After their edition of Jan Blahoslav's treatise Musica (KLP--Koniasch Latin Press, Prague 2016), this new edition of Jan Amos Komensky
's Hymnbook is another valuable bibliophilia thanks to which the reader has a chance to look in more depth into the world of book culture, literature, and music between the Renaissance and the Baroque through the remarkable figures of the bishops of the Unity of the Brethren.
The questions raised by this critique will guide (3), a historical reflection on certain aspects of seventeenth-century philosophy and theology, represented by Rene Descartes and the Czech philosopher and theologian Jan Amos Komensky
(Comenius), the results of which will be used to complete the critique of Heidegger begun in (2).
outsized countenance floats, against the backdrop of the Prague Castle and Charles Bridge, alongside that of the seventeenth-century polymath Jan Amos Komensky
, or Comenius, also magnified (in his 1996 collection Canaan, Hill has already celebrated "huge-fisted, visionary Comenius"), while to the left of both, dramatically miniaturized, the fifteenth-century Jan Hus endures immolation within an acetylene corolla of martyr's flame.
Jan Amos Komensky
, better known as Comenius, is probably the most famous Czech exile of all time, whose contribution to world culture is familiar to all generations of Czech readers.
The short, yet characteristic, text revealed that Blahoslav did not only stress the importance of being musically proficient, he also bore in mind that music and its availability were of significance for a broad humanist education, a principle peculiar to the mature Unity of Brethren, which would be given an ingenious programme form by Blahoslav's successor Jan Amos Komensky
. In addition to the religious and ethical aspects, in his text Blahoslav accentuated the communicative function and psychological role of music and, in the wider sense, language itself.