| Abstrakt: |
The study aims to contribute to the yet not well explored topic of spiritual hymns of the early 16th century. It presents the personalities and hymnographic works of two, in terms of confession and literary attitudes, completely different authors, Kliment Bosák and Beneš Optât of Telč. The earliest occurrence of their hymns are in the Habrovany hymn books. (The Habrovany community were a religious group limited in terms of geography and time which was influenced by the Tábor community and the teachings of Zwingli.) Bosák’s work can be referred to as a “spiritual hymn” as used in German hymnology (in contrast to the “church hymn”) due to its concentration on individual religious experience. The typical recipient is probably the “low-class believer” without a precisely shaped confessional awareness. This is demonstrated by the frequent use of colloquial phrases, especially tropa based on everyday life. Bosák treat verse structure and rhyme inventively. Based on references in sources, contact with the Habrovany community and the content and style similarities, ten or twelve hymns are attributed to Optât. The main source for Optât is the ScripUire, which is a theological authority for him (especially to defend the symbolic understanding of the Eucharist) as well as inspiration in thought and poem-making (remaking cantica, figurative language inspired by the Scripture). The theological complexity and exclusivness of the tools used in its poetic language points to the fact that the recipient of Optáťs hymns was an educated believer, open to the Reformist teachings and used to reading the Bible individually. This contrast between Bosák’s “universality” and Optáťs “exclusiveness” was also probably the reason for the different reception of their hymnographic work. Bosák’s hymns later became a solid basis of the hymnographical cannon whereas Optáťs work practically remained limited to the hymn books of the Habrovany community. [ABSTRACT FROM AUTHOR] |
