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Ciclos Mitológicos Nas Fabulae De Higino: 2013

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Ciclos Mitológicos Nas Fabulae De Higino: 2013 DIOGO MARTINS ALVES CICLOS MITOLÓGICOS NAS FABULAE DE HIGINO: TRADUÇÃO E ANÁLISE CAMPINAS, 2013 ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM DIOGO MARTINS ALVES CICLOS MITOLÓGICOS NAS FABULAE DE HIGINO: TRADUÇÃO E ANÁLISE Dissertação de Mestrado apresentada ao Instituto de Estudos da Linguagem da Universidade Estadual de Campinas para obtenção do título de Mestre em Linguística. Orientadora: Profa. Dra. Isabella Tardin Cardoso CAMPINAS, 2013 iii iv v vi ABSTRACT The relevance of the work Fabulae, assigned to a certain Hyginus, tends to be more and more recognized in the mythographical studies, although scholars mostly disagree about the value of the work itself. The text is considered either as a simple and poor translation from one single Greek compendium, today lost, or as the most important mythological manual left by the Greco-Roman Antiquity. This study, whose corpus is composed by the fabulae I to CXXV (i.e. the first 14 mythological cycles and the fabula Odisseia), does not have the intention to qualify the Fabulae in those terms. The intention is, above all, to observe the text (by focusing its language and style), as well as to investigate the importance of such aspects to the general study of the myths there presented (including those myths to which Hyginus is the only ancient source). Therefore, the text of the first mythological cycle (Fab. I to VI) is compared to Ovidian’s narrative of the same myths (Met. IV. 512-542; 563-603; Fast. III. 853-876 e VI. 473-562). Then, Fabula CXXV. Odisseia and its relations to Homer’s homonymous epic are appreciates. Finaly selected aspects of the “objective” style that characterizes Hyginus’s work as a mythological companion, that were identified during the translation to Brazilian Portuguese, are appreciated. Key-words: Hyginus, Fabulae, Greco-Roman Mythology, translation, objectivity RESUMO A relevância da obra “Fábulas” (Fabulae), atribuída a um certo Higino, tende a ser cada vez mais reconhecida nos estudos mitográficos, embora estudiosos divirjam quanto ao valor da obra em si, considerada desde uma mera e medíocre tradução de um único compêndio grego, hoje perdido, até o mais importante manual de mitologia legado pela Antiguidade greco-romana. Esta pesquisa, que tem como corpus as fábulas I a CXXV (os quatorze primeiros ciclos mitológicos e a fábula Odisseia) não tem por pretensão qualificar a obra naqueles termos: o intuito é, antes, observar seu texto (com destaque a características relacionadas a sua língua, estilo e gênero), investigando, inclusive, a relevância de tais aspectos para o estudo mais geral dos mitos ali referidos (entre eles, inclusive, mitos para vii os quais hoje Higino é a única fonte antiga). Para tanto, o texto do primeiro ciclo mitológico (Fab. I a VI) é cotejado com a narrativa que Ovídio faz dos mesmos mitos (Met. IV. 512-542; 563-603; Fast. III. 853-876 e VI. 473-562). Analisa-se, em seguida, a fabula CXXV. Odisseia e suas relações com a obra homônima de Homero. A partir da tradução do corpus anotada para a língua portuguesa (inédita, ao que saibamos, no Brasil), elencamos aspectos do estilo “objetivo” que caracteriza a obra Fabulae como um compêndio mitológico. Palavras-chave: Higino, Fabulae, mitologia greco-latina, tradução, objetividade. viii SUMÁRIO APRESENTAÇÃO ........................................................................................................................xix INTRODUÇÃO ................................................................................................................................1 Texto, transmissão e edições das Fabulae ................................................................................2 Fabulae ou Genealogiae? ........................................................................................................6 Terminus post quem e terminus ante quem ...............................................................................8 Gaius Iulius Hyginus? ..............................................................................................................9 Gênero(s)................................................................................................................................15 Genealogias ........................................................................................................................ 17 Catálogos ............................................................................................................................ 18 Fabulae .............................................................................................................................. 19 A estrutura da obra: a hipótese dos Ciclos Mitológicos ..........................................................21 Estilo ......................................................................................................................................24 CAPÍTULO I – LEITURA DO PRIMEIRO CICLO MITOLÓGICO ........................................................ 25 Ciclo I – Cadmo e as Cadmeides ............................................................................................27 A matéria do mito ............................................................................................................... 27 Ino e seus ardis: Higino versus Ovídio ............................................................................... 33 A morte de Learco e a fuga de Ino: Fabulae e Metamorfoses IV ....................................... 39 A metamorfose de Ino: Fabulae e Fastos VI ...................................................................... 45 Perspectivas ........................................................................................................................ 47 CAPÍTULO II – A PRESENÇA DA ODISSEIA DE HOMERO EM HIGINO ............................................ 51 2.1 Introdução ........................................................................................................................51 A errância de Ulisses .......................................................................................................... 53 O encontro com Polifemo ................................................................................................... 57 Hospitalidade em Éolo ....................................................................................................... 59 De Éolo até Circe ............................................................................................................... 61 O encontro com Circe......................................................................................................... 64 A katábasis de Ulisses em Higino ...................................................................................... 65 Ulisses e as sereias ............................................................................................................. 67 Ulisses na terra da Cila e Caríbdis ...................................................................................... 69 ix Ulisses e Calipso ................................................................................................................ 70 A hospitalidade de Alcínoo ................................................................................................ 72 Finalmente Ítaca ................................................................................................................. 74 O Catálogo final ................................................................................................................. 75 CAPÍTULO III – O ESTILO DAS FABULAE DE HIGINO: PRIMEIRAS REFLEXÕES.............................. 77 Errâncias de Higino ................................................................................................................ 78 O estilo de Higino .................................................................................................................. 83 Repetitio e uariatio: a configuração da escrita em Higino .................................................. 85 Dispositio higiniana ............................................................................................................ 88 Figura etimológica e poliptoto ............................................................................................ 89 Condensando o discurso ..................................................................................................... 92 Cum e as circunstâncias do mito ......................................................................................... 95 Uma compilação de mitos .................................................................................................. 97 CONCLUSÃO ............................................................................................................................. 101 TEXTO LATINO ......................................................................................................................... 105 TRADUÇÃO ............................................................................................................................... 155 BIBLIOGRAFIA .......................................................................................................................... 249 ANEXO I - TEXTO LATINO E TRADUÇÃO DE PASSAGENS DE OVÍDIO ......................................... 263 x Para minha mãe. xi xii AGRADECIMENTOS À minha mãe, por me ter propiciado as condições para que eu pudesse me dedicar à realização deste projeto; aos meus familiares, por sempre terem, mesmo que às vezes à distância, me dado apoio desde o
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