| Revision as of 12:34, 12 August 2004 view sourceJoy (talk | contribs)Autopatrolled, Administrators144,640 editsm straightened out one link← Previous edit | Revision as of 10:34, 20 August 2004 view source Mir Harven (talk | contribs)Extended confirmed users2,037 edits catsNext edit → | ||
| Line 8: | Line 8: | ||
| The picture of Ivan Gundulić appears on the 50 ] banknote and numerous post stamps. Croatians are accused of extreme ] by Serbians when referring to the author as Croatian due to the independent nature of Dubrovnik at the time. | The picture of Ivan Gundulić appears on the 50 ] banknote and numerous post stamps. Croatians are accused of extreme ] by Serbians when referring to the author as Croatian due to the independent nature of Dubrovnik at the time. | ||
| It is true that Dubrovnik was independent at that time, but it is also true Croatia was not an independent country at that time, so theoretically ''all'' persons from that time were Austrian, Hungarian, Venetian, Ragusan or Ottoman (Turkish). However, Gundulić language from his work is purely Croatian language and this fact is undisputed. (Nevertheless, Serbian extreme nationalists do in fact deny any Croatian identity.) | It is true that Dubrovnik was independent at that time, but it is also true Croatia was not an independent country at that time, so theoretically ''all'' persons from that time were Austrian, Hungarian, Venetian, Ragusan or Ottoman (Turkish). However, Gundulić language from his work is purely Croatian language and this fact is undisputed. (Nevertheless, Serbian extreme nationalists do in fact deny any Croatian identity.) | ||
| ] | |||
| ==External link== | ==External link== | ||
Revision as of 10:34, 20 August 2004
File:Gundulich.jpg
Ivan Gundulić (Italian: Giovanni Gondola) January 9 1589 - December 8 1638) is the most celebrated Croatian Baroque poet from Dubrovnik. His work embodies central characteristics of Catholic Counter-Reformation: religious fervor, insistence on "vanity of this world" and zeal in opposition to "infidels". Gundulić's major works, the epic poem Osman, the pastoral play Dubravka, and the religious poem Tears of the prodigal son (based on the famous Biblical motif) are examples of Baroque stylistic richness and, frequently, rhetorical excess.
Judging from modern perspective, two approaches seem to dominate contemporary appraisal of Gundulić's poetry: one one hand, his poetic influence has dimmed due to the change of aesthetic sensibility (Gundulić's chief literary predecessor and influence, Torquato Tasso, has undergone similar reassessment, but his artistic integrity and individuality have withstood the test of time better); on the other hand, Gundulić's role in the final standardisation of Croatian language cannot be overemphasized.
Ironically, his magnum opus, Osman, was not published in integral edition until 1844, when the Croatian Illyrian movement took his oeuvre as exemplary idiom of Croatian literary language. One of the leading Illyrian men of letters, politician, linguist and poet Ivan Mažuranić, successfully completed Gundulić's Osman by composing the last two chapters, which were left unfinished upon the poet's death.
The picture of Ivan Gundulić appears on the 50 kuna banknote and numerous post stamps. Croatians are accused of extreme nationalism by Serbians when referring to the author as Croatian due to the independent nature of Dubrovnik at the time. It is true that Dubrovnik was independent at that time, but it is also true Croatia was not an independent country at that time, so theoretically all persons from that time were Austrian, Hungarian, Venetian, Ragusan or Ottoman (Turkish). However, Gundulić language from his work is purely Croatian language and this fact is undisputed. (Nevertheless, Serbian extreme nationalists do in fact deny any Croatian identity.)