Hailed as ‘the Christian Horace’ and ‘the Sarmatian Horace’, Jesuit Maciej Kazimierz Sarbiewski (1595–1640) was connected through various acquaintances with inhabitants of The Southern Netherlands. Works of the poet originating from Masovia were published in Antwerp in as early as 1624. A three-volume edition of his ‘Lyrics’ as well as volumes of ‘Epigrams’ were released in 1630. In 1632 the famous Antwerpen print shop of Balthazar Moret published a collective edition of four volumes of ‘Lyrics’ including ‘Epodes’ and ‘Epigrams’ (‘Lyricorum libri IV. Epodon liber unus alterque epigrammtum’). The frontispiece of the edition was composed by Peter Paul Rubens and it contained Sarbiewski’s ‘Lyric Panegyric to Balthazar Moret’ (‘Ad Balthasarem Moretum panegyris lyrica’) and fourteen congratulatory poems, including one by Erycius Puteanus. The discussed publication was reissued in a changed format by the same publisher in 1634 with additionally attached poem ‘To Belgian Friends’ (‘Ad amicos Belgas’), in which Sarbiewski expressed his gratitude for a favourable reception of the previous edition and the inclusion of the congratulatory poems. Also published in 1646 in Antwerp was a collection of the same of Sarbiewski’s works.
The 1632 edition contained a dedication addressed to Urban VIII, wherein Antwerpen Jesuits referred to Sarbiewski’s collection of poems as ‘a delight of Muses’ (‘Musarum delicium’) and in a panegyric tone stressed the significance of the pope-and-poet’s artistic patronage. The Jesuits further quoted the reason why the author of the book did not compose the dedication himself. It was caused by the ongoing fights in Germania, preventing mutual contacts between Belgium and Poland. As ‘misfortunate Belgians’ (‘infelices Belgae’), they also mentioned war activities taking place in their country, expressing hopes that the pope would send them words of encouragement and comfort. Hopes for peace corresponded with the first ode of the collection of ‘Lyrics’, addressed to Urban VIII. The collection included a few more works which were laudatory poems on Pope Barberini.
When addressing Balthazar Moret in his panegyric (‘Lyr.’ III 31), Sarbiewski named him ‘the glory of Belgium that loves Muses’. Referring to works of Justus Lipsius issued by the same Antwerpen publisher, he addressed the author as ‘an ornament of Lipsius’s fame’. Lipsius was the man who made it possible for Moret to visit ‘the portico loud with Socrates’s teaching’.
‘Ad amicos Belgas’ (‘Lyr.’ III 29) reflects the author’s poetic travel on Pegasus through Belgium, in the course of which he encounters his friends. The work is composed of thirty one so-called Alcaic stanzas. The first one mentioned is Jan Bolland, a Jesuit who made himself famous by lending his name to a group of Belgian hagiographers. Following scenes of cordial greetings with successive members of the Society of Jesus, Sarbiewski went on to describe their features, for instance honesty indicating elevated mind, dignity combined with gentle speech and good manners. Next, Sarbiewski used the myth of Deucalion to provide reasons for the disposition of Belgians. Their successive feature quoted was ‘gold-like brilliance’ seen in their faces and speech. When addressing ‘the Belgian lions’, he lamented the fights ongoing in their country and also stimulated their bravery. Sarbiewski recalled the school of rhetoric by Putean, and referred to the latter as ‘a fortunate teacher of the noble truth’. By assuming the role of a herald, he promised the arrival of a new age for Belgians, known for their natural aversion to violence.
