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MELINDA SEBŐK
of world literature, his thinking, in search ofthe ways of Christian humanism,
and his art were shaped partly by the philosophical-theological-ethical view
of 20'-century French Christian worldview.
Rönay’s awareness of philosophy and of poetical theory is represented in
that the Christian commitment of his poetry is formulated after Teilhard de
Chardin, Paul Claudel and Pierre Emmanuel, among others. Apart from his
works adapting biblical stories, he also gives voice to the desire for grace in the
fallible man. At some points, his Catholicism and his Christian approach shine
through the level of his metaphoric-metonymic expressions, while elsewhere
they are present only implicatively, unnoticed, like pore breathing:
In the cold-looming mystery
the pinewoods emanating
the resin-scent of reconciliation.
The poet, in harmony with nature and God, raises his lyric pieces into
the heavenly sphere. His landscapes are coloured by looming mysticism.
Transfiguration (Transzfigurdci6) is one of the masterpieces among his poems
implying a transcendental experience. This four-lined piece is a superb work
of doom-preceding splendour, of completeness before death:
The silence. The last flush of the gardens.
The unwordly falling of the leaves.
The motionless shine. As the beauty
is dooming to failure.
Transfiguration (Transzfigurdcid) is a significant poem of death-boding, of
the last-but-one moment of existence, of a minute-long stop, of the art of
reticence. Teilhard de Chardin likes contemplating the radiance of divine
light which shines on the transparent and unreachable fields of Reality, and
suggests resolutely submerging in the deep waters of cosmic happening. In
Roénay’s poem, the excess of light-symbolism counterweighs the threatening
approach of passing. For a moment, eternity radiates through. A subtle
glow paints the falling leaves gold. This impersonal lyric work contains
no grammatically marked subject, the negative aspects of autumn (a final
rapture, the loss of leaves, depletion, destruction) still evoke the image of
death. Only still images of silence in the garden are shown, yet, despite its
briefness, the words not said carry further meaning, reaching from universal
experience to personal questions of fate, from momentary silence to passing
away. Metaphysical implications can be realised through the synthesis of
spectacle, the apparition of the intoxicating brilliance of autumn light and
the affirmation of life in the last moments before final destruction, in the
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