The Study on Mavro Vetranović by Juraj Carić of Hvar

Poznat ponajviše kao pomorski pisac, Juraj Carić (Svirče na Hvaru, 1854. – Jelsa, 1927.) za svoga je boravka u Dubrovniku 1895. godine, gdje je radio kao predavač u Nautičkoj školi, objavio na talijanskome jeziku ogled o Mavru Vetranoviću, predstavljajući ga kao teologa, filozofa, fizičara, botaničara, astronoma i prvoga izvornog autora hrvatske renesansne književnosti. Oslanjajući se na relevantnu bibliografiju (izvore na hrvatskom, talijanskom i njemačkom jeziku), Carić, iako nije filolog po struci, potaknut “gorkom istinom” nedovoljnoga poznavanja vlastite književne prošlosti i predrasuda koje su “plod površnih i ne uvijek objektivnih proučavanja”, donosi jedan od prvih cjelovitih prikaza Vetranovićeva pjesničkoga opusa s ciljem da se prizna slava “onome koji je slave dostojan”. Nakon analize Carićeva ogleda autorica rada zaključuje da on nije samo jedan od prinosa “otkrivanja” Mavra Vetranovića i hrvatske renesansne književnosti u 19. stoljeću, već primjer autorskoga pera koji u tragu vremena vrijedi znatno više od skromnoga zainteresiranog čitatelja, kakvim se taj učeni Hvaranin predstavlja.Best known as a marine writer, Juraj Carić (Svirče, Hvar, 1854 – Jelsa, 1927) published a study in Italian on Mavro Vetranović during his sojourn in Dubrovnik in 1895, where he worked as a lecturer at the Nautical School. The writer presented him as a theologian, philosopher, physicist, botanist, astronomer and the first original author of Croatian Renaissance literature. Although not a professional philologist, Carić produced one of the first complete reviews of Vetranović’s poetic opus with the aim of the acknowledgement of glory for ‘who is worthy of glory’. He wrote this study relying on the relevant bibliography (sources in Croatian, Italian and German) and encouraged by the ‘bitter truth’ of the insufficient knowledge of his literary past and the prejudices arising from ‘superficial and not always objective studies’. After the analysis of Carić’s study, the author of this paper concludes that it is not merely one of the contributions to the ‘discovery’ of Mavro Vetranović and Croatian Renaissance literature in the 19th century. Moreover, it is an exemplar of an author’s pen, worth far more with time than just a modest interested reader as this learned native of Hvar presents himself