Kelemen Imola (szerk.): A Csíki Székely Múzeum Évkönyve 8. (Csíkszereda, 2012)
Történelem - Medgyesy S. Norbert: Ismeretlen színi előadás Csíksomlyón az utolsó ítéletről – a Mundis REdargutus-dráma periochája és magyar nyelvű szakaszai (1742)
MEDGYESYS. NORBERT judecaţi de Rhadamantus cel drept, personaj luat din mitologia greacă (cretană). Patru ajung în Rai, iar ceilalţi în Iad. Din scenele de la sfârşit şi din explicaţiile din „Argumentum”, ştim că, Rhadamantus este Andropater, Dumnezeu-Tatăl din Biblie, care, ca un Judecător drept, judecă omenirea. Piesa este invenţia personală a călugărului franciscan Potyó Bonaventura. Evenimentul principal al scenei Judecăţii de Apoi din 1742 este alegoria Andropater, care, în piesa de Rusalii din 1742, este şi personajul principal, şi care, ca variantă a piesei din 1741, este personaj principal şi în drama din 1761. Pe baza datelor cunoscute până acum, se pare că, alegoria Andropater, în tema evenimentelor Judecăţii de Apoi, a fost adaptată prima oară de franciscanii de la Şumuleu-Ciuc, unde a fost prezentată de două ori, în 1742 şi 1761. Cercetarea programelor şi a personajelor (Clavis Personarum) tuturor pieselor dramatice ar putea aduce noi date privind alegoria Andropater. Reprezentaţia piesei din 1741 de la Şumuleu conţine şi părţi cântate, iar trompeta îngerilor anunţă sentinţa Judecăţii de Apoi. AN UNKNOWN PLAY AT ŞUMULEU-CIUC ABOUT THE LAST DAY - THE PERIOCH OF THE MUNDUS REDARGUTUS DRAMA AND ITS HUNGARIAN PARTS (1742) Abstract The study presents for the first time in print the periocha (drama-program) and the Hungarian sections of the school-drama Mundus redargutus et ex parte Consolatus by Potyó Bonaventura, written in Latin and kept as a manuscript in the Library of the Franciscan Monastery at Şumuleu- Ciuc (Csíksomlyó). The play set of 7 scenes, 6 intermediums and 3 choruses was presented to the audience coming for the Pentecostal saint’s day at 12th May 1742. The play is Latin, in which the characters have spoken four times in Hungarian, explaining the events on the stage. The subject of the drama is judgement day: Mundus decides for the Body (Caro) instead of the Spirit (Spiritus), when suddenly Mors appears and slaughters him along with everyone present. The dead are judged by the righteous Rhadamantus (borrowed from the ancient Greek/Cretan mythology): four are saved and all the rest get into hell. We find out from the closing scenes and the Argumentum that Rhadamantus is Andropater, the God of Bible, who judges mankind as a righteous judge. The play is the personal invention of Potyó Bonaventura. The only analogy to this 1725 judgement-day play is the Don Juan topic suspected in the 1742 play, the main phenomenon of which is the Andropater-allegory, who is the main character of the passion-play presented on Good Friday of the same year, but also crucial in the mystery-drama presented in 1761 (a variant of the 1741 passion-play). Based on the data gathered so far it seems that the interpretation of the Andropater- allegory onto great events is used for the first time in our country by the Franciscans at Şumuleu- Ciuc and only in two cases, first in 1742, then in 1761. More analogies may be found only by further studying the periocha-s of the era and their Clavis Personarum. The Pentecostal play at 1741 was enriched by singings; trumps of the last judgement have called from the lips of angels. 234
