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Gli Scoli All'odissea Del Codice X (Vind. Phil. Gr. 133)

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Gli Scoli All'odissea Del Codice X (Vind. Phil. Gr. 133) Scuola Dottorale di Ateneo Graduate School Dottorato di ricerca in Italianistica e Filologia classico-medievale Ciclo XXIV Anno di discussione 2013 Gli scoli all' Odissea del Codice X (Vind. phil. gr. 133) SETTORE SCIENTIFICO DISCIPLINARE DI AFFERENZA: L-FIL-LET/05 Tesi di Dottorato di Filippo Cocchi, matricola 955659 Coordinatore del Dottorato Tutore del Dottorando Prof. Tiziano Zanato Prof. Filippomaria Pontani INDICE DEL VOLUME I. La critica testuale omerica dall'antichità al tardo impero bizantino: una breve panoramica Gli albori dell'erudizione omerica 7 L'epoca d'oro della filologia antica 11 La trattatistica dei primi secoli dell'Era Volgare: allegorie, compendi e lessici 15 Gli scritti di Porfirio su Omero 22 I compendi del V e VI secolo 26 Dalla colonna di un rotolo al margine di un codice 29 Gli scholia vetera all’ Iliade e all' Odissea 32 La rinascita culturale del IX secolo e la formazione dei grandi lessici medievali 38 Costantinopoli tra XI e XII secolo: le allegorie di Psello e Tzetze e i grandi commentari di Eustazio 41 Epiloghi tardo-bizantini 56 II. Educazione e cultura nell'impero di Nicea I tre gradi fondamentali dell'istruzione a Bisanzio: breve cenno introduttivo 60 Un impero in esilio 60 La scuola di San Trifone e il suo maestro di retorica: Michele Kakòs Senacherim 65 III. La rinascita letteraria nella prima età paleologa La riconquista di Costantinopoli (1261) 71 L'educazione e le istituzioni scolastiche durante il regno di Michele VIII Paleologo 75 L'ambiente intellettuale a Costantinopoli tra la fine del XIII e l'inizio del XIV secolo: la figura di Massimo Planude 82 La generazione dei filologi (ca. 1290 – ca. 1325) 88 IV. I codici E, X e gli altri manoscritti della “famiglia orientale” Il codice E 98 Il codice X 100 Gli altri testimoni della famiglia orientale 102 Origini e peculiarità del corpus “orientale”: una lettura di X 104 Conclusione 126 V. Edizione degli scoli ai libri e<qe<qe<q dell’ Odissea nel codice Vind. gr. 133 (X) Nota all’edizione ed alla traduzione del testo 129 Scholia ad Odysseae librum e 130 Scholia ad Odysseae librum z 184 Scholia ad Odysseae librum h 220 Scholia ad Odysseae librum q 252 VI. Abbreviazioni bibliografiche 295 7 I. LA CRITICA TESTUALE OMERICA DALL'ANTICHITÀ AL TARDO IMPERO BIZANTINO: UNA BREVE PANORAMICA Gli albori dell'erudizione omerica All'epoca della fondazione di Costantinopoli, i poemi omerici erano già da almeno otto secoli (cioè dai tempi dell'Atene del V secolo a.C.) i libri di scuola par excellence 1, sui quali Elleni, Latini, Pagani e Cristiani si erano esercitati e si esercitavano per perfezionare la lingua e la grammatica greca: per più di un millennio ancora, fino alla caduta definitiva dell'Impero Bizantino, Omero avrebbe continuato a formare l'istruzione dei giovani, dalla propaideiva fino al to; th'" ejpisthvmh" ejntelev" 2. La lingua omerica, fin dai tempi dell'Antichità Classica, era percepita, se non come “incomprensibile”, quanto meno come parzialmente diversa: ed è proprio in ragione delle difficoltà di comprensione di singoli termini o di passi poco chiari presenti negli e[ph che ben presto cominciarono a fiorire studi grammaticali, metrici, lessicografici ed esegetici volti a facilitare l'apprendimento degli studenti, ma destinati anche, all'occorrenza, a studiosi più esperti. Inoltre, il ruolo moralmente educativo assegnato dai Greci di ogni epoca all' epos omerico impose ben presto la necessità di spiegare tutte quelle porzioni di testo considerate oscure o addirittura moralmente ripugnanti, avvalendosi del procedimento dell' ajllhgoriva 3, per la cui definizione ricorriamo ad un testo attribuito dalla tradizione a un non altrimenti noto Eraclito (cfr. infra , pagg. 16-18): ÔO ga;r a[lla me;n ajgoreuvwn trovpo", e{tera de; w|n levgei shmaivnwn, ejpwnuvmw" ajllhgoriva kalei'tai. 4 1 Un frammento dei Daitalh'" di Aristofane (233 K.-A. = 28 Cassio), in cui un padre interroga il figlio circa il significato di alcune JOmhvrou glw'ttai , cioè parole difficili che ricorrono nei poemi, offre una preziosa testimonianza di quella che era senz'altro una prassi di studio in vigore nelle scuole ateniesi del tempo. Cfr. Dyck 1987, pag. 119. 2 Browning 1992 b, pag. 134. 3 Per designare il significato nascosto dei miti di Omero, la parola ajllhgoriva non è il più antico termine impiegato. Al tempo di Platone si diceva uJpovnoia . “Allegoria” proviene dal vocabolario grammaticale e fu probabilmente la scuola di Pergamo (cfr. infra , pag. 15) che dovette diffondere il termine. Cfr. Montanari 1987, pagg. 11-19; Buffière 1956, pag. 45 e segg. 4 Heraclitus, Quaestiones Homericae , 5,2 Buffière. L'antichità ha tramandato altre definizioni simili: ad esempio il grammatico Trifone di Alessandria (I sec. d.C.) definisce l'allegoria come “ lovgo" e{teron mevn ti kurivw" dhlw'n, eJtevrou de; e[nnoian paristavnwn kaq æ oJmoivwsin ejpi; to; plei'ston ” (3, 191 Sprengel). In molti autori (tra cui ricordiamo Filodemo di Gadara, Demetrio Falereo, Cicerone e Quintiliano) ricorre, poi, il concetto di allegoria come “ continua metaphora ”, o composizione di una serie di metafore che si susseguono intrecciandosi l'una all'altra. Cfr. Pontani 2005 a, pag. 28; Russell-Konstan 2005, pagg. XIII e segg. Per un panorama completo delle definizioni antiche dell'allegoria cfr. Bernard 1990; Boys-Stones 2003; Brisson 2004; Buffière 1956; Dawson 1992; Ford 2002; Freytag 1992; Hahn 1967; Pépin 1976; Ramelli-Lucchetta 2004; Struck 2004; Whitman 1987; Id. 2003. 8 Infatti si chiama “allegoria” una figura che consiste nel parlare di una cosa, mentre se ne vuole indicare un'altra del tutto differente. Con questo procedimento, dunque, gli Antichi trovarono un espediente con il quale cominciarono a trasformare divinità, eroi e miti in elementi e principi fisici (allegoria fisica), oppure istanze morali e moti dell'animo (allegoria morale) 5. La convinzione che si fondava sull'opposizione tra un significato letterale del testo omerico (falso e cattivo) e un significato più profondo (vero e buono) era già radicata da secoli quando, nel I secolo d.C., l'Anonimo del Sublime scriveva, a proposito delle battaglie degli dèi nell' Iliade : « Per quanto queste immagini siano tremende, esse sono però totalmente empie e blasfeme a meno che non le si prenda in senso allegorico 6». Sin dalle prime testimonianze di critica filologica applicata al testo di Omero si possono intravedere due ambiti d'indagine ben definiti: «da un lato la spiegazione di singole parole, cioè la glossografia 7, il cui primo scopo è la comprensione letterale del testo; dall'altro l'interpretazione dei miti, intesa ad analizzare nei suoi significati autentici, o ritenuti tali, il contenuto dei poemi, vale a dire il tessuto delle narrazioni mitologiche. Le prime testimonianze di tali interessi risalgono molto indietro, fino al VI-V secolo a.C., con le interpretazioni allegoriche di Teagene di Reggio 8». Attivo tra il 530 e il 520 a. C., Teagene è considerato colui o{" prw'to" e[graye peri; JOmhvrou (notizia presente negli JOmhrika; zhthvmata di Porfirio, schol *B U 67 ). Il suo metodo interpretativo ci è pressoché ignoto, tuttavia esistono testimonianze secondo cui egli avrebbe proposto una lettura allegorica di tipo morale e fisico della battaglia degli dèi nel XX libro dell' Iliade . Altre fonti antiche, senza fare riferimento esplicito all'allegoresi, paiono confermare che Teagene fosse uno dei più antichi studiosi di Omero 9. 5 Cfr. Cassio 2002, pagg. 122-123; Hunger 1954, pagg. 36-37. 6 Ps. Longinus, De sublimitate , IX, 7, ll. 1-6 Russell: « ajlla; tau'ta fobera; mevn, plh;n a[llw", eij mh; katæ ajllhgorivan lambavnoito, pantavpasin a[qea kai; ouj sw/vzonta to; prevpon. ”Omhro" gavr moi dokei' paradidou;" trauvmata qew'n stavsei" timwriva" davkrua desma; pavqh pavmfurta tou;" me;n ejpi; tw'n jIliakw'n ajnqrwvpou" o{son ejpi; th/' dunavmei qeou;" pepoihkevnai, tou;" qeou;" de; ajnqrwvpou". » 7 Con il termine glossografi (glwssogravfoi ) Aristarco designava gli anonimi predecessori con i quali egli, spesso e volentieri, entrava in polemica. K. Lehrs (1882, pag. 37), che raccolse gli scoli all’ Iliade in cui si fa menzione di questi esegeti, riteneva che le loro dottrine fossero rimanenze di testi in uso nelle scuole ateniesi dell’Età Classica. K. Latte (1924), qualche decennio dopo, ipotizzò che le apostrofi di Aristarco fossero, in quanto anonime, rivolte anche a glwssogravfoi suoi contemporanei. L’attività dei glwssogravfoi resta, tuttavia, di difficile datazione e collocazione geografica. I frammenti a noi noti delle loro spiegazioni puntuali di termini arcaici o dialettali sono riportati, a guisa di bersaglio critico, negli scoli dei filologi alessandrini. Una parte di essi, poi, entrò nella tradizione degli scholia minora ad Omero (cfr. infra , pagg. 36-38) e, tramite questi o altri anelli intermedi, pervenne nei lessici di età posteriore, fino ad essere inclusi nei grandi commentari di Giovanni Tzetze ed Eustazio di Tessalonica (cfr. infra , pagg. 45-56). Si veda inoltre Dyck 1987, pagg. 119-122. 8 F. Montanari, in Cesaretti 1991, introduzione, pag. 8. 9 La pertinenza a Teagene dell’intera interpretazione allegorica in senso fisico della Teomachia è in realtà ancora dibattuta tra gli studiosi. Resta sempre attuale l’ipotesi avanzata da A. Delatte (1915, pag. 115) secondo cui in Teagene vi sarebbero influenze pitagoriche (i pitagorici erano attivi proprio in quell'epoca nel Sud Italia). M. 9 Degli autori che si occuparono di Omero tra la fine del VI e l'inizio del IV secolo a.C. possediamo ben poco: qualche frammento e, in molti casi, nient'altro se non i loro nomi e i titoli delle loro opere 10 . Ci limiteremo, qui, a menzionare soltanto Metrodoro di Lampsaco ( fl . fine del V secolo), allievo di Anassagora e promotore dell'uso dell'allegoria fisica “ad oltranza” 11 , e Antistene (seconda metà del V – prima metà del IV secolo), filosofo socratico e primo autore di monografie su Omero 12 , con le quali aprì la strada alla trattazione sistematica di Iliade e Odissea sotto forma di questioni e indagini ( problhvmata , ajporhvmata o zhthvmata ) da un lato, e soluzioni ( luvsei" ) dall'altro .
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