Nadgrobni govor Nikole Modruškog za Pietra Riarija

Autor: Neven Jovanović
Jazyk: chorvatština
Rok vydání: 2018
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Zdroj: Neven Jovanović
Colloquia Maruliana ...
Volume 27.
Issue 27.
ISSN: 1332-3431
1848-9613
Popis: Među prvima koji su javno odali počast životu i smrti Pietra Riarija (1445-1474), franjevca i kardinala Sv. Siksta te utjecajnog nećaka pape Siksta IV, našao se modruški biskup Nikola (1427-1480), rodom Kotoranin. Nikolin nadgrobni govor, prva poznata tiskom objavljena knjiga hrvatskog autora, doživio je u razdoblju 1474-1484. sedam izdanja, a poznato je i sedam rukopisnih prijepisa. Ovaj rad prikazuje povijest tiskanja Nikoline knjige, donosi podatke o tiskarima i o povijesnom kontekstu ponovnih izdanja. Potom se daje pregled tematske strukture govora. Naposljetku, upozorava se da se djelo može kontekstualizirati ne samo unutar žanra nadgrobnih pohvalnica ili orationes in funere cardinalis i ne samo kao apologija politike Pietra Riarija i Siksta IV. već i kao rani primjer prikaza idealnog kardinala kao »kneza Crkve«.
The funeral oration of Nicholas of Modruš (1427-1480) for the cardinal priest of St Sixtus and the nephew of Pope Sixtus IV Pietro Riario (1445-1474), Oratio in funere reverendissimi domini d. Petri cardinalis Sancti Sixti (after January 18, 1474), is known from seven printed editions (1474-1484) and seven more manuscript copies. It is an exceptionally popular example of the funeral rhetoric of papal Renaissance Rome. Although the work is also the first known printed book by a Croatian author, Nicholas’ speech has never been a subject of study in the history of the national literature. Establishing the chronology of the repeated editions of the oration, we can recognise two phases. While the first is directly connected with the death of Riario, we are inclined to locate the second in 1482, in which year the only dated edition appeared, that from Padua (Matthaeus Cerdonis). At that time Nicholas of Modruš was already deceased (he was dead by May 29, 1480). We consider the historical and cultural context of the second phase of the printing of this oration: for Sixtus IV, 1482 was a year of vigorous political and cultural activity. It was the year of the great Italian war, and of the conflict with the Dominican Andrija Jamometić [Andreas Croatus] (who in Basel presented himself actually as cardinal priest of St Sixtus, appropriating the title of the late Riario), who, having convened the council, attacked not only the pope but also Pietro’s brother Girolamo Riario. In that same year, 1482, Sixtus proclaimed the Franciscan Bonaventura a saint (both Pietro Riario and the pope were Franciscans), and the interior decoration of the renovated Sistine Chapel was completed, to symbolize the cultural, religious and ideological programme of papal dominance. In its thematic structure, Nicholas’ speech follows the ancient tradition of laudatio funebris; we discern the exordium, narratio (with twelve sub-units) and the peroratio. The piece creatively interweaves proofs of Riario’s virtues (pietas, magnitudino animi, munificentia, prudentia, modestia, iustitia) with a narration of his life and death. Numerous thoughts and expressions of ancient authors, both pagan and Christian (Cicero, Plato, Justin, Suetonius, Solinus, Aristotle, Pliny, Aurelius Victor, Seneca, Plotinus, Propertius, Horace, Terence; Minucius Felix, Augustine, St Bernard of Clairvaux, Innocent III, Abbot Guerric of Igny) are included in the work, but without being particularly featured. Nicholas was not apt to be prodigal of his learning and reading. Nicholas’ oration presented a justification of Riario’s (and implicitly thus of the papal) policy and propaganda, as well as an ideal image of the »good cardinal« in an age when the loss of the real power of this position was compensated for by increments of outer show. Some thirty five years after Nicholas, Paolo Cortesi was to formulate a didactic work containing instructions for cardinals (De cardinalatu, published in 1510); Cortesi, like Nicolas, built the ideal figure of a cardinal around a set of moral virtues particularly defending the most problematic aspects of the work of the cardinal (wealth and opulence) – the same that Nicholas had had to defend in his portrait of Riario.
Databáze: OpenAIRE
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