The article introduces a manuscript organically related to the 1416 visit of King Sigismund to England that has so far been unknown in Hungarian scholarship, moreover, its iconographic evidence, i.e. its ink drawings have not been sufficiently investigated in the international Sigismund-historiography. On surface level the textual references and the iconographic representation provide evidence for the Anglo-Hungarian, Anglo-German relations of the early fifteenth century. On the other hand, it also shed light to the Anglo-Continental relations of the 1480s–90s, the reign of King Richard III (1483–85). The so-calledWarwick-, or Rous Roll, a Middle English codex attributed to the household genealogist of the earls of Warwick, John Rous, also has a Latin variant – the Lancastrian Roll – held at the College of Arms (the college of the Garter King of Arms, collegium armorum) in London. The Pageant has been dated to varying dates between 1483 and 1492, though most scholars agree that the most probable date is between 1483 and 1485, the reign of Richard III. The Rous Rolls are dated a bit earlier, to the late 1470s or early 1480s. The British Library Catalogue puts the English roll between 1483 and 1485. The Latin manuscript might be even made earlier, between 1477 and 1485. All three narratives report on the close and even intimate relationship between the earl and King Sigismund of Luxemburg of Hungary, but from the point of view of Hungarian memoriae regum the first one, the Beauchamp Pageant is the most significant since it has precious iconographic evidence on the political activity, the court and the entourage of King Sigismund and Queen Barbara during the Council of Constance. Beyond giving an overview of the manuscript, this study aims to investigate how and from where the author and illuminator could have learnt of and gathered information on the Hungarian relations of the earl and on what grounds the artist portrayed King Sigismund.
The Hungarian (Székely) Gábor Bálint of Szentkatolna (1844–1913) was one of the first researchers of Kalmyk and Khalkha vernacular language, folklore and ethnography. His valuable records are written in a very accurate transcription and include the specimens of Kalmyk and Khalkha spoken languages, folklore material and ethnographic narratives, and a comparative grammar of western and eastern Mongolian languages. Bálint’s manuscripts had not been released until recent years when Ágnes Birtalan published his Comparative Grammar in 2009 and the Kalmyk corpus with a comprehensive analysis in 2011.
The present article aims to give an introduction to Bálint’s ethnographic materials recorded among the Kalmyks (1871–1872) and Khalkhas (1873). Despite the similar economic and cultural milieu the two ethnic groups lived in, there is considerable difference between the Kalmyk and Khalkha text corpora. Besides presenting and systematising Bálint’s ethnographic material, I shall try to clarify the reason why this significant divergence emerges between the two text corpora. Specimens of a particular phase of the wedding ceremony are represented as examples from both text corpora.
In his edition of Pro Milone A. C. Clark has misreported numerous readings of two Florentine manuscripts: Laur. XXIII Sin. 3 and BN J.IV. 4. This paper presents a list of mistakes and the relevant true readings of the MSS.
This paper contains a critical edition of an unpublished Sanskrit play
preserved in an incomplete Nepalese manuscript dated to 1382. In the
introduction an attempt is made to determine when and where the play might have
been written, and on what possible sources the plot is based.
A Viennese manuscript of the first act of Mozart's Die Zauberflöte recently surfaced in Budapest. The title page indicates that it was sold by the actor, singer and theatre copyist, Kaspar Weiß in 1796, and bears the name “Theater auf der Wieden” in Weiß's handwriting. This is the only known score with a clear connection to the theatre for which Mozart composed his singspiel. It was probably based on the theatre's score, which was certainly copied from Mozart's autograph. Upon close investigation the Budapest manuscript reveals a number of deviations from the autograph, variants that suggest something of a performing tradition that may in fact date back to Mozart himself, who conducted the first performances. At least one other Viennese copy of DieZauberflöte exhibits similar peculiarities, indicating a path of transmission that complements the one going back to Constanze Mozart, who sold copies based on the autograph.
The fifteenth-century manuscript Suppl. Gr. 45 (Austrian National Library, ÖNB, Vienna) contains an extensive Greek-Latin dictionary, where one can find a great number of marginal notes written by different hands and in different languages (Greek, Latin and Italian). Approximately sixty of these glossary notes are quotations from the well-known Byzantine code of law, the Basilika (9th century), which was initiated by Emperor Basil I and completed under the reign of his successor, Leo VI the Wise. In my paper, I intend to examine these marginal notes and argue that their direct source text is not the monumental code of law, the Basilika itself, but rather its abridged version from the 10th cent., the SynopsisMaior Basilicorum.
Peerenboom, R. P. (1993): Law and Morality in Ancient China-The Silk Manuscripts of Huang-Lao. Albany, State University of New York Press.
Law and Morality in Ancient China-The Silk Manuscripts of Huang
Fujieda Akira (2005) (ed.):
Torufan shutsudo Butten no kenkyū: Kōshō zan’ei shakuroku
トルファン出土仏典の研究-高昌殘影釈錄 (A study of Buddhist manuscripts discovered in Turfan). Kyoto.
Funayama Toru 船山徹 (2006): Masquerading as Translation