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Summary

Adonis presents a special case of Romans' wide interest in Eastern religions during the Augustan age: he was brought to Rome by poets, and for this reason his ‘existence’ in Latin culture was exclusively literary. His worship never had the same importance as in Hellenistic Egypt, but the pathos of this figure, and his story of love and death aroused the interest of the elegiac poets, in particular, who used his exemplum to illustrate certain τόποι of their genre and to emphasize the originality of their poetry. Through the analysis of his treatment in Propertius and in Ovid a series of reflections on elegy's nature and sense can be reconstructed in an interesting dialogue between the two poets.

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This study deals with the Ancient Latin and Old Hungarian adaptations of the most drastic myth of Tereus, Philomela and Progne. Ovid inserted the story into the 6th book of the Metamomorphoses (lines 424–674). István Gyöngyösi, called “Hungarian Ovid” by right, adapted an Ovidian text in compliance with baroque literary and translation aspects. The translation makes part of the poem called Csalárd Cupido (Fraudulent Cupido) composed in hardly identifiable epic genre in the 17th century. The Ovidian insertion became the third part of the four-part poem, focusing on the demonstration of the outrages caused by Cupido. The main characteristics of the Gyöngyösi’s adaptation are: the domestication (for example in the case of the Dionysian rites), the large insertions, the enlargement and amplification, the borrowings and changings of the motifs and patterns and the spectacular actualisation. The motive of the fire is, for example, much more emphased in the Hungarian version. Both of the authors makes capital of the rhetorics, but the Hungarian text turns up the rhetorical elements and uses them as the instrument or device of the retardation and of the itemization or specification. The animal motifs being found several times in the text are used to exagerate or heighten the drastic apspects and to point out to demonstrate some animal qualities of the human beeings.

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The Cornelia-figure of Lucan is a relative of the female figures of Virgil and Ovid according to linguistic and motivic references, however, on a motivic level, it should be grateful to the tragedies of Propertius and Seneca. In the Cornelia-narrative of Lucan we can assume, on the one hand a conscious linguistic and motivic reference to Ariadne of Catull with a reasonable certainty, and on the other hand to many other longer or shorter Ariadne-narratives of Ovid. The study reviews the possible references to the Ariadne-story in the epic of Lucan. In Rome, where the Naxos-episode, the most frequently mentioned part of the Ariande-story was set, the image of katasterismos was linked to the figure of the princess of Crete: which means that the connection of the ‘Ariadne in Naxos’-story with Cornelia can be a mythological metaphor of the image of becoming god. So, as a virtuous woman, Cornelia does deserve becoming a god in connection with her husband, just like Pompey as a man.

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The allegorical conception of the bucolic genre that became general in Nero’s time led to a simplification compared to Vergil’s complex art of creating symbols. Calpurnius overcame the limits of a mere reproductive imitation exactly by making use of the possibilities of pastoral allegory; in Corydon’s figure he painted a bitterly self ironic picture of his own efforts to establish himself, of the controversies of patronage and the miserable situation of poets. In Eclogue IV he does not only reverse the lines of allusions from Vergil, Ovid and other poets but also key concepts of the Augustan age such as rusticitas, paupertas, simplicitas, vates and thus confronts his own age with its deficiency in view of the idealised rule of Augustus. The carmen amoebeum exalts the Golden Age of Nero, which has often been analysed separately from the narrative frame as a document of uninhibited adulatio , can gain its full meaning only in this context.

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The paper reviews the antique models of Johannes Tröster’s Dialogus de remedio amoris (1454). Obviously, the most important inspiration for this work was the Remedia amoris by Ovid but other antique writers, e.g. Seneca, Plautus, Terence or Plutarch also had a remarkable influence on this literary work. In particular, the allusion to Virgil’s gates of Sleep is noteworthy, which supports the reader’s interpretation of the dialogue. Last but not least: efforts have been made to relate Tröster’s own manuscripts of these models based on information about the contents of his library.

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Lucanus Cornelia-alakja a nyelvi és motivikus utalások szerint Vergilius és Ovidius mitikus nőalakjainak rokona, de motivikus szinten sokat köszönhet Propertiusnak és Seneca tragédiáinak is. Lucanus Cornelia-narratívájában meglehetős bizonyossággal tételezhető tudatos nyelvi és motivikus utalás egyrészt Catullus Ariadnéjára, másrészt Ovidius több, hosszabb-rövidebb Ariadne-narratívájára. A tanulmány áttekinti az Ariadne-történetre való lehetséges utalásokat Lucanus eposzában. Rómában, ahol az Ariadne-történet legtöbbet emlegetett része a naxosi epizód volt, a krétai királylány alakjához kapcsolódott a katastérismos képzete: az ’Ariadne Naxoson’-történet Corneliával való összekapcsolása ezért mitológiai metaforája lehet a megistenülés képzetének. Cornelia tehát erényes asszonyként éppúgy kiérdemeli a megistenülést a férjével kapcsolatban, mint Pompeius a maga férfiúi állapotában.

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Studia Slavica
Author: Дьёрдь Зольтан Йожа

Reconsidering Beltov’s figure in Herzen’s Who is to Blame? will lead to revealing psychological traits relevant for the ‘superfluous man’. Features of narcissism and a set of motifs related to the mythologeme of Narcissus traced in the text allow us to conclude that selfreflexion, autobiographical method in poetics as well as a dialogue between individualism and collectivism will prevail, surpassing social aspects.

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Petrarca Argus c. eclogájáról, jóllehet a Bucolicum carmen föltehetőleg legkorábban keletkezett darabja, mindeddig nem született önálló tanulmány. Az eddigi kutatás a mű antik előképei közül szinte kizárólag Vergilius pásztori költészetének hatásával számolt, a föltűnően nagyszámú epikus allúziót, Ovidius, Statius, Claudianus hatását azonban alig vizsgálták, ez az egyoldalúság pedig könnyen vezethet kevéssé helytálló értelmezésekhez. A dolgozat az allúziók alaposabb föltárásával a költemény szerkezetének és igen összetett jelképiségének értelmezésére tesz kísérletet.

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Ovidius Metamorphoses című művének fakatalógusa (10, 90—106) a mű nehezen értelmezhető részei közé tartozik. A tizedik könyv motívumk_0

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