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La Fontaine Du Canasson Pégase» : Production, Transmission Et Consommation De La Culture Littéraire Sous Néron Dans Les Satires De Perse

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La Fontaine Du Canasson Pégase» : Production, Transmission Et Consommation De La Culture Littéraire Sous Néron Dans Les Satires De Perse «La fontaine du canasson Pégase» : production, transmission et consommation de la culture littéraire sous Néron dans les Satires de Perse. Mémoire Félix Charron-Ducharme Maîtrise en études anciennes - avec mémoire Maître ès arts (M.A.) Québec, Canada © Félix Charron-Ducharme, 2019 « La fontaine du canasson Pégase » Production, transmission et consommation de la culture littéraire sous Néron dans les Satires de Perse. Mémoire Félix Charron-Ducharme Sous la direction de: Monsieur Alban Baudou Résumé Perse débute son œuvre en rejetant systématiquement toutes les sources inspiratrices traditionnelles, dont la fontaine d’Hyppocrène, ce qui lui donne l’occasion de traiter Pégase de « canasson ». Alors que les interprétations d’ensemble réalisées par le passé sont faussées par une appréciation minimisant la construction systématique des Satires, l’objectif de cette étude est de démontrer que leur thème unificateur est la critique de la production / transmission et de la consommation de la littérature à l’époque néronienne. Dans le premier chapitre, en démontrant l’omniprésence des processus d’imitation et d’émulation dans le texte, puis en mettant au jour leur complexité et leur richesse sémantique, nous exposons la métatextualité des Satires, confirmant notre hypothèse de départ. L’analyse des Satires dans le cadre théorique du grotesque bakhtinien conduit dans un deuxième temps à révéler que le vice et la vertu y sont appariés respectivement à la mauvaise et à la bonne littérature et que Perse vise à détruire la première grâce à la philosophie. Par l’analyse de ce message subversif sous-jacent, nous expliquons quels sont les effets négatifs de la mauvaise littérature et les façons dont il faut s’y prendre pour la contrer. Dans le troisième chapitre enfin, grâce aux énoncés programmatiques et à diverses analyses stylistiques, nous donnons à connaître la cible de Perse : les poètes urbains philhellènes, cancres littéraires avides et présomptueux. Le style de Perse, en revanche, se distingue par son audace, son aspect mordax, sa modestie et sa romanité issue du mos maiorum. Grâce à notre étude, la cohérence des Satires, trop souvent tenues pour composites, apparaît nettement. iii Table des matières Résumé iii Table des matières iv Remerciements vii Introduction 1 Traduction 15 Préface . 16 Choliambes . 20 Satire 1 . 21 Satire 2 . 29 Satire 3 . 33 Satire 4 . 39 Satire 5 . 42 Satire 6 . 51 1 Aemulatio-Imitatio 59 Aperçu théorique antique . 60 L’imitation chez Perse en chiffres : quels sont ses modèles ? . 66 Études de cas : comment Perse utilise l’imitatio / aemulatio . 68 Bilan du premier chapitre . 96 2 Thématiques et vocabulaire persiens 98 Néologismes et diversité stylistique . 99 Grécismes et hellénophobie . 105 La décrépitude morale et littéraire . 110 La physionomie du poète . 118 La poésie comestible et indigeste . 125 Bilan du deuxième chapitre . 130 3 Le programme littéraire persien 132 Extraits programmatiques . 132 Le style des Satires ............................... 151 Bilan du troisième chapitre . 162 iv Conclusion 163 Sources 168 Bibliographie 171 v Laisse aux tragédiens les festins de têtes et de pieds, apprends à manger avec le peuple. Perse, 5, 17-18. vi Remerciements Je tiens à rendre grâce à tous les acteurs qui m’ont épaulé lors de la réalisation de ce mémoire. Merci à mon directeur et mentor, le professeur Alban Baudou, dont la patience immense dans son travail de correction, la sagesse, l’ouverture, la constante disponibilité, l’intérêt pour mon sujet et mon travail et l’aide à la réflexion ont été des atouts indispensables à la réalisation de mon mémoire. Je tiens aussi à le remercier pour son travail de traduction en amont, qui a permis d’améliorer de beaucoup le mien lors de nombreuses séances de mise en commun, que nous aurons le plus grand des plaisirs à poursuivre dans le futur. Merci à la professeure de latin Madame Pascale Fleury, qui a toujours été ouverte pour m’aider à réfléchir sur mon sujet et dont les conseils pleins de sagacité me sont précieux. Merci à elle de m’avoir ramené à mes vieux amours de Perse, lors du choix de mon sujet, pour son soutien par sa lettre de recommandation à l’occasion des demandes de bourses au FQRSC et au CRSH et par son travail de prélecture. Merci au professeur Paul-Hubert Poirier, qui s’est rendu disponible chaque semaine des deux années de ma scolarité pour m’aider volontiers à traduire de la littérature scientifique en allemand et dont la patience, la générosité et le savoir m’ont permis d’améliorer ma connaissance de cette langue lors de séances des plus agréables. Je le remercie aussi d’avoir accepté de lire mon mémoire et d’assumer le rôle de membre du jury. vii Merci à mes parents, Isabelle Charron et Nikolas Ducharme, de m’avoir donné la mo- tivation depuis les 20 dernières années d’aller à l’école d’abord et de poursuivre les domaines qui me tiennent à cœur aux études supérieures par la suite en me donnant de surcroît le soutien financier nécessaire. Merci à ma mère de m’avoir initié aux lettres, au cinéma, à l’art et la créativité et à l’appréciation critique de la culture et à mon père de m’avoir initié à la philosophie, aux idées et à la réflexion intellectuelle. Merci d’avoir ouvert mon esprit et ma curiosité toute ma vie et d’avoir été des modèles de courage et de persévérance. Merci à ma copine Agathe Legendre, pour ses encouragements toujours renouvelés, pour les discussions et les réflexions que nous avons entretenus sur mon sujet et surtout merci de m’avoir donné la force et le courage au quotidien de mener à bien mes projets. Merci finalement au CRSH et à l’Aide financière aux études du gouvernement du Qué- bec, dont le support m’a permis de finir mon mémoire dans les temps tout en conservant une quiétude d’esprit et monétaire. viii Introduction La littérature latine est aujourd’hui avant tout une littérature d’initiés, pour ne pas dire de cabinet d’études. Les notions de civilisation et de mythologie qui peuvent faire défaut aux lecteurs modernes et la forme trop complexe de certaines traductions font en sorte que les auteurs latins voient trop rarement la lumière du jour en dehors des enceintes scolaires. La constatation induit deux conséquences : la pertinence des études classiques au XXIe siècle, qui permettent de mettre en valeur la richesse du legs culturel des anciens et leur rendent justice ; la nécessité pour les chercheurs de démocratiser les textes anciens, en les rendant accessibles à un public de non spécialistes. Cela passe notamment selon nous par des traductions qui s’éloignent de la visée obtusé- ment scientifique des éditions savantes : il faut se débarrasser des structures syntaxiques compliquées qui tentent de calquer les langues à déclinaison anciennes et élucider les allusions pointues qui ne font qu’obscurcir le sens pour un lectorat plus large. Il convient de rendre avant tout la vivacité de ces textes, la complexité de leurs images et la pro- fondeur de leurs propos : c’est là l’unique façon de les rendre pertinents et présents au-delà du cadre savant et érudit. Cette réflexion est à l’origine de notre intérêt à développer une analyse plus motivante et à effectuer une traduction nouvelle des Satires ; le texte en effet, riche et original, est sur de nombreux points inaccessible si l’on ne consacre beaucoup de temps à la com- préhension de détail. Une traduction moins opaque de son corpus permet de constater toute l’étrangeté des images persiennes, la construction au rythme effréné de ces pièces et la lucidité de ce regard sur la littérature, dernière caractéristique qui a retenu notre 1 attention et avec laquelle nous avons entrevu la possibilité d’enrichir la littérature scien- tifique. Ainsi, en amont de sa problématique, ce mémoire vise à inscrire Perse dans la modernité par la mise au jour de l’intérêt si singulier de ses Satires et par la présentation d’une traduction accessible à tous. Son livre comporte six courtes satires cumulant 650 hexamètres dactyliques, auxquelles s’ajoute un prologue de 14 choliambes 1. Chaque satire développe sa thématique propre : la première est une discussion avec un ami ou un rival fictif, dans laquelle Perse plaide contre les mauvais écrivains, la deuxième critique les prières hypocrites des hommes, la troisième s’attaque à la paresse des jeunes gens et exhorte à l’étude de la philosophie, la quatrième dénonce l’ingérence des jeunes gens dans l’État et les reproches hypocrites, la cinquième est adressée à son maître Cornutus et discute la vraie liberté, c’est-à-dire l’ataraxie stoïcienne, la sixième et dernière prend la forme d’une lettre à son ami le poète lyrique Caesius Bassius et se prononce contre les avares. On sait peu de choses sur la vie de Perse : né à Volterra en Étrurie vers 34 ap. J.-C., il reçut une éducation à Rome, puis fréquenta les cercles des stoïciens Thrasea et Cornutus et mourut peu avant la trentaine en 62, léguant une œuvre inachevée ; son mentor, Cornutus, peaufina la fin du recueil et son ami Caesius Bassus en fit l’édition. Si l’on en croit la brève Vita Persi, le livre connut un franc succès auprès du public : 1. L’authenticité de cet exorde écrit en trimètres iambiques, sa place dans l’œuvre et sa forme mé- trique ont suscité de nombreuses discussions au sein de la littérature scientifique ; on admet aujourd’hui que ce bref poème déclaratif est une préface aux Satires écrite par Perse lui-même. 2 Vita, 42-43, editum librum continuo mirari homines et diripere coeperunt 2, Les hommes commencèrent à être pris d’admiration pour le livre édité et à se l’arracher des mains (Trad.
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