ANALECTA ROMANA INSTITUTI DANICI XXXVIII ANALECTA ROMANA INSTITUTI DANICI XXXVIII 2013 ROMAE MMXIII ANALECTA ROMANA INSTITUTI DANICI XXXVIII © 2013 Accademia di Danimarca ISSN 2035-2506 Published with the support of a grant from: Det Frie Forskningsråd / Kultur og Kommunikation SCIENTIFIC BOARD Ove Hornby (Bestyrelsesformand, Det Danske Institut i Rom) Maria Fabricius Hansen (Ny Carlsbergfondet) Peter Fibiger Bang (Københavns Universitet) Thomas Harder (Forfatter/writer/scrittore) Michael Herslund (Copenhagen Business School) Hanne Jansen (Københavns Universitet) Hannemarie Ragn Jensen (Københavns Universitet) Kurt Villads Jensen (Syddansk Universitet) Mogens Nykjær (Aarhus Universitet) Vinnie Nørskov (Aarhus Universitet) Birger Riis-Jørgensen (Det Danske Ambassade i Rom) Niels Rosing-Schow (Det Kgl. Danske Musikkonservatorium) Poul Schülein (Arkitema, København) Lene Schøsler (Københavns Universitet) EDITORIAL BOARD Marianne Pade (Chair of Editorial Board, Det Danske Institut i Rom) Patrick Kragelund (Danmarks Kunstbibliotek) Carsten Hjort Lange (Det Danske Institut i Rom) Gitte Lønstrup Dal Santo (Det Danske Institut i Rom) Gert Sørensen (Københavns Universitet) Maria Adelaide Zocchi (Det Danske Institut i Rom) Analecta Romana Instituti Danici. — Vol. I (1960) — . Copenhagen: Munksgaard. From 1985: Rome, «L’ERMA» di Bretschneider. From 2007 (online): Accademia di Danimarca ANALECTA ROMANA INSTITUTI DANICI encourages scholarly contributions within the Academy’s research fields. All contributions will be peer reviewed. Manuscripts to be considered for publication should be sent to: [email protected] Authors are requested to consult the journal’s guidelines at www.acdan.it Contents LUCA BIANCHEDI: Aspetti culturali e sanitari dell’Ars medica nell’Italia medioevale 7 CECILIE BRØNS: Manners make the man. Challenging a persistent stereotype in the study of Italian 53 Iron Age graves TRINE ARLUND HASS: Galathea, Amaryllis, and Fictive Chronology in Petrarch’s Bucolicum 79 Carmen RICHARD WESTALL: The Relationship of Appian to Pollio: a reconsideration 95 Galathea, Amaryllis, and Fictive Chronology in Petrarch’s Bucolicum Carmen by TRINE ARLUND HASS Abstract. Reconstructing Petrarch’s conception of the primary model for Bucolicum carmen can offer an insight into the narrative discourse of his work. The example that will underpin the discussion in this article is an examination of how Servius’ explanation of Vergil’s use of the name Galatea, used by Petrarch as the title of his eleventh eclogue, may offer a key to the interpretation of the general structure of the work. According to Servius, Vergil uses Galatea and Amaryllis as allegories of Mantua and Rome in the poem. These allegories are used to indicate when Tityrus, the shepherd Vergil used to represent himself, obtained his freedom. Transferring the opposition between Rome and the countryside and the concept of temporal limitation from Vergil’s Eclogues to Bucolicum carmen provides the basis for a general consideration of Petrarch’s representation of himself and his career in this work. Through analyses of how, in the discourse of the fiction, factual aspects of Petrarch’s life and career are manipulated into a different sequence than they had in reality, this article attempts to read the self-representation in the work as a fictive chronology of Petrarch’s development as a humanist and poet. Introduction cuius sint certe nec aliena meminerim. The importance of Vergil as a model for humanist writers in general is indisputable, I have thoroughly absorbed these and for the Father of Humanism, Petrarch, writings, implanting them not only in my the importance of Vergil for his own literary memory but in my marrow, and they have production is well documented on several so become one with my mind that were I levels. A famous example is the letter on never to read them for the remainder of imitation written to Boccaccio, in which my life, they would cling to me, having Petrarch argues that he knows the text of taken root in the innermost recesses of Vergil’s Eclogues so intimately that he sometimes my mind. But sometimes I may forget mistakes Vergil’s words for his own: the author, since through long usage and continual possession I may adopt them Hec se michi tam familiariter ingessere et and for some time regard them as my non modo memorie sed medullis affixa own; and besieged by the mass of such sunt unumque cum ingenio facta sunt writings, I may forget whose they are meo, ut etsi per omnem vitam amplius and whether they are mine or others’. non legantur, ipsa quidem hereant, actis (Petrarch, Familiares 22.2.13)1 in intima animi parte radicibus, sed interdum obliviscar auctorem, quippe Petrarch’s copy of Vergil’s works, Ambrosiana qui longo usu et possessione continua ms. S.P.10/27, is another indicator of the quasi illa prescripserim diuque pro meis impact Vergil had on Petrarch. This codex habuerim, et turba talium obsessus, nec includes an exquisite and precious painting 80 TRINE ARLUND HASS on the frontispiece by Simone Martini, which of Vergil in this volume would have included is suggestive of a truly treasured possession, a reading of Servius’ interpretation as well.3 as are the meticulous annotations made to The hypothesis of the paper is that the text. The insertion of a note on Laura’s reading Bucolicum carmen with the late-antique death seems to show that Petrarch really did commentators, and particularly Servius, in absorb the works of Vergil and made them mind is a way to reconstruct Petrarch’s horizon part of himself, even to the degree that he of expectations and thus hopefully a way to registers important events of his own life in bring us closer to an understanding of his his codex of the texts. But if we consider genre conception as well as of the work itself. Laura to be Petrarch’s construction, the note The analysis is going to have a quite demonstrates, rather, that Vergil played an narrow focus, namely on the significance of important role in how Petrarch represented Petrarch’s use of the name Galathea. It will himself and his life to the world. examine how an interpretation of the name This paper is concerned with the influence based on Servius’ explanation of Vergil’s use of Vergil on Petrarch’s own writing. But of it can contribute to the understanding rather than analysing concrete quotations or of Petrarch’s Eclogues 10 and 11, and, in a allusions to Vergil in Petrarch’s writing the further perspective, how this can contribute paper, instead, focuses on Vergil’s influence on to an understanding of the general narrative the conception of genre evident in Petrarch’s sequence of the work. More specifically, the work. Developments in genre norms can be interpretations of the significance of the seen as an interaction between great writers and name Galathea will form the basis for the minor writers. Great writers challenge existing suggestion that Petrarch constructs a fictional norms in their writings and break with them, version of the chronology of his own career whereas minor writers follow the path set through the narrative discourse. by greater writers thereby confirming these I use the narratological distinction between changes and consolidating them as new discourse and story as a conceptual, underlying norms.2 In this connection, Vergil is surely a principle in this study. The point of departure great writer as it was he who selected elements of the analysis is the discourse, the fictionality, from the Idylls of Theocritus that he then used rather than the historical reality of the story. to create a more uniform pastoral universe. The Only after a consideration of the narrative Vergilian version of bucolic poetry became discourse, based on a reconstructed horizon an inspiration for humanist writers to such a of expectations regarding the primary literary degree that the genre became more popular model, will the perspective be broadened among them than it ever was in Antiquity. to consider the relationship between the One would therefore expect Vergil to be the narrative discourse and the factual story of primary model for Petrarch’s pastoral poetry. events presented. But in order to examine the influence of Bucolicum carmen, a pastoral sequence of Vergil it is necessary to consider the humanist twelve poems, was begun by Petrarch between writers’ conceptions of Vergil and his poetry. 1346 and 1347 and finished in 1357. It is In Petrarch’s case, we are fortunate to have his preserved in autograph in ms. Vat.lat. 3358 own copy of Vergil at hand. Here, we have which also contains Petrarch’s subsequent access to Petrarch’s notes on Vergil’s texts, corrections of the text. As we shall see later, but the codex also shows us that Petrarch’s Petrarch describes in his Familiares 8.3 how reading of Vergil was influenced by Servius. the idea for the work suddenly came to him Servius is featured in Martini’s painting as the in Vaucluse and how he composed it in no revealer of meaning, and on the pages of the time. Each poem in the collection works as book Vergil’s text is surrounded by Servius’ an independent entity, but the title, Bucolicum commentary. This shows us that any reading carmen, in singular, has been seen as an GALathEA, AMARYLLIS, AND FICTIVE CHRONOLO GY IN PETRARCH’S BUCOLICUM CARMEN 81 indication that the twelve poems of the work 3 where Stupeus adores a female character by form some kind of unity. The poems treat the name of Dane, for Daphne, the Greek such themes as choice of a secular career word for laurel. versus a career within the church, mourning Although such groupings are useful for an a patron of the arts, Italian versus French identification of structure and themes in the poetry, unrequited love, satirical critique of work, they give us no indications as to why the Papal curia, lament of the plague and poetry is represented by the particular name lament of war.