Gundulić's liberal dramas

Zadatak je ovoga rada bio istražiti korpus Gundulićevih libretističkih drama s posebnim osvrtom na tezu da i Dubravku možemo svrstati u korpus ovoga žanra. Radeći na ovom zadatku najprije smo objasnili žanrovsko određenje libretističke drame te kako je ona kao žanr inkorporirana u hrvatsku književnost. Ustanovili smo da neki teoretičari koriste i pojmove melodrama i tragikomedija pa smo to i objasnili. Nakon pojašnjenja da pojam libretisitčka drama objašnjava dubrovačku dramsku književnost 17. stoljeća u kojoj je dubrovačka drama preuzela talijanske dramme per musica uz izostavljanje glazbene sastavnice, u središnjem dijelu rada obradili smo Gundulićev korpus libretističkih drama koji uključuje Arijadnu, Prozerpinu ugrabljenu od Plutona, Dijanu, Armidu te Dubravku i ustanovili da je Gundulić bio samostalan i inovativan u stvaranju tih djela, a u njima je prikazao i dubrovačke društvene prilike svog vremena. Posebno smo se osvrnuli na tezu da Dubravka može pripadati i melodrami, u dramskom smislu i pastorali, u scenskom smislu pa smo to detaljno pojasnili.The aim of this work was to explore the Gundulić's corpus of liberal dramas, with special emphasis on the idea that Dubravka can be classified into the corpus of this genre. By working on this assignment, we first explained the genre specification of liberal drama and how it is incorporated as a genre in the Croatian literature. We found that some theorists have used terms melodrama and tragicomedy, so we explained it. After clarifying that the term liberal drama explains dramatic literature of Dubrovnik of the 17th century in which Dubrovnik drama took over the Italian dramma per musica with the omission of the musical elements, in the central part of the work we processed the corpus of Gundulić's liberal dramas, involving Ariadne, Prozerpina ugrabljena od Plutona, Diana, Armida and Dubravka and found that Gundulić was independent and innovative in the creation of these works, and they presented social conditions in Dubrovnik of his time. We put special accent on the idea that Dubravka can belong to melodrama, in dramatic terms, and pastoral, in terms of the stage, so we explained it in detail