Journal index

This is the third, closing section on the life of Countess Anna Teleki (1783-1851). In Part I we dealt with her youth, in Part II with her marriage to Simon Kemény, and in this last section with her widowhood. After the death of her husband, Anna Teleki moved to Enyed (Aiud), where her home, the “Burg”, became not only a centre of her family life but also of cultural and political life. She was responsible for the financial support of Farkas Bolyai. Her sons and sons-in-law played a nationally important role in the Union and during the War of Independence (1948). They were forced to flee from Enyed because of the attack of the Romanian Moț groups. After the War of Independence, the family went into hiding in Tiszaroff and Érmihályfalva (Valea lui Mihai). Here she received a letter from Farkas Bolyai evaluating the recent events of those days. She died on her return to Kolozsvár (Cluj-Napoca) in 1851. Her life and moral example deserve respect even by biblical standards.

After presenting the youth of Anna Teleki in Part I. of our study, in this second part, we deal with her marriage to Simon Kemény. Count Anna Teleki married Br. Simon Kemény Jr in 1801, who had previously studied at the University of Göttingen with his fellow student, Farkas Bolyai. Simon Kemény later remained Bolyai’s friend and spiritual companion. The young couple lived in Marosvásárhely (Târgu Mureş), Apanagyfalu (Nușeni) and in Csombord (Ciumbrud) in Lower-Alba county. They had six children, five of whom reached adulthood. Anna Teleki raised her children to virtues such as kindness, honesty, diligence, modesty. Her prayers and writings on educating of children have survived the centuries. With the support of the family, most of them had reached an outstanding career: Dániel Vajda, the later winemaker expert, János Szabó, portrait painter, Miklós Barabás, painter, and Károly Szász Sr., a mathematician and a lawyer. From 1823 until his death in 1826, a period considered by contemporaries the golden age of the county, Simon Kemény served as the administrator (chief lord) of Lower-Alba county.

The life of Anna Teleki (1783–1851), wife of Count Simon Kemény is presented in 3 parts. Part I deals with his youth, Part II with his marriage to Count Simon Kemény, Part III. with her widowed years.

The father of Anna Teleki was Count Domokos Teleki Sr., the later chancellor and memorial writer of Turda, her mother was Countess Judit Bethlen of Bethlen. Her mother dies when she was one years old, and her two brothers follow their mother soon. Until the age of six, she was raised in Apanagyfalu (Nușeni) and Cluj-Napoca by her maternal grandmother, Countess Júlia Wass from Czege, wife of Count Elek Bethlen. When her father remarries, she moves to Sárpatak (Șapartoc). At the age of 15, in 1798, she became the bride of the famous mineral collector, Count Domokos Teleki Jr., but her fiancé tragically died the same year.

In der Psalmenforschung stößt man auf die Bezeichnung der Rachepsalmen. Jedoch muss klargestellt werden, dass diese Bezeichnung keine gattungskritische Einordnung darstellt. Sie steht für eine thematische Gruppierung derjenigen Psalmen, in denen das Thema der Rache und Vergeltung vorkommt und die die Vorstellung mit gewaltigen Bildern assoziieren. Auf die-se Weise werden auch solche Stücke des Psalters als Rachepsalmen eingeordnet, die die Wurzel נקם gar nicht verwenden. In der vorliegenden Studie werde ich nach einer kurzen Skizzierung der Semantik der atl. Rache überprüfen, inwiefern die Rache als theologischer Hintergrund der sog. Rachepsalmen zu verstehen ist, insbesondere bei Psalmen, bei denen die Wurzel נקם nicht auftaucht. Unter den Belegen von נקם findet man solche Passagen, die eine gesteigerte emotionale Ladung der Rache nahelegen und zeigen, dass in dem Vorgang der Rache solche Gefühle wie Eifer, Zorn, Grimm mit hineinspielen. Dieser emotionale Überschuss des Verbes kann zusammen mit dem mythischen, altorientalischen Bild des Feindes der Schlüssel zum Verstehen dieser Psalmen sein, in dem die Rachepsalmen einen sicheren Ort für das Ausleben der Gefühle und den Ruf nach Gerechtigkeit darstellen: das Gespräch mit Gott. Die Einzelexegese der Rachepsalmen soll aufzeigen, dass diese bitteren Gebete für Gerechtigkeit in einem engen Zusammenhang mit dem Talio-Prinzip stehen und die gewaltigen Bilder dessen Durchsetzung darstellen, wobei die Bilder selbst als Elemente der Dichtung und der mythischen Rede über den Feind aufzufassen sind.