"Discors Concordia" XVII a. Jėzuitų kūryboje : teorinės prielaidos ir raiška
AbstractMotiejus Kazimieras Sarbievijus theoretical treatise De acuto et arguto, sive Seneca et Martialis, published in the third decade of the 17th century, provides Baroque style formula described by the unity of “peaceful confrontation or confrontational co-existence”, terms of harmony, became an almost universal sign of style in many different branches of Baroque art as well as came to reflect the general spirit of the period. Namely, insightful definition of the concept led to the fact that discussed work by a Jesuit researcher from the Great Duchy of Lithuania is considered to be one of the most important poetic texts of 17th century Baroque concepts. In evaluating Sarbievijus’ theory as a certain sign of the epoch, a summary of Jesuit Baroque worldview, the author aims to locate the causes underlying popularity of concors discordia seu discors concordia in the 17th century by following references in the text to theoretical contemplations of [Sarbievijus’] peers and to other poetic Jesuit works, especially epigrams. It seems to be meaningful to retrace the evolution of these concepts from Antique authors; the other part of the research focuses on further emanation of Sarbievijus’ theory in his own poetry and more general context of Baroque Jesuit, including the authors from the GDL, works. Concepts discors concordia, concors Discordia, obviously making claims to universal models of cognition and creation, in 17th century were discovered again as perfectly matching the thinking of that period. They became widely accepted forms of Jesuit cultural expression, thanks to Sarbievijus’ contributions; they also found a way into different areas of social and religious life.