Genres Rediscovered. Studies in Latin Miniature Epic, Love Elegy, and Epigram of the Romano-Barbaric Age

Anna Maria Wasyl

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978-83-233-3089-9

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Wydawnictwo Uniwersytetu Jagiellońskiego

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2011

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286

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ONIX MARC21

Bibliografia:

Wasyl, Anna Maria. Genres Rediscovered. Studies in Latin Miniature Epic, Love Elegy, and Epigram of the Romano-Barbaric Age. Red. . Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, 2011, 286 s. ISBN 978-83-233-3089-9

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RT Book, Whole

SR Electronic(1)

A1 Wasyl, A.M.

T1 Genres Rediscovered. Studies in Latin Miniature Epic, Love Elegy, and Epigram of the Romano-Barbaric Age

PB Wydawnictwo Uniwersytetu Jagiellońskiego

PP Kraków

YR 2011

SN 978-83-233-3089-9

Bibliografia BibTex:

@Book{ 5563, author = "Wasyl, Anna Maria", editor = "", title = "Genres Rediscovered. Studies in Latin Miniature Epic, Love Elegy, and Epigram of the Romano-Barbaric Age", publisher = "Wydawnictwo Uniwersytetu Jagiellońskiego", year = "2011", address = "Kraków", isbn = "978-83-233-3089-9" }

Bibliografia endNote:

TY - BOOK

AU - Wasyl, Anna Maria

ED -

TI - Genres Rediscovered. Studies in Latin Miniature Epic, Love Elegy, and Epigram of the Romano-Barbaric Age

PB - Wydawnictwo Uniwersytetu Jagiellońskiego

CY - Kraków

PY - 2011

SN - 978-83-233-3089-9

ER -

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Wasyl, Anna Maria. Genres Rediscovered. Studies in Latin Miniature Epic, Love Elegy, and Epigram of the Romano-Barbaric Age [baza danych online] Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, 2011 [dostęp: 22 07 2024]. Dostęp w Ibuk Libra: https://libra.ibuk.pl/reader/genres-rediscovered-studies-in-latin-miniature-epic-love-elegy-and-anna-maria-wasyl-5563.

literatura antyczna, łacina, poezja antyczna

A reader of the epyllion by Dracontius, the elegy by Maximianus, and the epigram by Luxorius should not expect that these works – and these new embodiments of the ‘old’ genres – will be wholly identical with their ‘...

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ISBN/ISSN:

978-83-233-3089-9

DOI:

Wydawnictwo:

Wydawnictwo Uniwersytetu Jagiellońskiego

Rok wydania:

2011

Liczba stron:

286

XML:ISBN/ISSN:

ONIX MARC21

Introduction8
PART ONE. The Miniature Epic in Vandal Africa and the Heritage of a "Non-Genre"12
I. 1. Defi ning the (Latin) epyllion: some recapitulations13
I. 2. La narrazione commentata: the narrator's presence in Dracontius's epyllia29
I. 2. 1. Hylas31
I. 2. 2. De raptu Helenae31
I. 2. 3. Medea39
I. 2. 4. Orestis Tragoedia42
I. 3. Dracontius and the poetics of "non-Homeric" epic49
I. 3. 1. Hylas50
I. 3. 2. De raptu Helenae52
I. 3. 3. Medea59
I. 3. 4. Orestis Tragoedia65
I. 4. "Mixing of genres" in Dracontius's epyllia75
I. 4. 1. Hylas76
I. 4. 2. De raptu Helenae79
I. 4. 3. Medea85
I. 4. 4. Orestis Tragoedia91
I. 5. Dracontius's epyllia: fi nal remarks98
I. 6. The Aegritudo Perdicae and the epyllion tradition100
PART TWO. The Elegy without Love: Maximianus and His Opus110
II. 1. The supposed liber elegiarum or how to make Maximianus readable as an elegiac poet?111
II. 2. The polyphony of lament: themes and forms in "Elegy" 1118
II. 3. 1. "Elegy" 2: Lycoris134
II. 3. Love memories in episodes: "Elegies" 2-5134
II. 3. 2. "Elegy" 3: Aquilina137
II. 3. 3. "Elegy" 4: Candida143
II. 3. 4. "Elegy" 5: Graia puella147
II. 3. 5. And yet non omnis moriar: the coda (or "Elegy" 6)156
II. 4. Maximianus's elegy: fi nal remarks157
PART THREE. The Roman Epigram in the Romano-Barbaric World160
III. 1. Martial and the defi nition of the Roman epigram161
III. 2. "The Martial of the Vandals:" Luxorius, the follower and the innovator166
III. 2. 1. The dull epigrammatist and his not too learned public: Luxorius's self-presentation166
III. 2. 2. The liber epigrammaton and its characteristics183
III. 2. 3. 1. Scoptic epigrams188
III. 2. 3. The poems: an overview188
III. 2. 3. 2. Epideictic and ecphrastic epigrams201
III. 2. 3. 3. Laudationes and epitaphia210
III. 2. 4. Luxorius's epigrams: fi nal remarks212
III. 3. 1. 1. The sylloge and its characteristics215
III. 3. 1. Unius poetae sylloge215
III. 3. Luxorius and his contemporary epigrammatic writing215
III. 3. 1. 2. The poems: an overview220
III. 3. 2. 1. Jacques Sirmond's edition or was Ennodius a self-conscious epigrammatist?233
III. 3. 2. Ennodius and his epigrams233
III. 3. 2. 2. Notes on selected poems240
Conclusion248
Bibliography251
Index of Ancient and Medieval Authors and Works283

THEMINIATUREEPICINVANDALAFRICAANDTHEHERITAGEOFA.NON-GENRE’

Techaracteristicslistedabovecanbenowusedaspointsofreferenceforthereading

ofminiaturehexametricpoemscomposedinthelateﬁfhcenturyVandalAfrica.Iwish

toconcentrateﬁrstontheaspectindicatedbyPerutelliasparticularlyrelevantforthe

Latinepyllion,namelytheroleofthenarrator.WehavejustnotedthatevenintheLatin

miniatureeposofthezclassicalphase,thenarratorcouldlookatthemythicalstoryas

amoralistorjudge.Tus,itseemsreasonabletoexpectthatasimilarapproachshould

beallthemoreznatural,ifanancient,paganmythistobepresentedandcommentedby

anegospeakingforapoetsteepedinboththeclassicaltraditionandtheChristianfaith.63

Next,IshallanalyzeDracontius,spoemsasznon-Homeric,epic.Obviously,Allen,s

expressionevokedhereisusedonlymetaphoricallyasahelpfullabelunderwhichcertain

compositionalfeaturescanbegrouped.Itisnotmyintentionofcoursetocompare–or

rathercontrast–Dracontius,sepylliatoHomer,soeuvreassuch.Ishalldiscusssuchas-

pectsastheselectionofmotifstobeelaborated,theirtreatment,andtheportrayalofthe

protagonists.

Lastly,IshallfocusontheproblemoftheKreuzungderGattungen,theexploitationof

zother,

,extra-epicliteraryformsandstrategiesinthetextsinquestion.AsIhavealready

stressed,thezmixingofgenres,withinanepyllicpoemisaimedabovealltogiveitsome

particularcoloring,sentimentalor,indeed,tragic.ItisfromthisstandpointthatDracon-

tius,stextswillbestudiedhere.

Intheﬁnalchapter,IshalldedicateafewwordstotheAegritudoPerdicae,apoem

inevitablydestinedtobejuxtaposedwithDracontius,sminiatureepic.Infact,myown

approachwillnotbemuchdiferentinthisrespect.Nevertheless,mygoalisnottocom-

parecertainstylisticpeculiaritiesortoestablishwhoofthetwomakesabetterpoet(and

whythismustbeDracontius).WhatIshallconcentrateonisexactlythequestionoftheir

understandingoftheepylliontradition:towhatextentwhattheytwoproposeisconver-

gent,whatandhowdeepthediferencesare.

63TroughoutmystudyofDracontius,sepyllia,Icannotavoidposingmyselfquestionscon-

cerningDracontius,sreligiousattitude,eventhoughtheproblemdoesnotconstitutemymajor

pointofinterestandIfullyacknowledgemylimitationsinprovidingdecisiveconclusionsinthis

respect.Nevertheless,mypersonalviewisthatwhatwecanspeakofinDracontius,scaseisnot

somuchaconversionsensustricto(therefore,Ihavestatedabove“apoetsteepedin…theChris-

tianfaith,”andhencealsotheinvertedcommaswheneverIusethetermzconversion,inreference

toDracontius)butrathermaturationoffaith,orevenmaturationofreligiousconsciousness,the

resultofwhichare(amongothers)moreandmoreimportantmoralissuesthatthepoetproposes

inhisepyllia.Inotherwords,whatIbelieveisthedecisivefactorinDracontius,sreligiousnessis

somekindofdynamics,ratherthan(only)steadinessemphasizedbyBright,whoevengoesasfar

astonametheCarthaginianpoeta“Christianapologist”(seebelowinCh.I.2).Mypositionthen,

being,inthisrespect,somewhatdiferentalsofromSimons,s(forwhosebookIgenerallyhave

muchappreciation),iscloseparticularlytoGrillone,s(andearlierAricò,s,stilleventoRomano,s,

infact).Terefore,myreadingofthechronologyofDracontius,sepylliaisalsozconservative,(for

anzinnovative,approachtotheproblem,seeBright1999):IseetheOrestisTragoediaas(clearly)

posterior–andevencomplementaryinsomerespect–totheMedea.TeDeraptuHelenae,in

suchacontext,shouldseemsomewhatzanterior,

,eventhoughitisequallyimpressiveinemploying

variedliterarystrategiesifpoeticqualityweretobetakenintoconsideration.

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Genres Rediscovered. Studies in Latin Miniature Epic, Love Elegy, and Epigram of the Romano-Barbaric Age

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