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The digital edition of Pelbartus de Themeswar’s sermons enables us to collect the quotations including the phrase ‘Ecclesia canit’. Comparing these quotations with the texts of liturgical books of that age we can find out that the liturgical quotations of Pelbartus de Themeswar – similarly to others in his order – stand close to the Roman, papal liturgical tradition. In the case of liturgical quotations coming from the Bible, our author made certain corrections to his own text according to the Vulgata Clementina, the crystallized version of the Bible.
The richness of Pelbartus de Themeswar’s writings in terms of liturgical quotations corresponds with the preaching methods of addressing the laymen (laicalis, popularis) defined by Antoninus Florentinus, and it serves the delectation. This makes the opportunity for the preacher to explain in his sermons the liturgical texts and verses often heard only in Latin.
Osualdus de Lasko’s sermons written in honour of Saint Ladislas closely follow the legend of the Árpád period, however, occasionally, he added to it, took supplements. For example, when he drew a parallel between the constructions of biblical king Josaphat and those of Ladislas. He also differs from the legend by naming two additional cathedrals (Varadiense, Albense) that he attributes to Ladislas. This statement contradicts the historically authentic sources, but it can be proved, that with his supplements he was part of a long-standing Hungarian tradition. Thus it is unnecessary to suppose that a variant of the legend has existed that author of the sermon used autonomously as his source text.
This essay attempts to identify all the sources of one sermo found in the Érdy Codex. It examines the sermo sentence by sentence given utmost attention to citations appearing in the text (whether they be exact, incomplete or distorted) and to passages that are assumed to be translated. With the help of a graph created by the authors where the text is divided by sections with their sources indicated next to them, it becomes clear which sections of the text were translations and which were the products of the Karthauzi Névtelen. Through the use of the graph the authors determined that the approach of Karthauzi Névtelen to the translation of the text depended on the nature of the source. For example, the Biblical quotations are hardly modified, while in those from other texts modifications can be found.
Sermons written in vernacular languages often quote their sources‘ canonical passages. However, in most of the cases they simplify or leave out the citations. By doing that they make it necessary for those dealing with the critical edition to compare the translations to the orignal Latin texts. The same problems are experienced in connection with the canonical citations, or the lack of them, in the sermons of the Karthauzi Névtelen. This essay shows the effective method of comparing the text of the Karthauzi Névtelen with the original Latin texts when it comes to identifying the shortened or distorted forms of citations and also gives a brief introduction to the basic sources of canon law.
We may read contradictory opinions in the related literature about the scriptor or scriptors of the Érdy Codex, and its autograph or copy character. This paper, through its richness in pictures, demonstrates, that the basis of a palaeographic examination might be a comparison of many aspects, since the tools of today provide deeper insight than was formerly possible. The latest inquiries seem to disprove that the Érdy Codex would be a work of more hands.
The author of this essay made an attempt to provide additional information about the biography of the Karthauzi Névtelen by examining the geographical names mentioned in the Érdy Codex and collating them with other contemporary sources. She narrowed down the geographical names found in the text to those that were within the contemporary territory of Hungary. The Karthauzi Névtelen‘s southern descent is partly proved by the processed information. However, the supposed location of his monastery in Városlőd was not confirmed. He provides relatively little information about the Transdanubian region. (It is almost possible to say that he did not know the Western frontier zone at all.) He most likely visited the surroundings of Pest and Upper Northern Hungary.
The veneration of Saint Anna is determined by the apocryphal tradition connected to it. By comparing three Hungarian codices (Érdy Codex, Kazinczy Codex and Teleki Codex) with each other and the apocryphical Gospel according to Jacob, which is considered the original source, it becomes obvious how certain authors supplemented the tradition by adding Biblical references, Christian motives and actualizing comments. They also enriched the tradition by using the language of the Bible, rich in metaphors and analogies, even in their spontanous use of language.
This essay also draws the conclusion that, however the text of the Teleki Codex is more lengthy, it is closely related to the text found in the Kazinczy Codex, and that among the three Hungarian sources the Teleki Codex adopts the text of the Gospel.
The collection of preachings of Péter Pázmány from the beginning of the 17th century is an up-to-date adaptation of European universal Christian knowledge, and a base work of Hungarian classical literature. Among his rethorical means, invoking something visual has a favoured role. After becoming familiar with the text and creating a database, it is obvious that the Medieval tradition of preaching is enriched by allegories taken from books of emblems, such as the image of the magnet and compass illustrating the relation of man and God, of the storks taking care of their elder parents, or of the mother bear that can be traced back to Antiquity. The demand for visual means is proven by the rich emblematic materials found in library catalogues of his time as educational devices of the Order of the Jesuits.
Péter TÓVAY NAGY:
The Motif of Dance According to Some Authors of the Early Latin Religious Literature
(Based on the Writings of Tertullianus, Novatianus, Cyprianus, Minucius Felix, Commodianus, Arnobius, Lactantius, Ambrosius)
This essay examines the Latin Doctors of the Church’s conception of the theme of dance between the 2nd and 4th centuries. In the documents concerning the moral judgement of dance, central concepts of moral life in European history can be grasped.
In the Christian tradition the disapproval is frequent, and this might be caused by the role of dance in paganism, its strong connection with the sin of lust, and its negative role in most occurrences in the Bible (e.g. Salome). Its connection with drunkenness, craziness or dramatics is often mentioned; moreover, it is regarded as the invention of the devil, and is sometimes made to symbolize the irreligiousness of the Jews.
The Biblical base of its positive judgement is the dance of David around the Ark of the Covenant. The first time these opposing opinions appear together can be found in Ambrosius’ writings.