Journal index

Job 19,25–27 are probably the most widely known verses from his book. This pericope is often evoked on funeral occasions, and many Christians undoubtedly ponder those while struggling with the issue of death. The current study does not aim to correct the Christian faith. From the perspective of systematic theology, the Redeemer of Job and that of the Christians is the very same Christ. This essay attempts to outline the meaning of the text through linguistic and poetical analysis. A text (including a spontaneous one) informs a reader even by the way it was created. That is emphatically true in case of a writing formed, handed down, redacted in a stabilized version. (Scribal mistakes, of course, cannot be excluded, but until proven let the principle of lectio difficilior be followed.) The present essay strives to understand the meaning of Job’s words about his Restorer, who is able to redeem even when the flesh and the heart are consumed.

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.

Job 29,18 is one of the most disputed verses from this chapter, especially with regard to the meaning of the Hebrew term lwx. This word can be rendered either as ‘palm’ (so, e.g. in the Septuagint and the Vulgate), or ‘sand’ (e.g. Saadiah Gaon), or ‘phoenix’ (e.g. Genesis Rabbah, B.Talmud Sanhedrin). Several Hungarian versions support both ‘sand’ and ‘phoenix’. This article shows that the Massora parva suggest that lwx is an example of talHin /double entendre. This means that the massoretes who fixed the text of the Leningrad Codex probably took for granted that lwx referred to both ‘sand’ and ‘phoenix’ as a bird-name.

This essay applies the method of semantic analysis for biblical metaphors. First it highlights the settled meanings of the lexemes of the metaphors under scrutiny. After establishing the sememes, the analysis focuses on the plain or hidden nominal predicative statement of the metaphor, namely only on the context of the tenor and vehicle, seeking for that conjunctive semes which can help us to understand the chosen metaphor. We can realise that the metaphor’s meaning is not definable, being imagined as a fuzzy set, where some semantic marks (or semes) are highlighted and others remain hidden. The larger context introduces other disjunctive semes too, not alluded to previously, thus enabling different connotations for metaphors.