HUNGARIAN STUDIES 11. No. 1. Nemzetközi Magyar ... - EPA
HUNGARIAN STUDIES 11. No. 1. Nemzetközi Magyar ... - EPA HUNGARIAN STUDIES 11. No. 1. Nemzetközi Magyar ... - EPA
28 MIHÁLY SZEGEDY-MASZÁK6. Emery George, The Poetry of Miklós Radnóti: A Comparative Study (New York: Karz-Cohl,1986).7. Elie Wiesel, "For Some Measure of Humility," Sh'ma 5/100 (October 31, 1975): 314. Quotedin Alvin H. Rosenfeld, A Double Dying: Reflections on Holocaust Literature (Bloomington-Indianapolis: Indiana University Press, 1988), 14.8. Wiesel's argument is only one of the many observations that seem to echo Adorno'sKulturkritik und Gesellschaft first published in 1949. The penultimate sentence of this essayreads as follows: "Kulturkrilik findet sich der letzten Stufe der Dialektik von Kultur undBarbarei gegenüber: nach Auschwitz ein Gedicht zu schreiben, ist barbarisch, und das frißtauch die Erkenntnich an, die ausspricht, warum es unmöglich ward, heute Gedichte zuschreiben." Theodor W. Adorno, Kulturkritik und Gesellschaft, I. Prismen - Ohne Leitbild(Frankfurt am Main: Suhrkamp, 1977), 30.9. "Celan war offenbar an die deutsche Sprachheimat, die ihm keine Heimat bot, tiefer gebunden,als jene anderen Dichter waren, die sich gelentlich auch in einer anderen Sprache noch versuchthaben." Hans-Georg Gadamer, Gedicht und Gespräch: Essays (Frankfurt am Main: Insel,1990), 97.10. Samuel Beckett, Disjecta: Miscellaneous Writings and a Dramatic Fragment (New York:Grove, 1984), 52.11. G. Béla Németh, "A halálhívás és az életremény vitája," in Századelőről - századutóról:irodalom- és művelődéstörténeti tanulmányok (Budapest: Magvető, 1985), 383.12. Aladár Komlós, "Radnóti olvasása közben," in Kritikus számadás (Budapest: Szépirodalmi,1977), 161.13. Miklós Radnóti, "Ikrek hava," in Radnóti Miklós művei (Budapest: Szépirodalmi, 1982), 520.14. George Gömöri, "Miklós Radnóti: The Complete Poetry," World Literature Today, 55, no. 4(Autumn 1981), 706.15. Mihály Babits, "Népiesség," in Esszék, tanulmányok (Budapest: Szépirodalmi, 1978), II,382-384.16. Jerome Rotherberg, ed., A Big Jewish Book: Poems and Other Visions of the Jews from TribalTimes to Present (Garden City, NY: Anchor Press/Doubdelay, 1978).17. Miklós Radnóti, Napló (Budapest: Magvető, 1989), 95.18. Ibid., 129.19. Gottfried Benn, "Probleme der Lyrik," in Gesammelte Werke (München: Deutscher TaschenbuchVerlag, 1975), 1068.20. Yves Bonnefoy, "L'acte et le lieu de la poésie" (1959), in L'improbable suivi de Un rêve fait àMantoue (Paris: Mercure de France, 1980), 107.21. Miklós Szabolcsi, "Radnóti Miklós halálos tájai," in Radnóti tanulmányok, ed. Edit B. Csáky,(Budapest: Magyar Irodalomtörténeti Társaság, 1985), 105-107.22. János Pilinszky, "Radnóti Miklós," in Tanulmányok, esszék, cikkek, II, 266.23. Emery George, The Poetry of Miklós Radnóti, 487.24. Ibid., 426.25. Tibor Melczer, "Radnóti Miklós nemzeti klasszicizmusa," in Radnóti tanulmányok, ed. Edit B.Csáky, 78.
FROM CAIN TO NAHUM: SHIFTS AND CHANGESIN RADNÓTIS POETIC VISIONZSUZSANNA OZSVÁTHSchool of Arts and HumanitiesThe University of Texas at Dallas, Texas,U.S.A.The impact of the scene in which the twelve-year-old Radnóti learned aboutthe circumstances of his birth was hard and painful. 1 Magnifying its effect wasanother confrontation three years later, in which he discovered that, besideshis mother, his twin brother died on that night as well. Jolted to the core, theboy searched for ways to reorient himself, to find a "rationale" for so muchsuffering, for so much "injustice," for the spell death cast on his life.And he did so, eventually. Muting the factuality of those ghosts and blurringtheir shapes, he learned to manipulate them in his poetic imagination. In thisway, he found the freedom to search for legends which would help himunderstand what happened in terms of ancient, magical beliefs in guilt andsacrifice. The story of Cain and Abel, with its powerful sweep of emotional andritualistic elements, came to his aid. Embracing it, he generalized the dramaticnarrative and came to view his life as marked by guilt and weighed down by thecurse cast upon him for the murder of his mother and brother, a guilt and acurse through which he conceptualized, and by which he interpreted, the eventsof his birth. In this way, both became part of his identity. Out of them, hispersonal ethos and his moral struggles emerged, affecting, in turn, his experientialresponses and his self-image, shaping his awareness and perceptions alike. 2The imbrication of this primal, symbolic tale with his own life determined,however, not only Radnóti's psychic processes and intellectual development,but also his poetry. It inspired his imaginative structures, and it interplayedwith his other prominent themes. In certain poems only its fragments orinversions appear, arising in fleeting images or slivers of thought; but in othersthe legend emerges full-blown, manifesting the entire line of the rich mythicdrama by which Radnóti stored and worked out the events that surroundedhis birth.He explored them one by one in his prose piece "Gemini", letting thepersona repeat the words that had haunted him since his youth: "You killedthem. You killed them, you kill-ed th-em, you killed them." 3 The voice stuttersHungarian Studies lSjl (1996)0236-6568/96/$ 5.00 © 96 Akadémiai Kiadó, Budapest
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FROM CAIN TO NAHUM: SHIFTS AND CHANGESIN RADNÓTIS POETIC VISIONZSUZSANNA OZSVÁTHSchool of Arts and HumanitiesThe University of Texas at Dallas, Texas,U.S.A.The impact of the scene in which the twelve-year-old Radnóti learned aboutthe circumstances of his birth was hard and painful. 1 Magnifying its effect wasanother confrontation three years later, in which he discovered that, besideshis mother, his twin brother died on that night as well. Jolted to the core, theboy searched for ways to reorient himself, to find a "rationale" for so muchsuffering, for so much "injustice," for the spell death cast on his life.And he did so, eventually. Muting the factuality of those ghosts and blurringtheir shapes, he learned to manipulate them in his poetic imagination. In thisway, he found the freedom to search for legends which would help himunderstand what happened in terms of ancient, magical beliefs in guilt andsacrifice. The story of Cain and Abel, with its powerful sweep of emotional andritualistic elements, came to his aid. Embracing it, he generalized the dramaticnarrative and came to view his life as marked by guilt and weighed down by thecurse cast upon him for the murder of his mother and brother, a guilt and acurse through which he conceptualized, and by which he interpreted, the eventsof his birth. In this way, both became part of his identity. Out of them, hispersonal ethos and his moral struggles emerged, affecting, in turn, his experientialresponses and his self-image, shaping his awareness and perceptions alike. 2The imbrication of this primal, symbolic tale with his own life determined,however, not only Radnóti's psychic processes and intellectual development,but also his poetry. It inspired his imaginative structures, and it interplayedwith his other prominent themes. In certain poems only its fragments orinversions appear, arising in fleeting images or slivers of thought; but in othersthe legend emerges full-blown, manifesting the entire line of the rich mythicdrama by which Radnóti stored and worked out the events that surroundedhis birth.He explored them one by one in his prose piece "Gemini", letting thepersona repeat the words that had haunted him since his youth: "You killedthem. You killed them, you kill-ed th-em, you killed them." 3 The voice stuttersHungarian Studies lSjl (1996)0236-6568/96/$ 5.00 © 96 Akadémiai Kiadó, Budapest
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