Marulićevo alegoriziranje u XIV. pjevanju Davidijade

Miroslav Palameta - Izvorni znanstveni članak

Marulić’s allegorizing in 16th chapter of Davidias

Sažetak
Jedna od najstarijih estetskih procjena Davidijade Marilićeva je napomena u pismu kardinalu Grimaniju kako ta knjiga, što mu je šalje na dar, pruža užitak koji "odiše našom vjerom", slavi Krista, "miriše onim mirisom koji krijepi duše vjernika". Ovjeravajući intertekstualnim pristupom smisao tih iskaza u XIV. pjevanju pokazuje se kako je Marulić čitao biblijski predložak tragom kršćanskih otaca i učitelja s vjerom da su sadržaji Staroga zavjeta slika Novoga. Ta perspektiva jasno uključuje postupak kršćanske egzegeze. U tom smislu glavni junak, biblijski kralj David, predstavlja dosljedno novozavjetnog Krista i u posljednjem pjevanju i u cijelom spjevu, kao što drugi likovi imaju svoju tipološku vrijednost (Bat-Šeba prefigurira Sveto pismo, Salamon Zakon božanski itd.). Tragovi alegorijskih kodova ili posve razvidne egzegetske cjeline u samim stihovima XIV. pjevanja markiraju se, pojačavaju, prožimaju i nadopunjuju sadržajima prozne cjeline Teropologica Davidiadis expositio, pa se u svjetlu onih istaknutih natuknica u pismu kardinalu Grimaniju pokazuje da je Marulićeva Davidijada istodobno i svojevrsna "kristijada".

Abstract
The work demonstrates how Marulić, through verses of 16th chapter, left recognisable traces of allegorizing which involves a reading of a Biblical text in light of Christian doctrine, following the model set by Christian doctrine authorities.
His tropological exposition, as contained in his prose „Tropologica Davidiadis expositio,“ follows the same principle; it strengthens the traces as found in verses and are complemented by the latter. Most frequently, he uses metaphorical propositions in which etymology of some personal names is interpreted in light of Christian teaching values, having in mind that the names already figure as lexicalized metaphors.
Revealing the arcane meaning of David’s psalms, in 16th chapter Marulić presents an abbreviated life of Christ in fifty-odd hexameters; Marulić recognized in psalms the Holy Scripture (Baat Sheba) and The law of gospels (Salomon), bringing to fore again the connection between the Old and the New Testament. In the last chapter, as a foundation of Christian teaching and exegesis, such views denote a rich repertoire of similar loci and plots as found throughout the Davidias. Hence, the work relates this to the arcane meaning of the number of chapters – the Christian fathers assigned to number 14 the symbol of inherent connection between the New and the Old Testament, of Decalogue and the four gospels.
This analysis demonstrates that Marulić interprets Jewish King David as an Ur-form of Christ himself and in his verses draws David’s profile in accordance with the Christian ethics. As the assessment applies to the remaining thirteen chapters, one can conclude that, in lyricizing about David, Marulić in fact tells a story about Christ. This is also supported by the eulogy from the conclusion of the Davidias, in which a Biblical hero is identified with the Christ in Heaven.
The work also demonstrates that the conclusion of the 16th chapter has a manneristic form. Composed of a hymnal eulogy to the hero and acknowledgment to the Holy Spirit who granted the poet’s pleas from the prelude, revealing to him the arcane meanings of the Biblical text, the ending serves as a return to the fundamental assumptions of Christian exegesis.