Oldal 338 [338]
OCR
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 * 336 ¢ Daréczi-Sepsi-Vassänyi_Initiation_155x240.indb 336 6 2020.06.15. 11:04:27
