A Móra Ferenc Múzeum Évkönyve: Studia Historiae Literarum et Artium, 3. (Szeged, 2001)

Nagy Márta: A huszonötödik ének. Baka István Könyörögj érettem című versciklusáról

SZERB ANTAL A világirodalom története, Budapest, 1992, 19-29. SZIGETI LAJOS SÁNDOR „Isten nélküli isteni életet" (A modern magyar vers genealógiájához), in: и.о.: Evangélium és esztétikum, Budapest, 1996, 9-22. SZIGETI LAJOS SÁNDOR „Tűzbe vetett evangélium". Baka István indulásáról és istenkereséséről, in Kortárs, 1996/5, 56-65, és и.о.: Evangélium és esztétikum, Budapest, 1996. 57-70. Vallomás versekről (Baka István saját szövegezésében és gépiratából - 1992. augusztus 7.) in: Fonás, 1996/5, 15-16. VARGA MAGDOLNA A lánc-metafora nyomában. Gondolatok Baka István metaforáinak sajátosságairól, in: Forrás, 1996/5, 75-80. ZEMPLÉNYI FERENC A szerkesztett verseskötet megjelenése az európai irodalomban (Vázlat), in: ItK, 1999/5-6, 626-634. The twenty-fifth Canto Regarding the cycle entitled 'Plead for Me' by István Baka Márta Nagy The subject of my dissertation is an analysis of the cycle entitled 'Plead for Me' by István Baka, which was published in 1981 in the volume of poetry entitled 'Gospel Cast into the Fire'. The title of the cycle recalls the Christian circle of culture, and incorporates it into the work as a named and addressed tradition. In this way, the title suggests a dialogue and sets an artistic basis for one of the characteristic tendencies of the 20th century and of literature today. This tendency is based on an experienced and conscious tradition, and as this theme is present in the work, the above artistic basis can be described as 'cast in tradition'. On the above basis, the main aim of my dissertation is to demonstrate the way in which the analysed cycle enters into dialogue with tradition, and which features are characteristic of this dialogue. This can be grasped mainly through the motif structure of the cycle, because here we can discover those points at which the text allows its precedents to shine through. From this starting point, my primary method is accompaniment and interpretation of the establishment of the four main motifs (wood, fire, water and the moon), which organise the cycle. As a result of this, it can be established that two of the determining myths/cultural traditions of European culture are present in the work: Christian and Greek mythology. Following the analysis of the relationship of these two traditions with each other (in European culture and within the cycle), the following conclusions can be drawn: we are faced with an odyssey-paraphrase. The work can be interpreted more precisely as a continuation of the Epoch of Homer, or if you prefer, the twenty-fifth Canto. 137