POLECAMY
Koszyk
Genres Rediscovered. Studies in Latin Miniature Epic, Love Elegy, and Epigram of the Romano-Barbaric Age
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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 ‘archetypes’. Were it so, it would mean that we read but second-rate versifiers, indeed. … We may expect rather that thanks to the reading of Dracontius’s epyllion, Maximianus’s elegy, and Luxorius’s epigram our understanding of these very genres may become fuller and deeper than if it was narrowed only to the study of the ‘classical phase’ of the Roman literature.
From Introduction
Therefore, I have decided to employ in the title of my book the expression genres rediscovered. I have found it fair to emphasize that the poets whose works have been studied here merit appreciation for their creativity, and indeed courage, in reusing and reinterpreting the classical – and truly classic – literary heritage. In addition, I have found it similarly fair to stress that for the students of Latin literature the borderline between the ‘classical’ and the ‘post-classical’ is, and should be, flexible. It is not my intention of course to imply that aesthetic and poetological differences should be ignored or blurred. Quite the reverse, these differences are profound and multidimensional and as such must be properly understood and explained. The main issue is the fact that studies of Latin literature – or rather of literature in general – and especially generic studies require a proper, i.e. diachronic, perspective. A description of a certain genre based merely on its most important or generally known representative/representatives will always risk becoming incomplete and limited. In genology, one must be utterly prudent in defining the ‘main’ and the ‘marginal’, the ‘relevant’ and the ‘negligible’. In this sense, an insight into a few genres practiced by some ‘classical’ – and classic – Roman poets from the perspective of their ‘post-classical’ followers may be, also for a genologist, an intriguing rediscovery.
From Conclusion
| Rok wydania | 2011 |
|---|---|
| Liczba stron | 292 |
| Kategoria | Literaturoznawstwo |
| Wydawca | Wydawnictwo Uniwersytetu Jagiellońskiego |
| ISBN-13 | 978-83-233-3089-9 |
| Numer wydania | 1 |
| Język publikacji | polski |
| Informacja o sprzedawcy | ePWN sp. z o.o. |
Ciekawe propozycje
Spis treści
| Introduction | 7 |
| PART ONE. The Miniature Epic in Vandal Africa and the Heritage of a ‘Non-Genre’ | 12 |
| I.1. Defining the (Latin) epyllion: some recapitulations | 13 |
| I.2. La narrazione commentata: the narrator’s presence in Dracontius’s epyllia | 29 |
| I.2.1. Hylas | 31 |
| I.2.2. De raptu Helenae | 31 |
| I.2.3. Medea | 39 |
| I.2.4. Orestis Tragoedia | 42 |
| I.3. Dracontius and the poetics of ‘non-Homeric’ epic | 49 |
| I.3.1. Hylas | 50 |
| I.3.2. De raptu Helenae | 52 |
| I.3.3. Medea | 59 |
| I.3.4. Orestis Tragoedia | 65 |
| I.4. ‘Mixing of genres’ in Dracontius’s epyllia | 75 |
| I.4.1. Hylas | 76 |
| I.4.2. De raptu Helenae | 79 |
| I.4.3. Medea | 85 |
| I.4.4. Orestis Tragoedia | 91 |
| I.5. Dracontius’s epyllia: final remarks | 98 |
| I.6. The Aegritudo Perdicae and the epyllion tradition | 100 |
| PART TWO. The Elegy without Love: Maximianus and His Opus | 112 |
| II.1. The supposed liber elegiarum or how to make Maximianus readable as an elegiac poet? | 113 |
| II.2. The polyphony of lament: themes and forms in ‘Elegy’ | 120 |
| II.3. Love memories in episodes: ‘Elegies’ 2-5 | 136 |
| II.3.1. ‘Elegy’ 2: Lycoris | 136 |
| II.3.2. ‘Elegy’ 3: Aquilina | 139 |
| II.3.3. ‘Elegy’ 4: Candida | 145 |
| II.3.4. ‘Elegy’ 5: Graia puella | 149 |
| II.3.5. And yet non omnis moriar: the coda (or ‘Elegy’ 6) | 158 |
| II.4. Maximianus’s elegy: fi nal remarks | 159 |
| PART THREE. The Roman Epigram in the Romano-Barbaric World | 164 |
| III.1. Martial and the defi nition of the Roman epigram | 165 |
| III.2. “The Martial of the Vandals:” Luxorius, the follower and the innovator | 170 |
| III.2.1. The dull epigrammatist and his not too learned public: Luxorius’s self-presentation | 170 |
| III.2.2. The liber epigrammaton and its characteristics | 187 |
| III.2.3. The poems: an overview | 192 |
| III.2.3.1. Scoptic epigrams | 192 |
| III.2.3.2. Epideictic and ecphrastic epigrams | 205 |
| III.2.3.3. Laudationes and epitaphia | 214 |
| III.2.4. Luxorius’s epigrams: final remarks | 216 |
| III.3. Luxorius and his contemporary epigrammatic writing | 219 |
| III.3.1. Unius poetae sylloge | 219 |
| III.3.1.1. The sylloge and its characteristics | 219 |
| III.3.1.2. The poems: an overview | 224 |
| III.3.2. Ennodius and his epigrams | 237 |
| III.3.2.1. Jacques Sirmond’s edition or was Ennodius a self-conscious epigrammatist? | 237 |
| III.3.2.2. Notes on selected poems | 244 |
| Conclusion | 253 |
| Bibliography | 257 |
| Index of Ancient and Medieval Authors and Works | 289 |
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