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Virgil of Naples Virgil of Naples Sannazaro's (meta)poetic succession R. A. E. Poelstra Classics and Ancient Civilizations: Classics Student number 10012354 University of Amsterdam Thesis supervisor: David Rijser Second reader: Michael C. J. Putnam August 1st 2014 Word count: 21 093 1 Contents 1. Title page, p. 1 2. Contents, p. 2 3. Acknowledgments, p. 3 4. Introduction, pp. 4-7 5. Chapter 1 'Virgil', pp. 8-24 5.1. The dream of Hector and its context, pp. 8-10 5.2. The dream of Hector and its symbolism, pp. 10-12 5.3. The underworld and its context, pp. 12-13 5.4. The underworld and its symbolism, pp. 13-15 5.5. The Tiber and its context, pp. 15-16 5.6. The Tiber and its symbolism, pp. 16-20 5.7. The shield of Aeneas and its context, pp. 20-21 5.8. The shield of Aeneas and its symbolism, pp. 22-23 5.9. General Remarks, p. 23 6. Chapter 2 'Sannazaro', pp. 24-38 6.1. The underworld and its context, pp. 24-26 6.2. The underworld and its symbolism, pp. 26-33 6.3. Proteus' prophecy and its context, pp. 33-35 6.4. Proteus' prophecy and its symbolism, 35-38 6.5. General remarks, p. 38 7. Chapter 3 'the Eclogues', pp. 39-50 7.1. Virgil's sixth Ecloga and its context, pp. 39-40 7.2. Virgil's sixth Ecloga and its symbolism, pp. 41-45 7.3. Sannazaro's fourth Ecloga Piscatoria and its context, pp. 45-47 7.4. Sannazaro's fourth Ecloga Piscatoria and its symbolism, pp. 47-50 7.5. De Partu Virginis and Ecloga Piscatoria IV, pp. 50 8. Conclusion, p. 51 9. Literature, pp. 52-56 2 I want to express my deep gratitude to Machteld van der Wouden, for her unwavering enthusiasm, and for the fact that she took it upon herself to singlehandedly digitize 200 pages of a sixteenth- century manuscript in Bologna, with nothing more than the camera on her phone. 3 Introduction Jacopo Sannazaro (1458-1530) is one of the most well regarded poets of the Italian renaissance. His vernacular masterpiece, the Arcadia, is still read today, and has had a large influence on later pastoral poetry.1 However, he was also a celebrated writer in Latin: due to his abilities in that language he was honored with the nickname 'Virgil of Naples'.2 He left a considerable Latin oeuvre, consisting of an epic, elegies, epigrams and eclogues. His most famous Latin poem is probably the epic on the birth of Christ, De Partu Virginis. It was while reading the latter that I began to suspect Sannazaro's nickname was more than an honorary title to assert his skill. Somewhat earlier, while following a seminar on intertextuality and reception in and of the classical tradition, I became acquainted with Philip Hardie's theory about the epic underworld as a location in which writers had the occasion to symbolically make statements about the place their work inhabits in its tradition.3 Hardie used the Tartarus in the Aeneid as a starting point, arguing that Virgil, through symbolism, presented himself as successor of Ennius, and he showed how epic writers later in the tradition could be seen to continue that practice in their underworlds.4 He doesn't mention Sannazaro, but after reading the part of his Christian epic that takes place in the underworld, I started to believe that Sannazaro discerned the same features of the Hades in the Aeneid as Hardie did almost five centuries later. I also started to believe that Sannazaro, in that same symbolic way, positioned himself as the Christian successor to Virgil. Upon further research into the Virigilian case, I found out that the underworld wasn't the only scene in which these 'metapoetic' (or 'metaliterary') symbols were found by scholars. This led me to look at the rest of the De Partu Virginis in a new way, which brings me to the main question that I will attempt to answer in this thesis: can one read in Sannazaro's De Partu Virginis the same metapoetic symbolism signifying poetic succession, as can be read in several scenes of Virgil's Aeneid?5 Virgil, I suspect, needs no introduction. His epic on Aeneas is often seen as the pinnacle of Latin poetry, and his other works, the Georgica, a didactic poem, and the Eclogae, pastoral poems, are almost equally celebrated. He wrote in the first century B.C., during the (budding) reign of emperor Augustus. Virgil's generic development, starting with 'low' pastoral and ending in high epic, provided Sannazaro with an example for his own career.6 The Arcadia, the Eclogae Piscatoriae and the De Partu Virginis were the Italian poet's major works, the first two representing the pastoral genre, the latter the epic. After his death, collections of epigrams and elegies were published. 1For works influenced by the Arcadia, see Hubbard (2001). 2Grant (1965) 153. 3Hardie (1993) 103-5, Hardie (2014) 21-25. 4Hardie (2014) 21-50. 5See for instance Hardie (1993), Kofler (2003), Goldschmidt (2013), Hardie (2014). 6Putnam (2009) ix. 4 Though Sannazaro was the protégé of Giovanni Pontano, head of the Accademia Pontaniana, his main influence is often identified as Virgil: certainly in his Latin poems 'the presence of the Roman author is to be felt on every page'.7 In order to research the metapoetic symbolism within the Aeneid and the De Partu Virginis, one must contemplate how it should be identified. In my opinion, we may speak of metapoeticality in instances where a text seems self-aware or self-referential, implicitly making statements about genre, tradition, or the creation of the text itself, and those statements are hidden beneath a more obvious narrative meaning of the text.8 It is in fact somewhat of a variant of the allegorical and typological interpretations that Thomas of Aquino defined (in relation to Old and New Testament), and that were current in the renaissance,9 but specifically focused on the nature of a text. Later on, allegorical interpretation was often considered invaluable, but with the rise to prominence of the theories of Gian Biaggio Conte and later Stephen Hinds, the study of metapoetics has become current in classical scholarship.10 In this thesis, I use the term 'metapoetic symbolism' when an element of the text can be interpreted to signify something else than it may seem at first glance, and, through that, appears to make statements about the text itself.11 My focus is on instances of such symbolism concerning poetic succession, that is to say, instances in which elements of the texts seem to symbolize the place of that text in the tradition and the way in which the author of the text succeeds his predecessors. I make abundant use of the term 'metapoetic', since it is useful to signify a certain category of symbolism, though I do not believe it should be considered a rigid label. It must be stated that, generally, metapoeticality should not be regarded as a goal per se, but as a by-product, existing besides the basic meaning of a text. However, the recognition of metapoetic symbolism, that is, instances in which the text seems self-referential, does add to the interpretation of certain scenes, without replacing or detracting from their more evident meaning. Through the recognition of metapoetical elements, an understanding of literature and its traditions is unearthed within a text. Moreover, there can be a programmatic significance to metapoetical interpretations, as implicit statements may be read about how the work should be perceived in relation to the tradition it is part of. 7Putnam (2009) xi. 8Heerink (2015) 24-7. 9For an overview of the development of allegorical practices in the renaissance, see Murrin (2010); for a treatment of allegories in Petrarch and in the English renaissance, see Greene (1982) 20, 94, 95, 105-6, 109-10, 127-28. 10See Conte (1986) and Hinds (1998). 11An illustrative modern example is how in the 2012 movie 21 Jump Street, which is a remake of the 1987 series of the same name, it is stated that the undercover program in which the protagonists enroll is a reboot of an undercover program from the eighties, covertly stating the identity of the film as a remake. Moreover, the actor who originally played the protagonist, Johnny Depp, has a small cameo in the 2012 film, as an older undercover agent who had begun his career in the previous undercover program from the eighties, clearly alluding to the fact that Depp's rise to success started with his role in the 1987 series. 5 The instances of intertextuality and intertextual allusions treated in this thesis are generally previously discerned by scholars. When treating an allusion that I have found myself, I will cite both the alluding passage, and the passage to which is alluded, and clearly convey the structural or verbal similarities. I agree with Conte's disliking for mere collecting of loci similes, and I believe that often an allusion at a certain moment in the text can be significant for the meaning of that scene, also potentially in a metapoetic way.12 Intention of the author is impossible to assess, and always a difficult problem in studies such as this. However, Sannazaro lived in a period where allegorical thinking was common good, and in this thesis I examine his reception of Virgil, and what he may have read in the Aeneid. This means that the intention of Virgil himself is of little importance here, as I am looking for instances of symbolism that Sannazaro could have found and used.
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