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Learned Journal of Károli Gáspár University of the Reformed Church in Hungary, Faculty of Humanities

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Learned Journal of Károli Gáspár University of the Reformed Church in Hungary, Faculty of Humanities Learned Journal of Károli Gáspár University of The Reformed Church in Hungary, Faculty of Humanities A Károli Gáspár Református Egyetem eszme-, kultúr- és vallástörténeti folyóirata ANGOL ÉS AMERIKAI IRODALOM – ENGLISH AND AMERICAN LITERATURE IX. évfolyam (2017), 4. szám IX. évf. 2017/4. A folyóirat megjelenését támogatja a Nemzeti Kulturális Alap. Kiadó: Károli Gáspár Református Egyetem Felelős kiadó: Sepsi Enikő, a BTK dékánja Felelős szerkesztő: Frazer-Imregh Monika Szerkesztők: Fülöp József Nagy Andrea Péti Miklós Szerkesztőbizottság: Hegyi Dolores Tüskés Anna Fabiny Tibor Fehér Bence Kurucz György Vassányi Miklós Német anyanyelvű lektor: Szatmári Petra Angol anyanyelvű lektor: Jack Clift (SOAS University of London) Francia lektor: Tüskés Anna MATARKA- és Facebook-admin: Bakos Áron A megjelentetésre szánt kéziratokat, illetve a megrendeléseket a következő címre kérjük küldeni: [email protected] Authors should submit manuscripts to the email address <[email protected]> ISSN 2061-456X Az első borítón: Captain Thomas Lee in Irish dress, by Marcus Gheeraerts the Younger, oil on canvas, 1594, Tate Britain. Photo © Tate. CC-BY-NC-ND 3.0 A hátsó borítón: A szoros és a tágas kapu ábrázolása: Máté 7, 13: „Menjetek be a szoros kapun. Mert tágas az a kapu, és széles az az út, amely a veszedelemre visz...” Kálvin Institutio Christianae religionis c. művének fedlapján. Kiadó: Antonius Rebulius, Genf 1561. A nyomdai munkákat a Robinco Kft. végezte, felelős vezető Kecskeméthy Péter. A folyóirat online is olvasható a KRE honlapján: orpheusnoster.kre.hu Facebook: facebook.com/orpheusnoster MTMT: mtmt.hu/orpheus-noster MATARKA: matarka.hu/szam_list.php?fsz=1940 IX. évf. 2017/4. ANGOL ÉS AMERIKAI IRODALOM – ENGLISH AND AMERICAN LITERATURE TARTALOM Erzsébet Stróbl The Device of the Savage Irish: The Portrait of Captain Thomas Lee . 7 Katalin G. Kállay The Possibilities of Parable – the Breath of a Subtle Power: A Reading of Nathaniel Hawthorne’s The Minister’s Black Veil . 20 Ágnes Beretzky The Two Harriets: Two Women Defying (Pre-)Victorian Conventions – A Comparative Analysis of the Life, Thought and Influence of Harriet Lewin Grote (1792–1878) and Harriet Taylor Mill (1807–1858) . 27 Zsófia Vasadi The Japanese Setting in the 2006 Film Adaptation of As You Like It: Kenneth Branagh’s Japanese (G)Arden . 36 Júlia Balázs Cormac McCarthy’s Unloved Child of Southern Loneliness . 52 Pintér Alexandra Viktória A fóti Károlyi-kastély angolkertje . 65 Nagy Andrea Az óangol költészet magyar fordításainak története és elemzése . 82 Műhely Varga Katalin A Wulf és Eadwacer című óangol elégia magyar fordítása . 93 Miklós Ágnes Kata és Nagy Andrea Beowulf-fordítás . 100 Péti Miklós Jon Milton: Visszanyert Paradicsom – Bevezető tanulmány és fordítás . .104 3 IX. évf. 2017/4. RECENZIÓK Balázs Júlia Rough South, Rural South: Region and Class in Recent Southern Literature. Mississippi, University Press of Mississippi, 2017, 264 p. 119 Stamler Ábel Vassányi M. – Sepsi E. – Daróczi A., eds., The Immediacy of Mystical Experience in the European Tradition. Springer International Publishing, 2017, XIX+274. 122 4 IX. évf. 2017/4. ANGOL ÉS AMERIKAI IRODALOM – ENGLISH AND AMERICAN LITERATURE CONTENTS Erzsébet Stróbl The Device of the Savage Irish: The Portrait of Captain Thomas Lee . 7 Katalin G. Kállay The Possibilities of Parable – the Breath of a Subtle Power: A Reading of Nathaniel Hawthorne’s The Minister’s Black Veil . 20 Ágnes Beretzky The Two Harriets: Two Women Defying (Pre-)Victorian Conventions – A Comparative Analysis of the Life, Thought and Influence of Harriet Lewin Grote 1792–1878) and Harriet Taylor Mill (1807–1858) . 27 Zsófia Vasadi The Japanese Setting in the 2006 Film Adaptation of As You Like It: Kenneth Branagh’s Japanese (G)Arden . 36 Júlia Balázs Cormac McCarthy’s Unloved Child of Southern Loneliness . 52 Alexandra Viktória Pintér The English Garden of the Károlyi Castle in Fót . 65 Andrea Nagy Hungarian translations of Old English Poetry . 82 Katalin Varga A Hungarian Translation of the Old English elegy Wulf and Eadwacer . 93 Miklós Péti Jon Milton’s Paradise Regained – The 1st Book’s Translation with a Short Introduction . 104 5 IX. évf. 2017/4. SZÁMUNK SZERZŐI Balázs Júlia MA (1982), PhD-hallgató, az amerikai irodalom kutatója, PPKE BTK, [email protected] Beretzky Ágnes PhD (1974), eszmetörténész, a magyar–angolszász-kapcsolatok kutatója, KRE BTK Anglisztika Intézet, Angol Nyelvű Irodalmak és Kultúrák Tan- szék, [email protected] Kállay G. Katalin PhD (1965), a 19–20. századi amerikai próza kutatója, KRE BTK Anglisztika Intézet, Angol Nyelvű Irodalmak és Kultúrák Tanszék, katalin.g.kallay@ gmail.com Miklós Ágnes Kata PhD (1975), főiskolai tanár, irodalomtörténész, PPKE BTK Vitéz János Tanárképző Központ, [email protected] Nagy Andrea PhD (19xx), az óangol és ír irodalom kutatója, KRE BTK Anglisz- tika Intézet, Angol Nyelvű Irodalmak és Kultúrák Tanszék, [email protected] Péti Miklós PhD (1975), a kora modern angol irodalom, a görög epika és líra ku- tatója, KRE BTK Anglisztika Intézet, Angol Nyelvű Irodalmak és Kultúrák Tan- szék, [email protected] Pintér Alexandra Viktória MA (1986), természetvédelmi referens a Nemzeti Fejlesztési Minisztériumban, [email protected] Stróbl Erzsébet PhD (1970), reneszánszkutató, KRE BTK Angol Intézet, Angol Nyelvű Irodalmak és Kultúrák Tanszék, [email protected] Varga Katalin BA (1990) nyelvész, nyelvtörténész, szabadúszó, katieevarga@ gmail.com Vasadi Zsófia (1991), MA-hallgató, KRE BTK Anglisztika Tanszék, vasadizs@hot- mail.com 6 IX. évf. 2017/4. Erzsébet Stróbl: The Device of the Savage Irish… Erzsébet Stróbl The Device of the Savage Irish: The Portrait of Captain Thomas Lee The portrait of Captain Thomas Lee by Marcus Gheeraerts the Younger (1594)1 is a striking image of an Elizabethan gentleman exhibiting long bare legs and feet and a hairy chest left visible through a half open shirt. Loosely dressed young men featured in the more intimate genre of miniature painting, but on such a scale (2305x1508 mm) it was unique, and explanations for this unusual representation point to a resemblance with the costume of the barefooted Irish soldier, the kerne. Lee, who from 1573 served for three decades in the queen’s campaign against Ireland,2 seems to allude with his dress to the wild foot soldiers of his place of service. An inscription on the left hand side in the tree provides a further possible layer of interpretation of this rare device. The line ‘Facere et pati Fortia’ (‘Both to act and to suffer with fortitude’) is from Livy History( of Rome 2:12) and was uttered by the Roman Caius Mucius Scaevola before thrusting his hand into fire to prove his loy- alty to his country after being captured in the enemy camp attempting to kill their king. Scaevola was dressed in disguise and his Etrurian dress may have inspired Lee’s Irish costume by referring to Lee’s loyalty to the crown amidst the wild rebel- lious Irish, or, as Einberg points out, Lee’s costume may also be simply a reference to ancient garments.3 TheTate Gallery Companion establishes a direct link between Lee’s career in Ireland and his Irish kerne costume by claiming that it is a direct appeal to the queen ‘de- signed to draw attention to his complaint of poverty’ as a soldier serving in Ireland.4 While savageness is indicated by the attire of Lee, certain other details – like the shirt decorated with embroidery and lace, the richly inlaid pistol, the spear and sword, the embossed helmet and shield – point to a refined courtly context, which prompted Morgan to state that the costume resembles a ‘stage-costume’ like one worn on tilts or masques.5 1 The portrait is at Tate Britain, catalogued T03028. 2 James P. Myers Jr.: ‘“Murdering Heart ... Murdering Hand”: Captain Thomas Lee of Ireland, Eliza- bethan Assassin.’ The Sixteenth Century Journal, XXII, 1991/1. 51. 3 Elizabeth Einberg: ‘Portrait of Captain Thomas Lee, 1594. [T03028].’ In Ronald Alley (ed.): The Tate Gallery 1978–80: Illustrated Catalogue of Acquisitions. London, The Gallery Publications Department, 1981, 24. 4 Simon Wilson: Tate Gallery: An Illustrated Companion. London, Tate Gallery, 1991, 16. 5 Hiram Morgan: ‘Tom Lee: the Posing Peacemaker.’ In Brendan Bradshaw, Andrew Hadfield, and Willy Maley (eds.): Representing Ireland: Literature and the Origins of Conflict, 1534–1660, Cambridge, Cambridge University Press, 1993, 142. 7 IX. évf. 2017/4. Captain Thomas Lee in Irish dress, by Marcus Gheeraerts the Younger, oil on canvas, 1594, Tate Britain. Photo © Tate. CC-BY-NC-ND 3.0 tate.org.uk/art/artworks/gheeraerts-portrait-of-captain-thomas-lee-t03028 This paper will also underscore the importance of the courtly context of this image, but it will argue that the savageness represented by the attire is also informed by the popular wild man figure of contemporaryal fresco progress entertainments. The wild man of the Middle Ages survived in a courtly form in the sixteenth century where it became an expression of a mode of aristocratic courtliness representing a ‘stage prior to the achievement of perfect chivalry.’6 The wild man also became an emblem of courtly service in England where his unrestrained physical force was tamed through the presence of an awesome virgin monarch and his masculine en- ergy channelled into providing active military protection to a female queen. 6 Phillipa Berry: Of Chastity and Power. London, Routledge, 1994, 98. 8 IX. évf. 2017/4. Erzsébet Stróbl: The Device of the Savage Irish… Thus, representing Thomas Lee as an Irish wild savage has more than one layer of signification: one that refers to savagery associated with Ireland by the English, one that hints at the career of Thomas Lee as a soldier in Ireland, but also a very important one – not yet analysed by scholars – that employs a courtly language in which the trope of the wild man symbolises the perfect service of Queen Elizabeth. The Irish Kerne and Irish Savagery The representation of Captain Thomas Lee on Gheeraerts’s canvas follows the con- ventional sixteenth century iconography of an Irish foot soldier, the kerne, the low- est degree of soldiers serving in an Irish army who travelled barefooted through the Irish bogs.
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