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Naive Autobiographers

Published online by Cambridge University Press:  02 April 2024

János Szávai*
Affiliation:
Université de Paris
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Extract

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There is, at first glance, nothing easier than to summarize the history of one's life. Every human life, as the cliché puts it, is a true story, and everyone should be capable of writing the story of his own life. We are obviously not thinking of the resumés which are sometimes requested of us for professional or administrative reasons, in which we only mention major and even spectacular events; here we are referring to longer and more detailed descriptions, to writings in which the author tells the story of his life, to autobiographies. Is it difficult to compose them? In any case it is easier than writing a sonnet; to do that, one must know at least the rules for poetry, the construction of rhymes and the form for sonnets. The same is true for writing odes, epigrams and tragedies. Certain norms must be learned which codify the literary genre being used. Apparently there is nothing similar in the case of autobiographies. For who is not capable of recounting the important events of his existence to an attentive listener, events which he remembers and among which he can choose, leaving aside what is not important and speaking only of the essential? One need only have a certain gift for story-telling and know how to write. And even this second condition, in fact, is not essential, since an oral description can be transcribed by someone else, an author or an ethnographer, who respects the descriptions given by the autobiographer more or less faithfully.

Type
Research Article
Copyright
Copyright © 1985 Fédération Internationale des Sociétés de Philosophie / International Federation of Philosophical Societies (FISP)

References

1 See certain passages in Nagy Rozália a nevem by Madame Berényi (Budapest, 1975) and in Emlékül hagyom (Budapest, 1976).

2 Our work is thus hypothetical, and we are in fact supposing an analogy with other literatures which we do not know sufficiently well.

3 Edes Anna. Budapest, 1926.

4 For our theory see Szávai in "La place et le role de l'autobiographie dans la littérature", in Acta Litteraria No. 18, Budapest, 1976.

5 In several of these texts we can read descriptions of rural life at the beginning of the century where the story-teller still had a place. On winter evenings, when the peasants came together for shared tasks, he was the one who entertained them.

6 The lot of Gáspár Tamdsi was a strange one; his brother, Aron Tamdsi, the only one in a poor family who was able to go to school, became a well-known novelist and dramatist, while Gaspar remained a peasant all his life. There was very little contact between the two brothers since Aron married the daughter of a lawyer and did not want to present his original family to his new one. It was only after the novelist's death that Gdspdr began to write his autobiography.

7 See note 4.

8 We are also thinking of genres which were still living up until the 1940's.