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Francisci Robortelli Vtinensis Paraphrasis in Libellum Horatii Qui Vulgo De Arte Poetica Inscribitur : Introduction, Édition, Traduction Annotée Anna Le Touze

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Francisci Robortelli Vtinensis Paraphrasis in Libellum Horatii Qui Vulgo De Arte Poetica Inscribitur : Introduction, Édition, Traduction Annotée Anna Le Touze Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte poetica inscribitur : introduction, édition, traduction annotée Anna Le Touze To cite this version: Anna Le Touze. Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte po- etica inscribitur : introduction, édition, traduction annotée. Ordinateur et société [cs.CY]. Université Rennes 2, 2021. Français. NNT : 2021REN20004. tel-03248316 HAL Id: tel-03248316 https://tel.archives-ouvertes.fr/tel-03248316 Submitted on 3 Jun 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THESE DE DOCTORAT DE L’UNIVERSITE RENNES 2 ECOLE DOCTORALE N° 595 Arts, Lettres, Langues Spécialité : Langues et littératures anciennes Par Anna LE TOUZE Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte poetica inscribitur. Introduction, édition, traduction annotée. Thèse présentée et soutenue à Rennes, le 30 janvier 2021 Unité de recherche : Cellam Rapporteurs avant soutenance : Nathalie Dauvois Professeur de Littérature française de la Renaissance, Université de Sorbonne nouvelle-Paris 3 Andrea Cucchiarelli Professore Ordinario di Lingua e letteratura latina, Università degli Studi di Roma La Sapienza Composition du Jury : Examinateurs : Andrea Cucchiarelli Professore Ordinario di Lingua e letteratura latina, Università degli Studi di Roma La Sapienza Nathalie Dauvois Professeur de Littérature française de la Renaissance, Université de Sorbonne nouvelle-Paris 3 Antonio Iurilli Professore ordinario di Letteratura italiana, Università di Palermo Tristan Vigliano Professeur de Littérature française de la Renaissance, Université d’Aix-Marseille Dir. de thèse : Monique Bouquet MCF HDR émérite en Langue et Littérature latines. Co-dir. de thèse : Marisa Squillante Professore Ordinario di Lingua e letteratura latina, Università degli Studi di Napoli Federico II LE TOUZE, Anna. Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte poetica inscribitur : introduction, édition, traduction annotée - 2021 LE TOUZE, Anna. Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte poetica inscribitur : introduction, édition, traduction annotée - 2021 INTRODUCTION La paraphrase à l’Art poétique d’Horace de Francesco Robortello, publiée pour la première fois en 1548 en appendice au premier commentaire latin intégral de la Poétique d’Aristote, composé par le même Robortello, fait partie de la nébuleuse des très nombreux commentaires humanistes à l’Art poétique apparus au début de l’époque moderne. Il est indéniable que la Renaissance a constitué une période critique faste pour l’Art poétique, et ce d’autant plus si l’on compare le grand nombre des commentaires rédigés et imprimés à cette époque à la quantité relativement faible des manuscrits (commentaires intégraux ou simples gloses) que le Moyen Âge nous a légués, alors même qu’un grand prestige demeurait attaché au nom d’Horace depuis l’Antiquité et que, comme nous allons le voir, l’Épître aux Pisons était une œuvre à laquelle les savants médiévaux pouvaient aisément accéder d’un point de vue matériel. Afin de mieux saisir quel était le statut d’Horace, celui de son œuvre en général, et celui de l’Art poétique en particulier, au moment où les premiers commentaires humanistes à l’ouvrage sont apparus, il nous semble important de procéder à un bref historique de ce que fut la réception de l’œuvre horatienne et, au sein de cette œuvre, de l’Art poétique, depuis l’Antiquité jusqu’à l’aube de l’ère humaniste, puis à la Renaissance. Le bref panorama que nous proposons de la réception d’Horace dans l’Antiquité et au Moyen Âge s’appuie, pour l’essentiel, sur la recherche préexistante. En revanche, notre exposé sur la période humaniste se fonde uniquement sur les lectures que nous avons faites des commentaires à l’Art poétique qui ont précédé la paraphrase de Francesco Robortello, et cela en vue de voir quelle place occupe la paraphrase de notre auteur au sein de ce corpus de commentaires. Nous nous efforcerons de montrer que, dans le contexte humaniste de la première moitié du XVIe siècle, la paraphrase de Francesco Robortello à l’Art poétique, ouvrage atypique qui tranche par sa forme et son contenu avec les commentaires traditionnels de la plupart de ses prédécesseurs, fait partie de ces publications qui vont profondément modifier la physionomie du commentaire à l’Art poétique d’Horace en y intégrant des éléments de poétique aristotélicienne. Nous verrons, par ailleurs, que cette paraphrasis s’inscrit, pour III LE TOUZE, Anna. Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte poetica inscribitur : introduction, édition, traduction annotée - 2021 Robortello, dans un projet plus vaste de poétique globale, s’incarnant dans une œuvre totale constituée du commentaire à la Poétique d’Aristote, de la paraphrase à l’Art poétique d’Horace, et des cinq autres traités composant le volume de 1548. IV LE TOUZE, Anna. Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte poetica inscribitur : introduction, édition, traduction annotée - 2021 I Fortune d’Horace et de l’Ars poetica dans l’Antiquité 1/ Une œuvre élevée presque immédiatement au rang de modèle Horace fait partie du cercle très restreint des poètes antiques dont le génie fut reconnu et honoré à la fois par ses contemporains et par les auteurs postérieurs. C’est tout d’abord le poète lyrique qui est admiré et imité. Ainsi Ovide fait-il connaître, au quatrième livre des Tristes, son admiration pour les carmina du poète de Venouse : « Et tenuit nostras numerosus aures, Dum ferit Ausonia carmina culta lyra1 » L’influence d’Horace se fait aussi sentir chez Properce, dans la première élégie du troisième livre, où l’auteur se présente au lecteur en « sacerdos », ce qui n’est pas sans faire écho au « Musarum sacerdos » de la première ode du troisième livre2. Dans cette même élégie, Properce ne manque pas de mettre en avant la légèreté de sa muse qui l’empêche d’aborder les sujets guerriers. Cette posture rappelle celle d’Horace dans son ode adressée à Agrippa, où le poète explique qu’il est incapable de chanter les batailles, la colère d’Achille, le périple d’Ulysse ou les horreurs de la maison de Pélops, sujets élevés, dignes de la muse d’un Varius, mais inaccessibles au poète lyrique3. Par ailleurs, dans un mouvement comparable à celui d’Horace qui, dans la dernière ode du troisième livre, se glorifiait d’avoir été le premier à avoir adapté les rythmes de la lyrique grecque au vers latin4, Properce revendique d’avoir été le premier poète latin à composer des élégies5. Au Ier siècle après J.-C., le rhéteur Quintilien qui, dans la lettre au libraire Tryphon sur laquelle s’ouvre l’Institution oratoire, fut peut-être le premier à qualifier l’Épître au Pison d’Art poétique6, décrète, au livre X de 1 Ovide, Tristes IV, 10, v. 49-50. 2 « audita Musarum sacerdos » (Horace, Odes III, 1, v. 3.) 3 Odes I, 6, v. 1-12. 4 « princeps Aeolium carmen ad Italos deduxisse modos. » (Horace, Odes III, 30, v. 13-14.) 5 « primus ego ingredior puro de fonte sacerdos Itala per Graios orgia ferre choros. » (Properce, Élégies III, 1, v. 3-4.) 6 « Vsus deinde Horatii consilio, qui in arte poetica suadet ne praecipitetur editio "nonumque prematur in annum", dabam his otium, ut refrigerato inventionis amore diligentius repetitos tamquam lector perpenderem. » (Quintilien, Institution oratoire, Epistula ad Tryphonem.) V LE TOUZE, Anna. Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte poetica inscribitur : introduction, édition, traduction annotée - 2021 l’ouvrage, qu’Horace est sans doute le seul lyrique latin digne d’être lu7. À la même époque, le poète lyrique Césius Bassus, auteur d’un traité de métrique qui nous est parvenu sous forme fragmentaire, consacre une partie de son analyse aux vers d’Horace8, ce qui confirme le prestige du poète, hissé au rang de modèle littéraire latin quelques décennies seulement après sa mort. Sénèque emprunte certains des modèles métriques de la lyrique horatienne et les utilise dans ses tragédies. Il s’inspire aussi parfois de certains des thèmes traités par Horace dans ses odes9. Stace fait lui aussi des emprunts à la lyrique horatienne pour composer ses Silves10. A la même époque, Perse, quant à lui, compare, dans sa première satire, son talent à celui de Lucilius et à celui d’Horace, et admet qu’il n’a ni le mordant du premier, ni la grâce plaisante du second11. Pétrone fait dire au fastidieux Eumolpe : « odi profanum vulgus et arceo »12, vers célèbre sur lequel s’ouvre le troisième livre des Odes13, ce qui semble indiquer qu’à l’époque de Néron, Horace était devenu un auteur classique dont certains vers avaient acquis autant de popularité que ceux d’Ennius ou de Livius Andronicus. C’est d’ailleurs sous Néron que vécut le grammairien Marcus Valerius Probus, auteur d’une édition critique de l’œuvre d’Horace14. Suétone a écrit dans sa Vita Horati qu’il avait eu en sa possession ce qui était à l’évidence un faux, selon lui : des élégies signées du nom d’Horace15. Si Suétone dit vrai, l’existence de tels faux confirme le prestige dans lequel était tenu le nom d’Horace à la fin du Ier siècle et au IIe siècle. Les poètes obscurs sont, en 7 « At lyricorum idem Horatius fere solus legi dignus : nam et insurgit aliquando et plenus est iucunditatis et gratiae et uarius figuris et uerbis felicissime audax.
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