Journal index

Fifty years ago a short book on homiletics was published, entitled As One Without Authority, by Fred B. Craddock, which proved to be a milestone in the history of homiletics. The interval of half a century since its publication allows to appreciate the homiletical concept that was built on the narrative paradigm. This evaluation emerges from the Hungarian context, where narrative preaching has always been a faraway guest for the last fifty years.

This poem was composed by an unknown author to be sung according to the Geneva tune of the 45th Psalm (first published in 1545). The poem has never been published previously, having survived in an 18th century collection of biblical histories, in versified form, together with other prayers and Reformed church hymns. The main ideas of this poem clearly differ from the earlier version of the Song of songs composed in 1584 by an unitarian poet, Miklós Bogáti Fazakas. The 18th century poet was possibly a young minister or a college teacher. It is uncertain, but not impossible, that the author was a former student of the Debrecen Reformed College, since more than twenty members of the family, which preserved this manuscript, had studied in Debrecen bet-ween the middle 17th and the 19th centuries. This poem is the closest possible versification of the Hungarian version of the biblical text according to the Bible of Vizsoly from 1590, available in later editions. The poem does not emphasise that this biblical book would refer to the relationship between Christ and his Church. However, the Latin titles added all over the sections, identified as belonging to Bride and Bridegroom, or Sponsus and Sponsa, reflect the same allegorical view, following father Origen, and usually adopted by Protestant commenta-tors, including Calvin.

Der Vortrag würdigt zu Beginn Philipp Melanchthons Bedeutung für die Reformation und den Aufbau des Bildungswesens in Siebenbürgen und wendet sich dann seinem theologischen Hauptwerk, den Loci theologici zu. Während unter dem Einfluß des Neuprotestantismus die frühen Loci von 1521 starke Beachtung erhalten hatten, waren die späteren Fassungen der Loci in den Ruf geraten, Melanchthon habe hier seinen reformatorischen Elan verloren. Melanchthon nennt jedoch auch in seiner letzten Ausgabe der Loci 1559 die Lehre von der Rechtfertigung den Hauptinhalt der christlichen Botschaft. Er focussiert hier den Begriff Glaube: die Stellvertretung Christi für sich geschehen sein lassen, und Gnade. Melanchthon macht hier deutlich, daß der „forensische“ Charakter seiner Rechtfertigungslehre nicht bedeutet, daß der Mensch betrachtet würde, als ob er aufgrund seiner moralischen Qualität gerecht wäre – es aber nicht ist –, sondern daß Rechtfertigung das Angenommensein der Person durch Gott besagt, das verbunden und zugleich unterschieden ist von einer anfangenden moralischen Veränderung.

Since 1948 the Reformed Hymnal contains a versified paraphrase o f Lamentations chapter 5, interwoven with allusions to the fate of the Reformation in Hungary. This appears to have been taken over from the Hoffgreff Cantionale of 1556 (printed in Kolozsvár, Klausenburg, Cluj- Napoca), but in fact the text of this poem is based on the 1877 edition of an old Hungarian poem. After having critically analysed alterations and deletions, and also having compared the text with the ones published in the Service book of 1574 and in the Cancionale of 1574, some textual corrections are proposed for future editions o f the Hymnal, and also endorsing to retain three of the presently deleted strophes. There is another short paraphrase of the original published by the Rev. Sándor Farkas (1851—1911) in 1883 in his edition of a Song book for Sunday Schools, the earliest o f its kind in Hungary. The melody, which is also important, was published on several occasions since 1859. Another new poem known with one of these melodies is the poem by Farkas. He also paraphrased some parts o f the above mentioned 16th century text. Nonetheless, in spite o f this established fact, his name is still missing from today’s Hymnal. His pioneer edition has still not yet received the attention it deserves in Church History and Hymnology. Now the four part harmonisation o f these melodies edited by him are compared to later editions, measured musically, thus taking a first step towards restoring the data and commemorating the editor’s name.