivning och fabelbruk i Polska Kongars Saga och Skald (1736)
- 2013
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Ingår i: Filologiskt smörgåsbord 2. Vetenskapliga bidrag från skandinavistiken i Kraków. - 9788323335986 ; , s. 181-196
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Bokkapitel (refereegranskat)abstract
- In 1736, a volume entitled Polska Kongars Saga och Skald (Saga and Song of Polish Kings) was published at the royal printing house in Stockholm. The rulers of Poland, from the nation’s foundation up to the present day, are here portrayed in 51 individual chapters, each of which contains an engraving of the monarch, an historical sketch in prose, and a concluding comment in verse. Apart from discussing the attribution of this unusual work, the article specifically investigates the verse comments, arguing that the delineation of Poland’s history is used primarily as a stock of exempla, being explained in terms of virtues and vices in the terminating poems. In particular, the chapters on the medieval rulers Bolesław V and Ludwik I are scrutinized. Both of them employ verse fables by Jean de La Fontaine, translated into Swedish, as moralizing end comments on the historical events, a fact – it is shown – of remarkable significance within the fable tradition as well as the La Fontaine reception in eighteenth century Sweden.
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| 62. |
- Zillén, Erik, et al.
(författare)
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The Aesopic Fable and the Study of Greek in Early Modern Swedish Schools
- 2024
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Ingår i: Reading, Writing, Translating : Greek in Early Modern Schools, Universities, and beyond - Greek in Early Modern Schools, Universities, and beyond. - 1100-7931. - 9789189874374 - 9789189874381 ; 29, s. 89-121
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Bokkapitel (refereegranskat)abstract
- Focussing on the public school in early modern Sweden, this articleinvestigates the role of the Aesopic fable in elementary education in Greek. Asa background, the solid position of fable as genre in the teaching of Latin inmedieval Europe is sketched. When humanism launched Greek as schoolsubject, fable was adopted as reading material in the teaching of the newlanguage, partly for the same reasons it was used in the study of Latin—whereit continued to be central—and partly because of stronger aspirations forclassicality. With a certain delay, this general pattern also characterizes theways in which the Aesopic genre was made use of in Swedish schools duringthe early modern epoch. By analysing the prescriptions for classical languagesin the period’s school regulations, as well as the Greek fable books for schooluse produced in early modern Sweden, the article shows that fable managed towin a fairly firm position within the Greek curriculum during the seventeenthcentury. Nevertheless, as is also demonstrated, the implementation of readingfables in Greek was relatively slow and not without backlash. The use of fablein Greek education was, moreover, pedagogically dependent on the more well-established use of the genre in the teaching of Latin.
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| 63. |
- Zillén, Erik
(författare)
-
The dancing bear from Spain : On the eigtheenth-century Swedish reception of Tomás de Iriarte's Fábulas literarias (1782)
- 2019
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Ingår i: Reinardus. Yearbook of the International Reynard Society. - : John Benjamins Publishing Company. - 0925-4757. ; 31:1, s. 252-268
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Tidskriftsartikel (refereegranskat)abstract
- The article depicts the intense and at times unpredictable fable transfer in eighteenth-century Europe by tracing the source text of one of the most acclaimed works in Swedish fable history, Anna Maria Lenngren’s “Björndansen” [The dance of the bear]. This verse fable, published in Stockholms Posten in 1799 and bringing questions of literary quality and literary criticism into focus, was classified by the poet herself as “Original.” Twentieth-century scholars have identified a prose fable, “Björnen, Apan och Swinet” [The bear, the ape, and the swine], printed in the same daily paper in 1784 and translated from Spanish, as her probable source text. Eagerness to safeguard the poetical autonomy of Lenngren seems, though, to have restrained scholars from trying to find the Spanish original of the prose translation or to detect its author. Following the trails of French and German renderings of the Spanish fable about the dancing bear, the article demonstrates that “Björndansen” is a skilful Swedish recasting of “El Oso, la Mona y el Cerdo” [The bear, the ape, and the swine], one of the 67 verse fables in Tomás de Iriarte’s innovative Fábulas literarias (1782), a collection presenting a neoclassical poetics in the form of fable. Placing “Björndansen” within this larger international fable historical context, the article also manages, by means of comparative analysis, to throw new light on the literary devices of the Swedish masterpiece.
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| 64. |
- Zillén, Erik
(författare)
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The Status of Mythology in Sixteenth Century Lutheran Collections of Aesopic Fables
- 2012
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Konferensbidrag (refereegranskat)abstract
- In the ancient corpus of Aesopic fables gods and semi-gods from Greek and Roman mythology often appear. Most commonly Zeus is called upon by fable characters such as the donkey, the snake, and the turtle, all of them pleading for a better destiny. Frequent main characters, rather often promoting their own interests in the fable fictions, are also Hera, Herakles, Apollo, and Hermes. The high esteem in which Martin Luther held the Aesopic genre’s capacity for religious and moral edification directly encouraged the publication of three collections of Aesopic fables in German during the Reformation epoch: Etliche fabel Esopi verteutscht (1534) by Erasmus Alberus, Esopus/ Gantz New gemacht (1548) by Burkard Waldis, and Hundert Fabeln aus Esopo (1571) by Nathan Chytraeus. In compliance with their actively confessional ambition, one might assume that these vernacular volumes of Aesopic fables consequently eliminated all elements of Heathen mythology. This is, however, only partially true. In these overtly Lutheranized fable collections, classical mythology was marginalized and yet simultaneously preserved. The present paper investigates the different strategies – theological, ethical, figurative, narrative et cetera – according to which this paradoxical, yet hierarchical coexistence of Christianity and mythology was made both possible and plausible.
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