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HUNGARIAN STUDIES 5. No. 2. Nemzetközi Magyar Filológiai Társaság. Akadémiai Kiadó Budapest

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HUNGARIAN STUDIES 5. No. 2. Nemzetközi Magyar Filológiai Társaság. Akadémiai Kiadó Budapest w HUNGARIAN STUDIES 3HH Csaba Pléh: A Hungarian Bergsonian Psychologist: Valéria Dienes Géza Jeszenszky: The Hungarian Reception of "Scotus Viator" Mihály Szegedy-Maszák: From Social Commitment to Art for Art's Sake Jolanta Jastrzebska: "Roman de production" de Péter Esterházy Chronicle Reviews HUNGARIAN STUDIES a Journal of the International Association of Hungarian Studies (Nemzetközi Magyar Filológiai Társaság) Hungarian Studies appears twice a year. It publishes original essays-written in English, French or German-dealing with all aspects of the Hungarian past and present. Multidisciplinary in its approach, it is envisaged as an international forum of literary, philological, historical and related studies. Manuscripts will be evaluated by the Board of Editors, and papers vetoed by any of them will not be published. Each issue will contain about 160 pages and will occasionally include illustrations. All manuscripts, books and other publications for review should be sent to the edi­ torial address or to the Chairman of the Board of Editors. Hungarian Studies is published by AKADÉMIAI KIADÓ Publishing House of the Hungarian Academy of Sciences H-1117 Budapest, Prielle Kornélia u. 19-35. Orders may be placed with KULTÚRA Foreign Trading Company (1389 Budapest 62, P.O. Box 149) or its representatives abroad. Editorial address Budapest I., Országház u. 30. Budapest H-1250 Telephone: 175-9011/327 P.O. Box 34 Hungary Editor-in-Chief Mihály Szegedy-Maszák Editors Richard Aczel András Gergely László Kosa Editorial Secretary Judit Barabás Board of Editors Kálmán Benda, Magyar Tudományos Akadémia, Történettudományi Intézet, Budapest György Bodnár, Magyar Tudományos Akadémia, Irodalomtudományi Intézet, Budapest László Deme, József Attila Tudományegyetem, Szeged Jean-Luc Moreau, National Institute for Oriental Languages and Civilizations, Paris Péter Rákos, University of Prague Denis Sinor, Indiana University, Bloomington, Indiana 47405 Telephone: 812-335-0959 Advisory Council Loránd Benkő, Eötvös Loránd Tudományegyetem, Budapest; George Frederick Cushing, London University; Béla Gunda, Kossuth Lajos Tudományegyetem, Debrecen; Tibor Klaniczay, Magyar Tudományos Akadémia, Budapest; Clara Maytinskaya, Academy of Sciences of the USSR, Moscow; Wolfgang Schlachter, Georg August University, Göttingen; Zoltán Szabó, I. G. Parhon University, Bucharest; Miklós Szabolcsi, Magyar Tudományos Akadémia, Budapest; István Szeli, Academy of Vojvodina, Novi Sad; Bo Wickman, University of Uppsala © Akadémiai Kiadó, Budapest t HUNGARIAN STUDIES VOLUME 5, 1989 CONTENTS NUMBER 2 Gregory Lee A/eh/er: A Study in Hungarian Literary History: Babits on Ady 127 Csaba Pléh: k Hungarian Bergsonian Psychologist: Valéria Dienes 141 Géza Jeszenszky:'The Hungarian Reception of "Scotus Viator" 147 Adam Makkai: Anasemiotie Multilingual Poetry: Fact or Fiction? 167 Mihály Szegedy-Maszák: From Social Commitment to Art for Art's Sake , 191 Joianta Jastrzebska: "Roman de production" de Péter Esterházy 197 Jeffrey Harlig; Verb Form, Definiteness and the Given-New Distinction in Hungarian 243 CHRONICLE Hungarian Heritage Center 253 REVIEWS Domokos Kosáry: The Press during the Hungarian Revolution of 1848/49 (I. W. Roberts) , 255 John Lukacs: Budapest 1900 (Samuel Wilson) 256 lon-Dimitriu Snagov.La Romania nella diplomazia Vaticana 1939-44 (John Lukacs) 258 A STUDY IN HUNGARIAN LITERARY HISTORY: BABITS ON ADY GREGORY LEE NEHLER Indiana University, Bloomington, Indiana By the turn of the century western Europe, now largely urbanized and undergoing changes as rapid and drastic as ever in its history, had all but abandoned its Victorian-era doctrine of progress. Positivism was giving ground to the vitalist philosophies of Nietzsche and Bergson; Descartes' soul or ego - pure reason which was also one and the same as the self - was, as scrutinized by Freud, beginning to look like a mere speck in the seething ocean of the unconscious. The scientific world-view was straying ever further from the rational Newtonian model, making such paradoxical discoveries as would lead to Einstein's theory of relativity and quantum mechanics. In the heart of the Habsburg monarchy, however, these new paradigms of thought were, if apprehended at all, embraced with a great deal less urgency. After all, it was only in 1896 that Hungary had celebrated her millennium, certainly a proud moment but in a way also the grandest expression of those provincial and chauvinistic attitudes which would ultimately prove Hungary's undoing. Yet even amidst all the patriotic sentiment, among the purveyors of which were the uninspired poets Lajos Posa and Mihály Szabolcska, there began to emerge the signs of a literary renascence. There were Vajda 's magnificent last volumes, which in their peculiar use of symbols anticipated Ady; Komjáthy's idiosyncratic poetry expressive of a cosmos not accounted for in the folk-national world-view; and Reviczky, whose nearly militant cosmopolitanism foreshadowed Babits. Ady and Babits were both members ofthat generation of Hungarians who, by their formidable accomplishments in the arts and sciences, are without peers in Hungarian history. In music there were Bartók and Kodály, in the visual arts Lajos Gulácsy and Ferenc Medgyessy; there were Freud's disciple Sándor Ferenczi, the linguist Zoltán Gombocz, the aesthetician Lukács, the poet and film theorist Béla Balázs. In literature the path towards Hungary's modern age was, in part, prepared by the proliferation of such forward-looking journals and periodicals as Jövendő, Új Idők and, most important of all, A Hét. The literary periodical, in the modern sense of the world, had arrived. Perhaps the two greatest contributors of A Hét, Ignotus and Ernő Osvát, joined forces with Miksa Fenyő and financier Lajos Hatvány in 1908 to found what may be the most important Hungarian literary journal ever: the Nyugat, Ady contributed to the journal from the Hungarian Studies 5/2 (1989) Akadémiai Kiadó, Budapest 128 G. L- NEHLER beginning, while Babits, whose death in 1941 essentially meant the end of the Nyugat, only joined its ranks towards the end of the year. At first it was very much Ady around whom literary opinion, praise and opprobrium alike, was centered. His star shone much too bright than that the lesser suns in his vicinity could emerge with their own distinctive contours. But in time it became apparent that in Mihály Babits Hungarian literature had a talent who in many ways rivalled Ady, certainly one whose technical wizardry and stunning erudition owed little to the example of Ady. Ady looked towards the West, it is true, but ultimately less for literary models than for models of the modern society. He was a newspaper writer first, many of whose poems would take up the same themes already treated in his articles. The revolution he wrought in Hungarian literature was, for all its purposefulness, almost instinctual and but a part-if in retrospect clearly the most significant part-of his career in public life whose main aim was nothing short of the social and political transformation of the country. Babits, meanwhile, though accepting with reservations Taine's literary determinants of race, milieau and moment, was far from embracing anything so deterministic as the later Marxist-Leninist notion that literature, as a constituent of the super-structure, depended in its development on the socio-economic sphere in which it may be said to operate. So, whereas Babits often likened the development of literature to evolution, he also saw it by and large as a self-contained process, conforming to laws peculiar to itself. Thus for Babits knowledge and absorption of literary traditions was a vital concern. It was the relative lack of this, he argued, to which Hungarian literature owed its precipitous decline towards the end of the nineteenth century. Therefore , if Ady seemed to tap into an ancient, almost pre-historical impulse to create his vitally new poetry in the service of social change, Babits immersed himself in literary traditions spanning some three millenia, ultimately to arrive at a philosophy of literature best summed up in the expression fart pour l'art. The subject of Babits's Ady-criticism enjoys a burgeoning literature. Until the mid 60's or so, the views of Lajos Hatvány and Gyula Földessy held sway. According to them, Babits, who coveted Ady's preeminent position in Hungarian letters, played the part of objective critic only to insinuate a comparison between himself and Ady which was decidedly in his own favor. Since then, thanks mainly to the work of Pál Kardos, Lóránt Basch, István Gál and György Rába, this biased but by no means unfounded view has been giving way to the other extreme. Namely, that Babits was not only fair and objective in his Ady-commentary, but indeed was Ady's most understanding and insightful critic. The truth of the matter is somewhere in between. It would be uncharitable, however, to suppose that such anti-Ady overtones as do exist in Babits are entirely, even primarily, to be attributed to Babits's alleged envy of Ady. We should not forget that Babits did recognize Ady's unique talent and his inestimable contribution to Hungarian literature. Ultimately, however, his appreciation of Ady was limited by A STUDY IN HUNGARIAN LITERARY HISTORY 129 several factors, the most important being his own wery well- defined literary-aesthetic views which were very much at odds with Ady's. These in turn were shaped and determined by Babits's Transdanubian-Catholic heritage, again at variance with the Partium and Calvinist
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