Search Results
You are looking at 1 - 5 of 5 items for
- Author or Editor: László Szörényi x
- Refine by Access: All Content x
Abstract
The first humanist Latin epic in Hungary was written by the Transylvanian humanist of Moravian origin, Stephanus Stierxel (or Taurinus, in his latinized name). The work appeared in 1519 in Vienna, under the title Stauromachia id est Cruciatorum Servile Bellum. The present study reviews the previous interpretations of the epic, which chose as its subject the 1514 peasants' revolt, led by Gyrgy Dsza. Some of the interpretations state that the author's sympathy is expressed towards the noblemen, who fell victim to the riots; some state the opposite: the author stands on the side of the peasants. According to the author of the present study, neither of these views is well founded. He supports his opinion with genre-analysis, showing that the work is an epic-parody, based on the Homeric Batracomyomachia, translated and made widely known by Reuchlin. On the other hand he shows that the author of the epic, following the Erasmian Riccardo Bartholini, condemns both the arrogance of the aristocracy and the cruelty of the peasants: both classes help to destroy the unity of Christian Europe, opening a way to the Islamic conquerors waiting at the borders. This is the reason why the author of the epic chose Lucan's epic on the Roman civil war as his moral guide in his historic pessimism, and adapted the motives of this work according to his own poetic goals. Imitation of Lucan in such format is unprecedented in the whole European Neo-Latin literature.
The Author provides a survey on the presence of references to Hungary and Hungarians in Benvenuto da Imola's commentary on Dante's work. These references were used until now as indications for the dating - Szörényi shows several elements that refer to Louis I, the Great's military campain against Naples. Of course, Benvenuto's information about Hungary does not seem very rich.
Abstract
C'est en 1879 que Jnos Arany (1817–1882) acheva et publia son pope romantique intitule Toldi szerelme (L'amour de Toldi). Nous nous proposons d'examiner le contexte d'histoire des ides, de philosophie de l'histoire et de thorie des genres dans lequel et a travers des combats intrieurs le pote mena bien sa trilogie dont L'amour de Toldiest la partie centrale et la partie la plus ample. Arany commena sa carrire pique avec une pope comique (Az elveszett alkotmny – La constitution perdue, 1845) par laquelle il contesta et dconstruisit, d'une manire systmatique, la ligne Virgile – Tasse – Milton reprsente le mieux en Hongrie par Mihly Vrsmarty (Zal n futsa – La fuite de Zaln, 1823). Par la suite, nanmoins, c'est la connaissance d'Homre et de Dante qui l'aida dans l'criture de la premire partie de la trilogie (Toldi, 1847) et puis l'tude de Dante et d'Arioste lui permit d'laborer un nouveau modele d'pope. A Dante, il emprunta en premier lieu la transformation radicale de la machine pique et l'emploi inventif de symboles bibliques, tandis qu'il apprit d'aprs Arioste la manire d'attacher un thme choisi une posie antrieure (ce qu'on appelle la gionta): ce fut, dans le cas de ce dernier, l'ouvre de Boiardo, et dans le cas d'Arany, celle de Pter Ilosvai Selymes. Arany adapta avec grande affiniti l'ironie historique impitoyable d'Arioste et ainsi il russit crer une curieuse 'pope de paix' qui, tout en relatant les campagnes de Louis le Grand (Louis 1er d'Anjou) Naples et en Bohme, condamne sverement (et contrairement aux popes traditionnelles) les guerres et met en cause leur bien-fond sur un plan de philosophie de l'histoire. Il est remarquer qu'Arany se familiarisa avec la philosophie de l'histoire de Gianbattista Vico (par le truchement du grand historien suisse Bluntschli) et avec les conceptions de Carlyle portant sur l'histoire et sur les hros. Ainsi ce qui fut apparamment une pope de paix se transforma en fait en un pome pique bas sur le pch originel d'une nation. Et pour crire cette ouvre – la fin d'un combat intrieur qui dura toute une vie –, Arany se tourna vers un Virgile rinterprt.
Paulus Cortesius (Paolo Cortesi) delineated the first time history of the contemporary Latin poetry in Italy. The title of his work is De hominibus doctis dialogus (1490–1491). The literary model is precisely the Brutus by Cicero. The interlocutors are the professor of Roman University, Antonio Augusto Baldo, successor of the famous Pomponio Leto and two young students, Paolo (that is Cortesius as a young man) and Alessandro Farnese (later the pope Paul III). This later one, offended in his national pride, is scandalized because the poet valued the best of his age is an alien, a Hungarian, that is “barbarus transmontanus”. The author of the dialogue in the role of master Antonio magisterially annihilates the attack of his aristocratically-minded student and glorifies the greatness of Janus, this “alien”.
