Virágnak virága : Az Ómagyar Mária-siralom mint ihletforrás a modern és a kortárs költészetben [Flowers of flowers : The Old Hungarian Lamentations of Mary as a source of inspiration in modern and contemporary poetry]

Csehy, Zoltán (2024) Virágnak virága : Az Ómagyar Mária-siralom mint ihletforrás a modern és a kortárs költészetben [Flowers of flowers : The Old Hungarian Lamentations of Mary as a source of inspiration in modern and contemporary poetry]. MAGYAR NYELV, 120 (1). pp. 29-43. ISSN 0025-0228

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Abstract

This paper deals with five strategies for the poetic afterlife of the poem Old Hungarian Lamentations of Mary. These strategies are not historically fixed but dynamic. The first strategy involves the blind re-creation of the text by modern poetic means: transcriptions, “translations”, paraphrases. The second approaches its subject from the direction of poetic variations in the form of commentary: these imitative texts incorporate, integrate and poetically (re)interpret the original text or a significant part of it. The third creative strategy is represented by montage texts: in this case, the authors treat the poem mainly as a monument of cultural memory, and its historical-canonical position is rather more important than its meaning, and usually these fragments of quotation serve to reinforce other, individual poetic messages. In the following strategy, the focus is on procedures that explore the possibilities of dialogue between texts. Allusions and intertexts, for example, treat the archetype as a relational text between death poetry, loss poetry and trauma poetry. Within the framework of the fifth mode of text use, the text leaves linearity, acquires an intermediate (inter-genre) character, e.g., it inspires picture poems, phonic poems, or the dialogue of texts is realized within the framework of dramatized stage productions. The last strategy I would call register-shifting transpositions: these successor texts often have a confrontational edge in relation to the original text, often even exploiting the poetic energies of a blasphemous effect (e.g. by blending sacral and erotic registers). This also includes playful transcriptions which infuse certain, mainly formal, patterns of the poem with effects of humour, and use the text out of its original context merely to transform syntactic, stylistic or schematic patterns or to intensify the play of the mnemotechnic. These strategies often work together, in various combinations, and it is often their exceptional interplay that creates the validity of the new poetic composition. The study analyses the poems of Sándor Weöres, Sándor Rákos, Lajos Áprily, Endre Szkárosi and György Galántai, Katalin Ladik, Gábor Schein and Virág Erdős, among others.

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