Az ősleány, az ősistennő és Ariadné elvágott fonala: Antik elemek Hajnal Anna költészetében37–49.Megtekintések száma:53
The study examines the appearance of mythological point of view and ancient elements in the poems of Anna Hajnal (1907–1977). The first subchapter explores the intertextual background of her early poems written in the 1930s. Anna Hajnal often likens herself to Sappho or addresses the ancient Greek poetess. The second subchapter is concerned with the appearance of ancient quantitative verses. For example, the poem Egy gyermekhez (To a Child) is an imitation of the Sapphic stanza in terms of verse form. The poetess does not consciously follow the Sapphic stanza, it only evokes her memory. The third part analyzes the mythical poems of Anna Hajnal. The poem Tavaszi himnusz (The Hymn of Spring) focuses on the goddess of the moon, who is also the goddess of fertility. The author compares The Hymn of Spring with Anna Lesznai’s poem Tavasz Isten (The God of Spring). The God of Spring rules the forces of nature as the patriarchal father-god, the goddess of spring, on the other hand, brings about change more softly.
Euripidés Médeiájának magyar fordításairól23–36.Megtekintések száma:88
This study is dealing with two Hungarian translations of Euripides’ Medea. The translation made by Grácia Kerényi was produced in the second half of the 20th century, whereas the version by Zsuzsa Rakovszky was published at the beginning of the 21st. The difference between the translations regarding their textual strategies, the professional background of the translators and the final goal of the works is abysmal. Grácia Kerényi was an expert of ancient literatures, her translation was published in the official and renowned collection of Euripides’ work, Zsuzsa Rakovszky on the other hand translates predominantly from English, and her version was inspired by the request of the theatre. The study contains three parts: in the first the author analyses Kerényi’s Medea in the context of the philological reconstruction, in the second, the author examines the same text modified and revised by Fruzsina Magyar, who was the dramatic advisor of the theatre performance in Szolnok, and the third part reflects on the problems of validity, poetical force and immediacy in the translation of Zsuzsa Rakovszky.
Nestórrá utazni, Télemachosszá emlékezni: Az antikvitás mint az idő kiteljesedése Devecseri Gábor lírájában148–158.Megtekintések száma:80
This study maps the poetry of Gábor Devecseri (who was the most important Hungarian translator of Homer) regarding to the periodization of the oeuvre and focusing on the notion of time. The poetic oeuvre of Devecseri can be divided into three periods: the first period begins from the 1930’s and lasts to the collection titled Letter from the Mount, published after World War II; the second falls on the period of ”schematism”, which starts from the collection The light is spreading (celebrating the birthday of Stalin) to 1956; the third, after a long silence, begins from 1961 (with the essay „Homeric Journey”) and lasts to the death of the author. The meeting with the Greek land and culture brought some especially new elements into the poetry of Devecseri. The relation between the author and the Ancient culture is determined by the translation of Homer and by the personal encounter with modern Greek life too. The journey in space broadens not only towards the cultural dimensions of the time, but comprehends the personal phases of the individual life time.
Krisztus és Tritonia Pallas: Ányos Pál tartományi rendfőnök választás alkalmából írt oratiója257–265.Megtekintések száma:74
The paper focuses on the speech entitled Oratio in Electivo Provinciali dicta Anno 1782 by the Hungarian poet Pál Ányos (OSzK Quart. Hung. 1311). The authors analyse the structure and the rhetorical construction of the oration and put foward a proposal for some philological corrections of the previously edited text. Ányos used the allegory of the cardinal virtues as prudentia (David), amor in filios (Moses), fides, iustitia (Joshua), fortitudo, dicendi libertas (Daniel), and had harmonized the ancient (borrowed mainly from Aristotle and Plutarch) and biblical elements in a masterly manner.