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Silvae III 1: HERCULES SURRENTINUS POLLI! FELLCLS

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Silvae III 1: HERCULES SURRENTINUS POLLI! FELLCLS Silvae III 1: HERCULES SURRENTINUS POLLI! FELLCLS BIBLIOGRAFÍA Silv. ni 1: Hardie, Stat. & Silv. 125-28. Newland.s, The iocus amoenus' \52-(~ÌQ. Newmyer, Silv. of Stat. 100-5. Vollmer 384-93. Descripciones de villae en las Silvas: Pavlov.slcis, Artificial Landscape ì-2\ (Silv. Ili 1 en 12-13). Van Dam 187-93. La villa de Polio Félix y sus inmediaciones: Argeni(5, «Villa Surrent.» (sobre II 2 y la villa de Polio), d' Arms, Romans on the Bay of Naples. Beloch, Campanien 269-74. Buchner, «Fonti-. Cancik, «11 2- (.sobre II 2 y la villa de Polio). Nisbet, .II 2» (.solare II 2 y la villa de Polio). Pugliese, «Napoli». Rostagni, «Cultura di Napoli-. CONTENIDO Y ESTRUCTURA La Silva se inicia con un proemio de Estacio (1-22), en el que alude al año de interrupción del culto de Hércules, cau.sado por la reconstrucción de .su templo (1-4). Tras ponderar la belleza de la nueva construcción (5-7), inci• de en el contra.ste entre el antiguo edificio y el nuevo (8-11), la velocidad de las obras (12-15a) y la intervención del propio Hércules (15b-22). Pronuncia a continuación un himno clético a Hércules (23-48). Tras men• cionar paraderos akernativos del dios (23-27) lo invoca formalmente (28). Ha• ce una apología de la piedad de la familia de Polio (29-33) y pide al dios una actitud propicia (34-6) y festiva (40-43a), aduciendo los argumentos del lujo del templo (37-38), los Juegos atléticos que acompañarán la dedicación (43b- 118 COMENTARIO 45) y el dato sentimental de que el «sacerdote» oficiante es el propio nieto de Polio (46-48). Sigue el relato del origen de la reconstrucción (49-153). Tras una invoca• ción a la Musa Calíope (49-51), se sitúa la fecha: era pleno verano (52-54) y, más concretamente, los Idus de Agosto, durante la festividad de Diana Aricina (55-60). E.stacio está pasando una temporada en la villa de Polio Félix en So• rrento (6l-7). El día de Trivia se organiza una excursión campestre (68-70), pero un chaparrón sorprende a los excursionistas (71-5), que corren a refu• giarse en una ermita de Hércules, que no da abasto para guarecerlos (76-88). Hércules .se aparece a Polio (89-90) y le dirige una alocución (91-116). Le re• crimina por el descuido en que tiene a su templo, en contraste con la magni• ficencia que muestra en el resto de la villa (91-105). Le insta a que construya otro más digno (106-9), prometiéndole su ayuda (110-16). Se describe la realización de la obra (117-24) y la ayuda de Hércules (125-35a). Al verano siguiente el templo está terminado (135b-38). Se organizan unos Juegos atléticos para celebrar la dedicación (139-53). Al hilo de estos Juegos, Estacio compone un nuevo himno a Hércules (154-62), in• vitándole a participar (154-58a) y a halagar a Pola, la mujer de Félbc (158b-62). Para concluir, E.stacio imagina ver a Hércules en una segunda epifanía (163-65) y consiguiente .segundo discurso (166-83), en el que Hércules elogia la labor de Félix (l66-170a) y, como recompensa, le promete una larga vida para él y Pola (170b-79) y para el templo (180-83). Sanciona su promesa con un juramento solemne (184-6). Dicho contenido se estructura así: I PROEMIO: admiración de E.stacio (1-22) II HIMNO CLÉTICO A HÉRCULES (23-48) III RELATO ETIOLÓGICO (49-153) A. Invocación a la Musa Calíope (49-51) B. Narración (52-153) 1. Descripción (eKcppaou;) (55-88) a. del tiempo: estación (52-54) y día (55-60) b. del lugar: villa de Félix (6l-7) 2. Anécdota: almuerzo campestre y chaparrón (68-88) 3. Epifanía de Hércules (89-116) 4. Construcción del templo (117-38) a. Distributio de tareas entre los obreros humanos (117-24) b. Colaboración de Hércules (125-38) 5. Celebración de los Juegos adéticos (139-53) IV 2.2 HIMNO CLÉTICO (154-64a) V RESPUESTA DE HÉRCULES (l64b-86) A. Admiración del dios (l64b-70a) B. Recompensa: promesa de una larga vida para Félix y su mujer, y pa• ra el templo (170b-86) SILVA PRIMERA 119 OBSERVACIONES A LA ESTRUCTURA La estructura de esta Silva se organiza en torno a dos principios comple• mentarios: un panel central y la composición anular. Con respecto a la técnica del panel central, cabe señalar que la sección inicial (1-48) y final (154-86) tocan aspectos temáticos propios de la dedica• ción del templo y demás actividades festivas que acompañan la ceremonia en el presente. La sección central (49-153) es un epilio narrativo de naturaleza etiológica que se remonta al pasado para relatar la anécdota que dio origen al proyecto de restauración. Cf. el siguiente esquema: Dedicación del templo: PRESENTE Epilio etiológico: PASADO El segundo principio estructurador es la composición anular. Se manifies• ta en las correspondencias que se establecen entre las secciones iniciales (I y II) y finales (IV y V) de la Silva. La sección I, cuyo tema principal es la reac• ción de Estacio ante el nuevo templo, se corresponde con la sección V, que describe la reacción de Hércules. Las partes II y IV son himnos cléticos. La .sección III, dedicada al epilio etiológico, queda aislada en el centro. Cf.: I PROEMIO: reacción de Estacio ante el nuevo templo II HIMNO CLÉTICO A HÉRCULES — III EPILIO ETIOLÓGICO _ IV 2.^ HIMNO CLÉTICO A HÉRCULES V CONCLUSIÓN: reacción del dios ante el nuevo templo Consideraré a continuación los antecedentes de la técnica del núcleo central. Frente al ideal clásico de la unidad de la obra de arte, la poesía hele• nística introdujo el gu.sto por la digresión (cf. el capítulo «L' unità dell'opera d'arte», en Cupaiuoio, Poesia e Poetica 77-98). Más concretamente la existen• cia de una digresión central se considera una característica existente «in every extant Epyllion before the time of Ovid, except the Hylas of Theocritus» (Bishop, «Epyllia & Silv.» 428 n. 2). En la Europa de Mosco, la narración prin• cipal relativa al rapto de Europa rodea una sección central dedicada a la des• cripción del relieve del canasto de Europa, que representa la historia de ío. En la Hécale de Calimaco (cf. frags. 230-377 Pf. y la reciente edición de Ho- 120 COMENTARIO His), cuya influencia en algunos pasajes de la Tebaida de Estacio es constata- ble (cf. Hollis 34, 391), la historia principal narra la aventura de Teseo en la que mata al toro de Maratón. El episodio subsidiario relata la hospitalidad que le ofreció la anciana Hécale, a raíz de la cual Teseo funda el demos ático de Hécale y el templo de Zeus Hecaleus. Otro antecedente importante de re• lato etiológico central son los libros III-IV de los Aetia de Calimaco, según puede inferirse de los fragmentos que sobreviven. La unidad de estos dos li• bros viene sugerida por el marco formado por alusiones a Berenice al princi• pio del libro III y al final del IV: el libro III se abría con una elegía en conmemoración de la victoria del carro de Berenice en los Juegos Ñemeos (Aet. frags. 54-9 Pf.) y el libro IV concluía con el famoso epilio sobre la Cabe• llera de Berenice (cf. frag. 110 Pf. y la traducción de Catulo LXVI). Tras la apertura del libro III, y como aition de los Juegos Ñemeos, Calimaco narraba la expedición de Hércules contra el león de Nemea, cuyo corolario fue la fun• dación de dichos Juegos. Para la reconstrucción de esta estructura en los Ae• tia, cf. PJ. Parsons, «Callimachus: Victoria Berenice», ZPE54 (1979), 1-50. Ya en el epilio latino, el poema LXIV de Catulo contiene una historia den• tro de otra: la de las bodas de Tetis y Peleo (1-49, 268-408) encapsula la de Ariadna y Teseo (50-267). Además, las dos historias se estructuran mediante un complejo si.stema anular que anticipa la composición anular de esta Silva: cf. D. A. Traill, «Ring composition in Catullus 64·., C776 (1981), 232-41, e.sp. 233· Por su lado, el epilio virgiliano de Euridice y Aristeo (georg. IV 315-558) incluye como panel central el relato etiológico de Orfeo y Euridice (w. 453- 527): véa.se Thomas II 201-2 ad loc. La inserción de un panel centrai de carácter etiológico es el principio e.s- tructurador más frecuente en la colección de las Silvas (cf. la discusión de Newmyer, Silv. of Stat. 61-62 y Bishop, «Epyllia & Silv.» 428-29). Además de esta Silva, se encuentra un panel central en I 2, I 4, II 3 y III 4: I 2 (epitalamio en honor de Estela y Violentila): Descripción de la ceremonia: 1-45. Relato etiológico, con intervención de Venus como propiciadora de la boda: 46-218. Regreso a la ceremonia: 219-75. I 4 (soteria en honor de Rutilo Gálico): Enfermedad de Rutilio: 1-57 Relato etiológico, con intervención de Asclepio y Apolo en aras de la cu• ración de Rutilio: 58-105 Recuperación: 106-31. U 3 (descripción del árbol de Atedio Melior): Descripción del árbol: 1-8. Relato etiológico que explica el origen del árbol como consecuencia de la metamorfosis de una ninfa: 9-61. Regreso a la realidad: 62-77. SILVA PRIMERA 121 Puede verse la estructura de III 4 en p. 306. La técnica del panel central en las Silvas tiene las siguientes característi• cas: a) el panel central contiene un aition que explica el origen de un hecho contemporáneo descrito en la sección inicial y final de cada Silva; b) en el ai• tion central es fundamental la atmósfera épica y la intervención divina (en III 1 dicha intervención se manifiesta en la epifanía de Hércules [w.
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