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1 INDICE NOTA INTRODUTTIVA Pag. Parte I INDICE NOTA INTRODUTTIVA pag. Parte I: ASPETTI DEL CULTO FUNERARIO GENTILIZIO NEL MONDO ROMANO Fasi del rituale funerario romano dalla veglia alla tomba pag. Purificazioni della casa e della famiglia pag. Parte II: ARCHITETTURA SEPOLCRALE Tipologia tombe romane pag. Monumenti funerari romani pag. Parte III: LAUDATIO FUNEBRIS Le parole dopo la morte pag. Differenza tra laudatio romana ed epitaffio greco pag. Ideologia del funerale aristocratico secondo Polibio: correlazione fra maschere e orazione pag. Dalla laudatio funebris di Lucio Cecilio Metello alla laudatio funebris aristocratica pag. Atrium et tablinum: i luoghi della storia o sacrario domestico pag. Attendibilità storica delle laudationes funebres pag. Parte IV: TRE ESEMPI DI LAUDATIO FUNEBRIS PRONUNCIATE DA AUGUSTO Iulia auia: la celebrazione di una donna pag. Marcus Claudius Marcellus: un giovin bello pag. Marcus Vipsanius Agrippa: il successore mancato pag. NOTA CONCLUSIVA pag. SIGLE E ABBREVIAZIONI pag. INDICE DELLE TAVOLE pag. INDICE DELLE FONTI pag. 1 NOTA BIBLIOGRAFICA pag. 2 NOTA INTRODUTTIVA L’argomento del mio lavoro affronta gli onori funebri decretati ai membri che appartenevano alla domus imperiale e approfondisce le laudationes funebres pronunciate da Ottaviano Augusto in onore di tre diverse personalità quali una donna, la nonna materna Giulia Minore1 nel 51 a.C., un giovane, il nipote Marco Claudio Marcello2 nel 23 a.C., e un uomo maturo , Marco Vipsanio Agrippa3 nel 12 a.C. Nel mondo romano, l’individuo apparteneva a realtà quali la domus, la gens e per ultima la stessa ciuitas che ne regolavano l’esistenza e ne condizionavano mentalità e comportamenti, per cui anche morire diventava, così come per molte altre esperienze della vita, un evento pubblico che coinvolgeva anche gli altri membri del gruppo in un cerimoniale che rispecchiava, anche dopo la morte, il posto occupato nella società4. Proprio per il suo valore sociale, il momento della morte presentava dei riti comunitari, con un loro ben preciso significato: l’estremo saluto, la vestizione, il viatico, il pianto rituale, il corteo e il banchetto dopo il rito funebre, così come la condizione di lutto che si traduce anche nell’adozione di un abbigliamento particolare e nel tempo stabilito per appartarsi e per reintegrarsi nella vita sociale. Sono essi tutti riti collettivi che permettevano alla comunità di sentirsi partecipe di una simbolica realtà di condivisione da intendersi come trasmissione di valori, tradizioni e insegnamenti per le generazioni successive. Tra gli atti performativi di cui si avvaleva la classe dirigente per legittimare il proprio potere e per concorrere alla creazione e al rafforzamento della propria identità e consenso politico spicca, come già a suo tempo aveva osservato lo storico greco Polibio durante il suo lungo periodo di permanenza a Roma, il rituale funerario gentilizio5. La meticolosità osservata nella successione rituale di tutti i comportamenti, dal momento della morte alla sepoltura, rendeva lo svolgimento del funerale simile ad uno spettacolo pubblico, la cui teatralità, anche nella processione attraverso i luoghi più significativi della vita del defunto, 1 Cfr. Nic. Dam. Uit. Caes. 3, 4-5; Quint. inst. 12, 6, 1 e Suet. Aug. 8, 1. A questo proposito cfr. MALCOVATI 1944, pp. XXX-XXXI e p.73; SCARDIGLI-DELBIANCO 1983, pp. 26 e 73-74; DE BIASI-FERRERO 2003, pp. 458-459; PARMENTIER-BARONE 2011, pp. 212-213 e PEPE 2015, pp. 34-35. 2 Cfr. Cass. Dio 53, 30, 5 e Serv. Aen. 1, v. 712. Sul tema cfr. MALCOVATI 1944, pp. XXXIII-XXXIV e p. 76; PANCIERA 1994, pp. 88-94 e DE BIASI-FERRERO 2003, pp. 468-469. 3 Cfr. Cass. Dio 54, 28, 3. In merito cfr. MALCOVATI 1944, pp. XXXIV-XXXV e pp. 76-77 e 1972, pp. 142-151; GRAY 1970, pp. 227-238; KOENEN 1970, pp. 217-283; BADIAN 1980-1981, pp. 97-109; HASLAM 1980, pp. 193- 199; GRONEWALD 1983, pp. 61-62; FRASCHETTI 1984, pp. 151-189 e 1990, pp. 83-98; PANCIERA 1994, pp. 95-98 e DE BIASI FERRERO 2003, pp. 472-477. 4 Per l’importanza della cerimonialità funeraria nel mondo romano cfr. SUMI 2005 e HÖLKESKAMP 2006, pp. 319- 363. 5 Cfr. Polyb. 6, 53. 3 serviva per la famiglia colpita dal lutto come dimostrazione pubblica del prestigio ottenuto con gli honores ricoperti e con le imprese compiute per la res publica e allo stesso tempo come occasione per costruire un tassello della memoria collettiva. Esisteva allora un momento ben preciso in cui anche un evento luttuoso diventava il palcoscenico della rappresentazione dei trionfi degli antenati unitamente ai successi e alle qualità del defunto? La risposta si osserva ancora una volta nel complesso rituale di cui si serviva la gens per realizzare un’originale celebrazione della morte. A Roma, il funerale pubblico riservato a personaggi aristocratici veniva annunciato da un banditore e il defunto, dopo essere stato preparato con l’abbigliamento per le cerimonie pubbliche, attraversava tutta la città accompagnato con una solenne processione, al suono di trombe, intonazioni di nenie e di grida e, prima di recarsi al luogo della sua sepoltura, si fermava nel Foro, cuore politico e religioso dell’Urbe e dell’impero. Alla presenza del corteo e del popolo riunito, davanti alla tribuna degli oratori, rostra, si svolgeva il momento più significativo di tutto il rituale funerario gentilizio: la laudatio funebris, vale a dire una composizione di tipo celebrativo in onore del defunto da commemorare in cui l’oratore, dopo averne descritto brevemente la vita, ricordava alla comunità tutti gli honores e le res gestae, sia personali sia di tutti gli antenati della famiglia, exempla maiorum, a partire dal capostipite, mettendone in risalto la carriera politica e i significativi momenti della vita pubblica. Ѐ importante allora parlare della testimonianza relativa alla laudatio funebris pronunciata dal figlio Quinto in onore del padre Lucio Cecilio Metello, descritta da Plinio6 nel VII libro della sua Naturalis Historia, perché la descrizione dei valori osservati con coscienza e responsabilità da Lucio Cecilio Metello per una totale e completa realizzazione della sua vita civile e politica è considerato il prototipo da imitare nella sequenza degli argomenti che dovevano essere tenuti presenti al momento della composizione di una laudatio funebris. Molti studiosi si sono interessati degli aspetti della ritualità funeraria gentilizia nel mondo romano: per i diversi momenti del funus e i loro significati possiamo ricordare gli studi di indirizzo antropologico, religioso e storico di J. Maurin, J. Scheid, J. M. C. Toynbee, C. De Filippis Cappai e di G. S. Sumi7, il lavoro limitato alla specifica realtà del corteo delle imagines maiorum al momento della processione funebre, seppure interessante dal punto di vista politico e 6 Cfr. Plin. nat. 7, 43, 139-140. 7 Cfr. MAURIN 1984, pp. 191-208; SCHEID 1984, pp. 117-139; TOYNBEE 1993; DE FILIPPIS CAPPAI 1997 e SUMI 2005. 4 storico, di H. I. Flower8 e per gli elogia gli scritti di O. C. Crawford, ancora una volta di H. I. Flower, di E. S. Ramage e C. Pepe9. Purtroppo però scarsa attenzione ha ricevuto come Augusto si sia misurato con questa esperienza; il tema è stato preso in considerazione principalmente da A. Fraschetti e M. Blasi10, mentre limitatamente ai funera femminili della domus imperiale si ricorda il lavoro di G. Cresci Marrone-S. Nicolini11. Durante la sua lunga vita, Ottaviano Augusto si occupò personalmente dello svolgimento dei funerali dei componenti della sua famiglia e soprattutto pronunciò l’elogio funebre in loro onore, una prima volta, ancora semplice Ottaviano, per la nonna Giulia12 nel 51 a.C. Seguiranno gli elogia per il giovane nipote e genero Marco Claudio Marcello13 nel 23 a.C., per Marco Vipsanio Agrippa14, amico, collaboratore nonché genero, per il quale aveva la più alta considerazione tanto da designarlo quale suo successore, nel 12 a.C., a distanza di solo un anno per la sorella Ottavia Minore15, onorata anche da un elogio del genero Druso Maggiore16, a sua volta celebrato dallo stesso Augusto e da Tiberio nel 9 a.C. ed infine per i suoi due nipoti nonché figli adottivi Caio e Lucio Cesari, rispettivamente nel 2 e nel 4 d.C., molto probabilmente ancora una volta con Tiberio17. Si è scelto di approfondire soltanto tre esempi di laudationes funebres pronunciate dal princeps perché, in quanto indirizzate a tre diverse personalità quali una donna, la nonna Giulia, un giovane, il nipote Marco Claudio Marcello, e un uomo maturo, Marco Vipsanio Agrippa, si è potuto osservare tre diverse tipologie di composizione e, di conseguenza, cambiamenti di impostazione che a mio avviso potevano essere dettati dalla persona da elogiare. In secondo luogo perché dopo queste tre laudationes funebres, ognuna unica nel suo genere, Augusto non sarà più da solo a ricordare e celebrare il defunto dal momento che, a cominciare dal funerale della sorella Ottavia nell’11 a.C., appena un anno dopo la morte di Marco 8 Cfr. FLOWER 1996. 9 Cfr. CRAWFORD 1941, pp. 17-27; FLOWER 1996; RAMAGE 2006, pp. 39-44 e PEPE 2015. 10 Cfr. FRASCHETTI 1990 e BLASI 2012. 11 Cfr. CRESCI MARRONE-NICOLINI 2010, pp. 163-178. 12 Cfr. Nic. Dam. Uit. Caes. 3, 4-5; Quint. inst. 12, 6, 1 e Suet. Aug. 8, 1. A questo proposito cfr. MALCOVATI 1944, pp. XXX-XXXI e p.73; SCARDIGLI-DELBIANCO 1983, pp. 26 e 73-74; DE BIASI-FERRERO 2003, pp. 458-459; PARMENTIER-BARONE 2011, pp. 212-213 e PEPE 2015, pp. 34-35. 13 Cfr. Cass. Dio 53, 30, 5 e Serv. Aen. 1, v. 712. Sul tema cfr. MALCOVATI 1944, pp. XXXIII-XXXIV e p. 76; PANCIERA 1994, pp. 88-94 e DE BIASI-FERRERO 2003, pp. 468-469. 14 Cfr. Cass. Dio 54, 28, 3. In merito cfr. MALCOVATI 1944, pp. XXXIV-XXXV e pp.
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