Murányi János szerk.: A Csíki Székely Múzeum Évkönyve 2007-2008. Művelődéstörténet (Csíkszereda, 2008)
MŰVELŐDÉSTÖRTÉNET - MEDGYESY-SCHMIKLI NORBERT: „A nagy szeretet nagy fájdalmat kíván!" Amor, Dolor és más allegorikus személyek szerepe a csíksomlyói misztériumdrámákban
A CSÍKI SZÉKELY MÚZEUM ÉVKÖNYVE 2007-2008 185-212 MEDGYESY-SCHMIKLI NORBERT „A NAGY SZERETET NAGY FÁJDALMAT KÍVÁN!" Amor, Dolor és más allegorikus személyek szerepe a csíksomlyói misztériumdrámákban Abstract: ["Large affection demands large pain!" Amor, Dolor and the role of other allegoric persons in the mystery-plays of Csíksomlyó (Hung.; Rom.: ÇumuleuCiuc)] In the 18 th century, in the Franciscan gymnasium of Csíksomlyó there were presented 103 school dramas from which one of the most moving scenes is the certamen scene of Amor and Dolor, presented on 23 April 1734, like the closing scene of the passion-play presented on Good Friday. In this scene there was let down on the stage a painted crucifix, beside the cross, there were standing these two allegoric figures. Dolor kept asking, why Jesus had to suffer all that pain. From the answers of Amor we find out that Jesus is not Adam, nor Eva, nor Annas, he is not Judas, or Caiphas, he is not Pilate, or Herod, and he does not suffer because of the complots of Evil, he "only" suffers for the freedom of people, in his endless love. Through this certamen, the writer of the drama, the Franciscan BÁLINT Donát (1706-1774) absolved all those sufferings, about which he has talked in this play in connection with Christ and his dramatized préfigurations from the Old Testament, Joseph and Job. The application of the allegoric figures was widely practiced on the contemporary Baroque Jesuit, Piarist and Minorite stages, too. The allegoric figures are always illustrated as symbolic, emblematic figures "with talking names", they present moral characteristics, introduce complicated theological problems. In the certamen of Amor and Dolor presented in Csíksomlyó in 1734 there are united the teaching of the Franciscan theological schools from the Middle Ages about the love of God and the means of expressions based on the contemporary Baroque school dramas. The Franciscans from Csík could illustrate this very important spiritual issue (too) so exquisitely, poignant and understandingly, through the allegorical methods. Rezumat: [„Dragostea mare cere suferinfa mare!" Amor, Dolor si rolul altor persoane alegorice în dramele misterioase de la Çumuleu-Ciuc (rom.; magh.: Csíksomlyó)] In secolul al XVIII-lea la gimnaziul franciscan din Çumuleu-Ciuc au fost prezentate 103 drame scolare dintre care cea mai impresionantä a fost scena certamenului Amor si Dolor care a fost prezentatä în ziua de 23 aprilie 1734, în Vinerea Mare, ca scenä finalä din versiunea dramatizatä din misterele evanghelice. In aceastä prezentare au lansat pe scenä un crucifix vopsit, lângâ cruce stand douä figuri alegorice. Dolor tot întreabà pânâ la sfârsit, de ce a trebuit Isus sä suporte toate acele chinuri nemärginite. Din räspunsurile lui Amor reiese cä Isus nu este Adam, nici Eva,
