Jagodyński Stanisław Serafin, *at the end of the 16th century, Samogitia, †ca. 1644, Polish poet. From 1613 to 1618 he studied at the Vilnius Academy, and from 1619 to 1620 at the Krakow Academy, where he attended the faculty of law. In 1621 he traveled to Italy and studied law at the University of Padua. During Prince Władysław’s foreign journey in 1624–25, Jagodyński was a member of the prince’s entourage, although he did not return to Poland until 1627. Thereafter he lived in Krakow, (including for a time at the court of Bishop Szyszkowski), and on estates near Krakow granted to him by the king in 1634. His education was made possible through the patronage of several benefactors (including H. Wołłowicz, A. and K. Chalecki, Ł. Opaliński, and the Radziwiłł family), whom he honored with occasional panegyrics. Jagodyński published several collections of epigrams, including Grosz, 1618 (?), Kraków, 5th ed. 1705 (dedicated to the Radziwiłł family), Dworzanki, Kraków 1621 (dedicated to Ł. Opaliński), Maszkary mięsopustne 1622 (dedicated to K. S. Wolski). He also compiled the armorial work Summariusz kleynotów abo herbów… 1621.
Jagodyński’s place in cultural history rests primarily on two works. The first is Wybawienie Ruggiera z wyspy Alcyny (The Liberation of Ruggiero from Alcina’s Island), Kraków 1628 (dedicated to J. Kiszka). This was a poetic translation of Ferdinando Saracinelli’s La liberazione di Ruggiero dall’isola d’Alcina, a text performed in 1625 with music by Francesca Caccini in honor of Prince Władysław during his visit to the Medici court. For a long time, scholars believed that Jagodyński’s translation had been intended for a Polish-language performance of the work, and it was even assumed (without documentary evidence) that such a performance took place in Krakow in 1628. Detailed research has shown, however, that Jagodyński did not adhere closely to the formal verse structure of the original and introduced his own moralizing amplifications. Consequently, his version was not intended to be performed with the existing musical setting. The second significant work is Pieśni katholickie nowo reformowane y z polskich na łacińskie, z łacińskich na polskie przełożone, niektóre też nowo złożone (Catholic Songs Newly Revised and Translated from Polish into Latin and from Latin into Polish, with Some Newly Composed), Krakow around 1638 (3rd ed. 1695). This collection of church songs for the entire liturgical year presented parallel Polish and Latin versions. It is one of the earliest printed Polish Catholic hymnals (without musical notation). The volume included both already popular Polish hymns and texts newly translated or adapted by Jagodyński. Because the first edition appeared anonymously, Jagodyński’s authorship was at times questioned.
Literature: A. Poliński Dzieje muzyki polskiej w zarysie, Lviv 1907; Z. Jachimecki Wpływy włoskie w muzyce polskiej, pt. 1, Krakow 1911; S. Dobrzycki Kilka uwag o „Pieśniach katolickich” Jagodyńskiego, “Pamiętnik Literacki” 1929; M. Gliński La prima stagione lirica italiana all’estero (1628), Siena 1943; M. Adamczyk S.S. Jagodyńskiego przekład libretta Saracinellego, “Muzyka” 1962 no. 4; K. Targosz-Kretowa Teatr dworski Władysława IV, Krakow 1965; A. and Z. Szweykowski „La liberazione di Ruggiero dall’isola d’Alcina” – legends and facts, in: Dzieło muzyczne. Teoria, historia, interpretacja, ed. I. Poniatowska, Krakow 1984.
