Kalla Zsuzsa: Beszélő tárgyak. A Petőfi család relikviái (Budapest, 2006)
Zsuzsa Kalla: The history of the Petőfi relics
Zsuzsa Kalla THE HISTORY OF THE PETŐFI RELICS Talking Objects is different from traditional museum collection catalogues in that the objects presented either belonged to or were associated with only one person and one family, and an attempt is made to put them in chronological order, interpret them, and relate them to a poetic oeuvre. It traces the objects from the moment they were discovered, through the time they spent with various owners, to their place in the collection. The model for this selection was provided by manuscript catalogues which record not only extant manuscripts but also pieces which have been hidden or lost, in addition to which, objects that have disappeared or are simply remembered are also included. To provide as complete a picture as possible, information con- cerning Sándor Petőfi’s extensive knowledge of his homeland, his travels, and the material culture of the diverse social groups he encountered during his lifetime has also been used. As the memorabilia come from well-defined periods, the catalogue can also be seen as an historical sociological experiment (see Sándor Petőfi: His Tastes and Style, a study by Rita Ratzky). The collection is also unusual for having been established in connection with a mysterious phenomenon: the Petőfi cult. Thus, it also provides extensive material for research into the social movement which determined the intellectual character of the Hungarian nation at the end of 19th century. This preface offers an introduction to the nature of the relics. With the objects themselves as the starting point, the catalogue looks at the background to the collection process, and examines what factors played a part in creating the collection from the Petőfi family legacy. WHAT IS A RELIC? The word ‘relic’ originally referred to a martyr’s earthly remains. Later the meaning was used more broadly to include things that had been touched or used by, or were characteristic of saints. In museological terminology a relic is an object that is connected with an historical figure. In this case, the purpose is not one of reverence but documentation: the objects should reveal the person’s taste and circumstances of life. Selection may be coloured by a kind of ‘cult’ feeling, as is also the case with manuscript archives and art and cultural collections, since the decision to call an object ‘characteristic’ is always subjective. The most important consideration when collecting is rarity; the further we go back in time, the more valuable each relic becomes in terms of cultural history. Every relic belonging to a famous person from the 18th century is sure to find its way into a museum, while only the most famous objects belonging to more recent celebrities, such as Charlie Chaplin and John Lennon, are auctioned as relics. As a starting point from which to look at the significance of relic collecting, it is worth examining a few passages from Petőfi Society documents with particular regard to the typical conceptual system and terminology of the word ‘cult’, which was originally a religious concept: ‘The most holy obligation of the society is to lead the chorus of worshippers in the Petőfi cult, to come forth with profound humility and great joy and, in praise of the city of Pozsony [today Bratislava], place the solemn wreath of the Petőfi Society at the foot of the statue, the new altar.’ (Kéry 1911, B 54) ‘I will say, too, that I have always had great respect for the very reverend members of the clergy. They instil faith, the greatest of human virtues, into the souls of men. I consider them kindred spirits, since the members of the Petőfi Society, led by Ferencz Herczeg, Sándor Endrődi and Zoltán Ferenczi, are also priests of a beautiful and noble vocation. You are the apostles of the faith, we are the apostles of the Petőfi cult, and our leader as we travel the country is Zoltán Ferenczi, who, with passionate spirit and words, wins the country over.’ (ibid. 69) 187
