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Horace: the Influence of the Horatian Tradition on Old and Middle English Poetry Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2016 “Englishing” Horace: The Influence of the Horatian Tradition on Old and Middle English Poetry Justin A. Hastings Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the Literature in English, British Isles Commons Recommended Citation Hastings, Justin A., "“Englishing” Horace: The Influence of the Horatian Tradition on Old and Middle English Poetry" (2016). Dissertations. 2283. https://ecommons.luc.edu/luc_diss/2283 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2016 Justin A. Hastings LOYOLA UNIVERSITY CHICAGO “ENGLISHING” HORACE: THE INFLUENCE OF THE HORATIAN TRADITION ON OLD AND MIDDLE ENGLISH POETRY A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN ENGLISH BY JUSTIN A. HASTINGS CHICAGO, ILLINOIS DECEMBER 2016 Copyright by Justin A. Hastings, 2016 All rights reserved ACKNOWLEDGMENTS Hic intermitto ut gratias referam pro debita in propositum efficiendum suscepta. Tribunis meis primum gratias ago, praesertim Professori Thomas Kaminski et Professori Eduuardo Wheatley, consiliis sine cuius hanc thesem doctoream numquam perfecissem. Et Professor Iudoca Wexler, praeses generis litterarum Anglicarum, et Professor Iacobus Knapp, director studiorum doctoreorum, me per privataque artemque sustinebant. Simile debitum Professori David Townsend, Professori Ioanni Bienz, Professori Andreae Price, Professori Katerina McMahon, et Professori Iudith Makens debeo. Fondatioque Arturus J. Schmitt Academiaque Medievalis Americae munera donarunt. Parentibus meis causa hortandorum studiorum scribendorumque plurimis sine quaestionibus syngraphorum gratias ago. Amicis meis ob amicitiam patientiamque infinitimam gratias ago: in primis gratias profundas habeo Andreae Eastman, Barbarae Hanselman, Guiniverae Frey, Andreae Ryken, Mariae-Franciae Garciae, Barbarae Lyons, Johannae Tillitski-Clark, et Melissae Powell. Donaldo Miller ob eius auxilium in hora vitae meae difficillima gratias ago. Discipulis meis denique, qui me semper commonent cur educatio sit vocatio mea, gratias ago, et illis hanc disputationem dedico: vere, "homines dum docent discunt." !iii Quivi, secondo che per ascoltare, non avea planto mai che di sospiri che l’aura etterna facevan tremare; ciò avvenia di duol sanza martìri, ch’avean le turbe, ch’eran molte e grandi, d’infanti e di femmine e di viri. Lo buon maestro a me: “Tu non dimandi che spiriti son questi che tu vedi? Or vo’ che sappi, innanzi che più andi, ch’ei non peccaro; e s’elli hanno mercedi, non basta, perché non ebber battesmo, ch’è porta de la fede che tu credi; e s’e’ furon dinanzi al cristianesmo, non adorar debitamente a Dio: e di questi cotai son io medesmo. Per tai difetti, non per altro rio, semo perduti, e sol di tanto offesi che sanza speme vivemo in disio.” Dante, Inferno IV.25-42 TABLE OF CONTENTS ACKNOWLEDGMENTS iii INTRODUCTION 1 CHAPTER ONE: READING, AUTHORITY, AND THE CLASSICAL POETS IN THE MIDDLE AGES 17 Philosophia and the Artes Liberales: Medieval Curricula from the Monastery to the Cathedral School and University 29 Transmitting the Horatian Tradition: the Interplay between Orality and Literacy 43 Latin and the Vernacular 48 The Horatian Tradition in the Middle Ages 56 The Modus Tractandi 66 CHAPTER TWO: THE EXETER BOOK, THE PAGAN POETS, AND THE HORATIAN TRADITION 68 The Exeter Book as Material Artifact 75 The Old English Elegies in the Exeter Book 80 Conclusions: the Homiletic Elegies of the Exeter Book, Benedictine Monasticism, and Memoria 115 CHAPTER THREE: HORATIAN SATIRE AND SALVIFIC ALIMENTATION IN PIERS PLOWMAN 118 Into the Fourteenth Century 118 Ethica in the Salvational Program of Piers Plowman 125 Langland, Education, and the Auctores 136 Langland and the Horatian Tradition: the Satirical Intertexts of Consumption 144 Conclusions: Langland’s Ruminatio and Horace’s Patterns of Consumption 161 CHAPTER FOUR: HORACE AND GOWER ON PATRONAGE AND RULERSHIP 165 Identifying and Misidentifying the Horatian Tradition in the Confessio Amantis 171 Conclusions: Correcting a King, Establishing a Poet 196 CHAPTER FIVE: GOING OFF-SCRIPT: CHAUCER’S COMPLICATED USE OF THE HORATIAN TRADITION 198 Chaucer the Classicist 199 Chaucer and the Horatian Tradition: Memoria and Intentio 202 Conclusions: “Betwixst ernest and game,” between Auctor and Compilator 234 CHAPTER SIX: CONCLUSIONS: THE HORATIAN TRADITION, INTENTIONS, !v AND HORIZONS 239 BIBLIOGRAPHY 255 Primary Sources 255 Secondary Sources 259 VITA 285 !vi INTRODUCTION More than ninety years ago, Grant Showerman eulogized the Middle Ages as a period of “ignorance” and “gross darkness” inhospitable to the poets of Augustan Rome, whom he asserted a medieval audience would have found intellectually, syntactically, and metrically inscrutable.1 Contrary to Showerman’s assertion, however, scribes throughout the Middle Ages copied the works of the three most important Augustan Age poets— Vergil, Ovid, and Horace—along with paratextual accretions meant to guide medieval readers through the potential morass of harmonizing pagan poetry with Christian doctrine. The paleographer Ludwig Traube famously divided medieval literary production into three distinct periods based on what he perceived to be the relative popularity of these three Roman poets: the aetas Vergiliana covering the eighth and ninth centuries, the aetas Horatiana covering the tenth and eleventh centuries, and the aetas Ovidiana attending the transition into the High Middle Ages.2 1 “Their substance, never grasped without effort, was now not only difficult, but became the abstruse matter of another people and another age” (90); Showerman’s evaluation sharply inscribes a cultural and linguistic alterity between the classical and medieval worlds that was impermeable. 2 “Einleitung in die lateinische Philologie des Mittelalters” 113. It is, however, worth noting that Traube’s ordering occurs within the context of his discussion of prosody. !1 !2 The Middle Ages inherited Augustine of Hippo’s belief, which was repeated in the Servian commentary, that the puer first mentioned in the eighth line of Vergil’s fourth Eclogue referred not to Augustus but to Christ, thereby authorizing Vergil’s status as the exemplar of the virtuous pagan poet. Vergil’s corpus, consequently, has exerted an influence throughout the entirety of the Middle Ages, as many scholars have noted, and the commentaries attributed to Servius on The Aeneid provided the exemplar for those produced for other pagan authors. Nicholas Trevet produced a fourteenth-century commentary on Vergil’s Bucolics, and a commentary on The Aeneid attributed to Bernard Silvestris exists.3 In many ways, the Historia destructionis Troiae of Guido delle Colonne (Guido de Columnis) can be thought of as an extended ordo gloss on the entire issue of the Trojan War, of which The Aeneid forms the kernel. Indeed, Old French, Middle Dutch, Middle High German, Middle Irish, Middle English, Norman French, and, of course, Italian vernacular adaptations survive, dating from the mid-twelfth century through the end of the medieval epoch. So extensive is the body of extant scholarship on Vergil in the Middle Ages that the citation of a few seminal works must serve as a sort of a bibliographic synecdoche. First published in 1872, Domenico Comparetti’s Virgilio nel Medio Evo was reissued in the English translation of E. F. M. Benecke along with a new introduction by Jan Ziolkowski in 1997. Ziolkowski along with Michael Putnam edited the excellent and 3 Julian Jones’s “The So-Called Silvestris Commentary on the Aeneid and Two Other Interpretations” is a particularly concise and lucid summation of the crux and its interpretive implications. !3 comprehensive volume The Virgilian Tradition: The First Fifteen Hundred Years. Margaret Erhart’s The Judgment of the Trojan Prince Paris in Medieval Literature stands as a good example of the way medieval vernacular authors adapted not only ancient texts but also the commentary tradition in their literary production. With respect to English vernacular specifically, A. C. Friend’s 1953 Speculum article remains a useful point of entry into Chaucer’s use of the Aeneid. Far and away, however, it is in the work of Christopher Baswell that appreciation for the influence of Vergil over vernacular medieval literature in Britain finds its clearest and most thorough expression; indeed, his 1995 monograph Virgil in Medieval Britain: Figuring the Aeneid from the Twelfth Century to Chaucer has provided a useful paradigm for considering how the manuscript contexts of a pagan poet can provide concrete evidence for his influence over vernacular poetry. The influence of Ovid on the Middle Ages has received even greater attention. The Ovidian corpus attracted a great deal of attention from Late Antique and medieval commentators. The Italian Humanists attributed to Lactantius Placidus a set of Late Antique commentaries known as the Narrationes and transmitted by an important branch of manuscripts within the Ovidian corpus (the so-called Lactantian manuscripts).4 Manegold of Lautembach (Manegoldus Lautenbacensis) produced
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