Edycja barokowej „Tragedyi o bogaczu i Łazarzu" (1999) po latach: Głos krytyczny
A 1999 Edition of the Baroque Play "Tragedyja o bogaczu i Łazarzu" (The Tragedy of the Rich Man and Lazarus), Years Later: A Critical Voice

Summary/Abstract: This article offers a critical analysis of Jerzy Treder’s 1999 edition of the Gdańsk play Tragedyja o bogaczu i Łazarzu (The Tragedy of the Rich Man and Lazarus) (1643). Despite the undeniable merits of the accompanying studies on the play’s language and its theatrical reception, this edition fails in many respects to meet the established standards of a scholarly edition. The text of the work was not published in its entirety (some marginalia were omitted), it includes phrases abandoned by the author, and there are instances of incorrect separation of stage directions from the characters’ lines, as well as erroneous attribution of lines to the characters in the play. The accuracy of the reading of the autograph manuscript leaves much to be desired, and the transcription proposed by the publisher distorts both the meaning of text and its metre. Nor is the sparse commentary free from significant errors. The purpose of this analysis is to demonstrate the urgent need to produce a new edition of this seventeenth-century play, in which the critically established text would be supplemented by an extensive historical and literary commentary.This article offers a critical analysis of Jerzy Treder’s 1999 edition of the Gdańsk play Tragedyja o bogaczu i Łazarzu (The Tragedy of the Rich Man and Lazarus) (1643). Despite the undeniable merits of the accompanying studies on the play’s language and its theatrical reception, this edition fails in many respects to meet the established standards of a scholarly edition. The text of the work was not published in its entirety (some marginalia were omitted), it includes phrases abandoned by the author, and there are instances of incorrect separation of stage directions from the characters’ lines, as well as erroneous attribution of lines to the characters in the play. The accuracy of the reading of the autograph manuscript leaves much to be desired, and the transcription proposed by the publisher distorts both the meaning of text and its metre. Nor is the sparse commentary free from significant errors. The purpose of this analysis is to demonstrate the urgent need to produce a new edition of this seventeenth-century play, in which the critically established text would be supplemented by an extensive historical and literary commentary.

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