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In this paper, I shall be following Jagić’s study on the legends about the grabancijaš dijak , which was published in German in 1877. The paper in question discussed the legends about the grabancijaš dijak , a shabby itinerant cleric, wanderer and light-hearted adventurer, a travelling student ( fahrender Schüler ), a former student of the 13 ^th School , part-priest, part-wizard. Besides folklore notations, the personage appears in Croatian literature of the 18 ^th century and is usually linked with the Zagreb Seminary. The echoes of the study in the works of Oskar Asbóth and Moses Gaster are also looked into; prompted by Jagić’s work they published in the same journal — the Archiv für slavische Philologie — the results of their own research into the grabancijaš in Hungarian and Romanian tradition. The morphological designations and functional connections between similar mythic personages in Croatian oral-literary tradition — such as the dragon, basilisk, serpent, krsnik, táltos, mogut , and warlock — are analysed in considerable detail. The grabancijaš is also observed as a mythic personage who deviated most from functionally similar personages, and was fully adapted to Christianisation. This is also shown in the relatively numerous Croatian written notations from Zagreb and the Zagreb area.

Comenius and the Catechism Songs - Scholars have shown great concern about the "number listening text" called Catechism song and its versions for more than half a century. Johannes Bolte's achievements are especially appreciated in Hungary. Firstly, János Berze collected narrative material of a considerable quantity for the Catechism song of the Christian tradition. Furthermore Bernard Heller expounded and analysed this problem in connection with the Echod mi jaudea. In addition, Alexander Scheiber, in the light of the above results, added numerous data to the history of motifs. Doing so, he enriched the literature of this far-reaching issue. As I have observed Comenius' textbook entitled Januae linguarum vestibulum, especially one of its chapters Numeralia, has been left out from the researches so far. Consequently I am trying to analyse this version thoroughly, comparing it with the Jewish-Christian tradition. At the same time the Egyptian hi-eroglyphs depicting numbers have given the opportunity to clarify some fractal geometrical connections, to present hidden units of pyramids and to explain the inner consistence of the numbers through the eso-teric meanings. In addition to the quantitative side of the numbers Comenius' autopsy plays an important role as the evaluation of an associative means in the phenomenology of the living folklore.

The present contribution pursues our investigation of Lootens and Feys's Chants populaires flamands, a published collection of Flemish popular songs transcribed in texts and music from the lips of a middle-class lady born in Bruges in 1795. Besides 161 “chants populaires“ of all categories (religious, mystical, tragic, comic, etc.), this corpus includes a minor portion of texts, particularly fragmented and without music, presented as “poeacutesies populaires diverses“. These are lacemakers' worksongs, learned in the lady's early years as a pupil at one of the workshop-schools, then common throughout Flanders. Besides attesting the collectors and/or the editor's modern folklore concept, the presence of these songs in the collection - the earliest sources for tellingen in Flemish tradition - allows a rare understanding of their meanings as a specific song category as well as of their interrelationships with the song tradition in local culture. Pervading their diversity of form and character, these 21 pieces demonstrate a dynamic network of meanings and functions in relation to the technical as well as socio-economic aspects of lacemaking. These insider songsof the lacemakers of Bruges demonstrate how poetic rhythm and expression transformed the tedious reality of their work through play (aural, verbal and dramatic) providing for mental and spiritual development as well as for social and emotional re-creation on the job..

Although in Amzulescu's "Catalogue of the Narrative Subjects and Variants" (1983) The Unfaithful Wife is rightly registered as a "family ballad", type 134 (291), with three sub-types, I will refer here to an epic or bravery song thematically belonging to the family ballad, but registered as a heroic epic song. The type 205 (286), Ghit ă Cătănut ă, knows hundreds of variants published in collections and magazines, or stored on tapes in the Archive of the "Constantin Brăiloiu" Institute of Ethnography and Folklore. Structural analysis of the poem led Amzulescu (1981) to the conclusion that this is a heroic ballad, the main character of which is a brave man who fights his enemy and wins, punishing at last his young wife who did not help him in a crucial, provoked or unprovoked episode of the struggle. The inter-play of the cultural, archaic context and the social, performing context shows how the singers, in different cultural and emotional contexts, slightly but firmly moved the emphasis either on the ethic or the heroic meaning of the story. As the ballad is mainly sung by men, and the traditional occasions of performing it were the wedding party (feast) or men gatherings, most of the versions of the ballad Ghia Catanut show a strongly male oriented attitude. The cruelty with which the young wife and her mother are punished stands, sometimes, against the moral values of the modern times.

The value of virginity and the value of wealth are two types of human attitudes in Medieval Age, reflected in folk ballads. Both make conflicts among people and appear in folklore. 1. In the ballad the girl who offers her virginity to deliver the condemned to death is furious, when she realises that her offer was in vain. 2. In the ballad of the heartless mother, in case of danger, the mother leaves the children alone in the woods and runs away with her money. The specific meaning of ballad text originates from textual context, explained by actions in tragic attitutde and by catharctic emotions at the end. Moral issues in ballads are close to the Christian rules, they are understandable in cultural, historical and textual contexts. In ballads the lonely persons stand in the focus of action and the hero/heroine are responsible for their own sin. By strong passion a hero can cause sin. The ethical norms of society are against those who are not obedient.

The Hungarians coming from the east settled in the Carpathian basin in A.D. 896, and established their Christian kingdom in 1000. They kept their ancestral religion for a century which was preserved in fragments in Hungarian popular beliefs and folklore. On the basis of these fragments, the researchers defined the religion before Christianity to be Shamanism. Shamanism however has different variations depending on the degree of development of the society in question. Recently, a segment of the Arabic al-Bakri's writings from the 11th century has been published from among the very few written sources. It reports that Hungarians worship the Lord of the Heaven. Consequently, the Hungarian Shamanism was different from that of primitive Siberian peoples; it was rather similar to Tengrism which was common in eastern nomadic empires. The archeological findings from the 10th century confirm the information found in the written source since ancient art preserved several elements of the beliefs (tree of life, the assisting spirits of the shaman, animal spirits).

Hiador Sztripszky (1875-1946) is remembered as a Hungarian and Rusyn ethnographer, bibliographer and literary historian. He is also known for his linguistic achievements. During his years (1879-1908) in Kolozsvár (today Cluj, Romania) he shaped his scholarly interests at Franz Joseph University, offering excellent training in those years, and at the museums of the town. In his ethnographic and bibliographic works related to the Subcarpathian Rusyns, he directly utilized what he had studied in Kolozsvár. Hiador Sztripszky played a prominent role in the respective histories of Hungarian, Slovakian and Rusyn bibliographies. He produced an evaluation about the habilitation application submitted by Augustin Pável, Slovenian literary translator and philologist at the University of Szeged. Sztripszky also mentioned the activities of the applicant as a translator. Augustin Pável submitted his application for the position of university private lecturer entitled Southern Slavonic and Hungarian Literary Connections at the Faculty of Arts of the University of Szeged. He delivered a habilitation lecture titled King Matthias in Slovenian Literature and Folklore. Sztripszky's evaluation, dated 1 May 1940, is published in full.

The present article pays homage to Professor Louis Ligeti, founder of Mongolian Studies at the University of Budapest, who passed away twenty-five years ago. He has been known also as one of the first scholars who carried our stationary filed research in Inner Mongolia. His disciples followed this tradition of fieldwork and often visited Mongolia in order to collect written and oral materials among the Mongolian ethnic groups. Since the early nineties a joint expedition — organised by the Department of Inner Asian Studies of the University of Budapest, in collaboration with the institutions of the Mongolian Academy of Sciences — has been working among the various ethnic groups of Mongolia. During the twenty years of fieldwork a large amount of records concerning the dialects, folklore, religious systems, material culture, etc. of these ethnic groups has been accumulated in the archives of the Expedition. The results of the field research have been published in different academic journals and conference proceedings. This time some of the Darkhad shamanic texts, recorded by the author and her research team during several study trips, will be presented in the investigation-frame of the sacral communication.

Among the complex mixture of biologically active compounds in the bark of Grewia tiliaefolia , a plant used in folklore, lupeol, a constituent of the bark, has been used as an analytical marker indicative of the quality of the plant. A sensitive and reliable quantitative high-performance thin-layer chromatographic method has been developed for the determination of lupeol from Grewia tiliaefolia . Chloroform extracts of bark from five different sources were used for HPTLC on silica gel with benzene-ethyl acetate, 95 + 5, as mobile phase. Under these conditions the R _F of lupeol was 0.40. The calibration plot was linear in the range 0.5 to 1.5 μg lupeol and the correlation coefficient, 0.999, was indicative of good linear dependence of peak area on concentration. The mean assay of lupeol was 2.902 ± 0.243 mg g ⁻¹ bark. The method enables reliable quantification of lupeol and good resolution and separation of lupeol from other constituents of Grewia tiliaefolia . To ascertain the purity of the peak from the test sample its in-situ reflectance spectrum was compared with that from standard lupeol; clear superimposibility indicated the purity of the peaks. Recovery values from 98.00 to 99.78% showed the reliability and reproducibility of the method were excellent. The HPTLC method proposed for quantitative monitoring of lupeol in Grewia tiliaefolia is rapid, simple, and accurate and can be used for routine quality testing.

Artykuł dotyczy twórczości Lwa Węglińskiego (1827–1905), poety z pogranicza polsko-ukraińskiego, który wydał 6 zbiorów w języku ukraińskim pisanych alfabetem łacińskim i 7 książek w języku polskim, w których dominował materiał oparty o reminiscencje z historii i kultury różnych narodów, a także przekłady poezji i folkloru ludowego. Zbiór Snopek z niw słowiańskich i obcych (1885) jest w całości poświęcony przekładom z folkloru słowiańskiego: są w nim zawarte ukraińskie (42), morawskie (69), węgierskie – „obce pole” (21), niemieckie (60) pieśni ludowe. We wstępie Lew Węgliński określił pieśni węgierskie jako „ogniste, dowcipne, namiętne”, a następnie przytoczył przekłady węgierskich pieśni wojennych Erotki wojskowe – Na placu ćwiczeń, Pod czas marszu, Epikurejka i innych.

Lew Węgliński informował, że jego przekłady węgierskich pieśni ludowych stanowiły Suplementum (załącznik) do tomu drugiego. Zawartość zbioru Echo z-za Tatr i Karpat (1885) jest przedstawiona bardzo szczegółowo i w całości poświęcona historii, folklorowi i literaturze Węgier, które autor uważa za najbardziej przyjazny Polsce kraj sąsiedzki. Po arkadyjskich epigramatach w języku niemieckim, Słowie wstępnym i Objaśnieniach porównuje on pieśni węgierskie z folklorem innych, w tym słowiańskich, narodów. Lew Węgliński opisuje pozytywne zjawiska dialogu polsko-ukraińskiego, w szczególności przywołuje i cytuje mowę Do parlamentu Węglińskiego petycja o wyswobodzenie Polski. Materiał poetycki zbioru podzielony jest na dwie części: „oryginalne” utwory (44 wiersze) i Pieśni erotyczne oparte na motywach węgierskich (prawie 100 wierszy), natomiast drugi dział Wolne przekłady i naśladownictwa podzielony jest również na części Z węgierskich pieśni ludowych i Z Sándora Petőfiego (50 wierszy).

Oryginalny wiersz autorstwa Lwa Węglińskiego Węgierska kraina sławi główne symbole tej krainy – Cisę, Dunaj, Karpaty i Tatry, wino, źródła lecznicze itp. Symbole te w poetycki sposób przedstawiają historię i kulturę Węgier. Autor wspomina o węgierskich „luminarzach” literatury, a szczególną uwagę poświęca najsłynniejszemu lirykowi, „rycerzowi i bardowi” Sándorowi Petőfiemu. W artykule rozważane są przekłady wierszy Petőfiego Przy kominku, Zwaliska czardy, Bachusowe pieśni, a także wierszy patriotycznych Życzenia i Szózat. Te fakty dotyczące polskiej recepcji Sándora Petőfiego powinny zostać uwzględnione w przyszłych badaniach.

The paper deals with the work of Lew Węgliński (1827–1905), a poet of the Polish–Ukrainian borderland, who published 6 collections in the Ukrainian language written in the Latin alphabet, and 7 books in Polish, which were dominated by the imaginary material created through appeals to the history and culture of different nations as well as translations of national poetry and folklore. The collection Snopek z niw słowiańskich i obcych (1885) is entirely devoted to translations of Slavic folklore: Ukrainian (42), Moravian (69), Hungarian – “the foreign field” (21), German (60) folk songs. In the introduction, Lew Węgliński described Hungarian songs as “fiery, witty, passionate”, and then cited the translations of Hungarian war songs called Erotki wojskowe – Na placu ćwiczeń, Pod czas marszu, Epikurejka and others.

Lew Węgliński informed that his translations of Hungarian folk songs were a Suplementum (the attachment) to volume two. The contents of the collection Echo z-za Tatr i Karpat (1885) are presented in great detail and entirely devoted to the history, folklore, and literature of Hungary, which the author considers to be the most friendly neighbouring country to Poland. After the Arcadian epigraphs in German, the Introductory Word and the Explanations, he compares the Hungarian songs with the folklore of others nations, including Slavic. Lew Węgliński describes the positive facts of the Polish–Ukrainian dialogue, in particular refers and cites the speech Do parlamentu Węglińskiego petycja o wyswobodzenie Polski. The poetic material of the collection is divided into two parts: “original” works (44 poems) and Erotic songs based on Hungarian motifs (almost 100 poems), while the second section Free translations and imitations is also divided into parts From Hungarian folk songs and From Sándor Petőfi (50 poems).

The original poem written by Lew Węgliński Hungarian Land, which celebrates the main symbols of this land – the Tisza, Danube, Carpathian and Tatra mountains, wine, medicinal springs, etc. These symbols poetically represent the history and culture of Hungary. The author mentions the Hungarian “luminaries” of literature, and pays a great attention to the most famous lyricist “knight-bard” Sándor Petőfi. Translations of Petőfi’s poems Przy kominku, Zwaliska czardy, Bachusowe pieśni as well as patriotic poems Życzenia and Szózat are considered in the paper. These facts of Polish perception of Sándor Petőfi are to be included in future studies.