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Download File DANTE’S STAZIO: STATIUS AND THE TRANSFORMATIONS OF POETRY A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Amanda M. Weppler Zygmunt G. Barański, Director Graduate Program in Medieval Studies Notre Dame, Indiana April 2016 DANTE’S STAZIO: STATIUS AND THE TRANSFORMATIONS OF POETRY Abstract by Amanda M. Weppler The dissertation examines how Dante draws on the medieval tradition on Statius to develop his portrait of his character Stazio, taking advantage of Statius’ standing as an auctor about whom little was known in the Middle Ages. The changes Dante introduces into Stazio’s biography illuminate the functions the poet intended Stazio to have in the Commedia. Stazio’s unexpected conversion dramatizes the Christianization of classical culture that Dante strives to effectuate through his poetry. Stazio’s presence also helps Dante to define his own complex feelings toward Virgil. Dante’s other major change—Stazio’s prodigality—may ultimately be as important for Dante’s purposes as Stazio’s conversion. Since Dante’s own sins and repentance are an integral part of the narrative of the Commedia, it was important for Dante to introduce a prior example of a sinful poetic auctor in order to establish his own auctoritas. Through the biblical precedent of prodigality representing sin generically, Dante establishes Stazio as an Everyman sinner who becomes an Amanda M. Weppler Everyman Christian through his conversion, and who also represents all Christians who are sanctified through the process of purgation. The way Dante works with and adapts Statius’ poetry in Inferno and Purgatorio suggests that Dante genuinely appreciated Statius as a poet. The Thebaid is a particularly fruitful source for Dante’s depiction of Hell and its characters, especially in the lowest three circles of violence, fraud, and treachery. Dante’s use of Statius’ works in the Purgatorio is more surprising, and perhaps more complex. There is evidence to suggest that scenes from the later books of the Thebaid, either the story of Menoeceus’ sacrifice or the prayers to Clementia, or both, may have influenced Dante’s decision to Christianize Stazio. Finally, Dante uses Stazio in order to express a complex position on the interpretation of poetry. Stazio’s account of his conversion provides an argument for the value of poetry as a vehicle for truth. However, Stazio’s narrative also points to a fact especially inherent in poetic discourse—authors cannot control their audiences’ response to their texts. The Commedia is a sacro poema—either sacred or sacrilegious, according to how it is interpreted. CONTENTS Chapter 1: Statius in the Middle Ages…………………………………………………………………….1 1.1 Dante and Medieval Education………………………………………..…………………….2 1.1.1 The Florentine Schools……………………………………………………………2 1.1.2 Medieval Education………………………………………………...………………7 1.2 Statius Manuscripts…………………………………………………………………...……….20 1.2.1 Statius’ Texts in the Middle Ages…………………………………..….........21 1.2.2 The Medieval Reception of Statius………………………………………....28 1.2.2.1 The Accessus Tradition on Statius…………………………..…30 1.2.2.2 Commentaries on Statius………………………………………....39 1.2.2.3 Verse Arguments…………………………………………..…………46 Chapter 2: Dante’s Stazio and the Historical Statius……………………………………………52 2.1 Dante’s Vita of Stazio……………………………………………….…………………………53 2.1.1 Stazio’s Vita Nuova………………………………………………………………..53 2.1.2 Dante’s Additions: Stazio’s Profligacy and Coronation…..………..64 2.1.3 Dante’s Impact on the Medieval Statius Tradition…………………..69 2.1.4 Statius’ Achilleid: Finished or Unfinished?...........................................71 2.2 The Christian Statius………………………………………………………………………….76 2.2.1 Christianity and the Accessus Tradition………………………………….76 2.2.2 Statius in the Late Middle Ages and Early Renaissance..………….82 2.2.3 Dante’s Readers and Dante’s Text……………………………...…………..88 2.2.4 Modern Attempts to Justify Dante’s Treatment of Stazio……..….92 2.2.4.1 The Commentary of Pseudo-Fulgentius……...…………….93 2.2.4.2 Etymologies of Statius’ Names…………………..……………..98 2.2.4.3 Statius and the Athenian Altars………………..………………99 2.2.4.4 Dante’s Stazio and Statius’ Menoeceus……..…………….103 Chapter 3: Dante’s Stazio: Christian Everyman and Individual Poet………………...….110 3.1 Conversion Narratives in the Commedia: Stazio as Christian Everyman111 3.1.1 Conversion Narratives in the Commedia…....…………………………111 3.1.2 Stazio as an Image of Christ………………………………...……………….114 3.2 Stazio and Virgil: Stazio as a Purgatorial Poet……………………………………122 3.2.1 Stazio, (Virgil), and Sordello…....…………….…………………………….123 3.2.2 Stazio and Virgil…………………………………….……………………………140 3.3 Stazio and Dante: Stazio as Christian Poet…………………………………………146 ii Chapter 4: Statius’ Works in the Commedia………………………………………………………..158 4.1 Existing Criticism on Dante and Statius’ Works………………………………….158 4.2 Statius in the Inferno………………………………………………...………………………164 4.2.1 Statius and the Infernal Setting……………………………………………164 4.2.2 Statius’ Characters in the Inferno…………………..……………………..170 4.3 Statius in Purgatorio and Paradiso…………………………………………………….188 Chapter 5: Purgatorio XXV and Dante’s “Sacro” Poetics……….……………………………..201 5.1 The Statian Cantos……………………………………………………………………………206 5.2 “Sacro” in the Commedia…………………………………....…..…………………………216 5.2.1 Dante’s Use of “Sacro”…………………………………………………………216 5.2.2 “Sacro” in Purgatorio XXII and Paradiso XXIII and XXV…...…….221 5.3 Dante’s Poem as Sacred or Sacrilegious……………………………………………..226 5.3.1 “Sacro”—as Subject to Interpretation…………………………………..232 Conclusion……………………………………………………………………………………………………….244 Bibliography…………………………………………………………………………………………………….252 iii CHAPTER 1 STATIUS IN THE MIDDLE AGES Publius Papinius Statius was regarded as one of the major poetic auctores for many centuries, but today, few people are familiar with the poet and his works, which means that modern readers of the Commedia may not recognize what is distinctive about Dante’s portrayal of the poet. Dante’s “Stazio”1 is depicted as a poet who revered and imitated Virgil, which corresponds with traditional opinion, but also as a man who was led out of prodigality and into Christianity by reading Virgil’s poetry, both of which assertions would have surprised Dante’s audience. The tendency to downplay Statius’ literary importance, which many Dante scholars fall prey to, even if they briefly acknowledge Statius’ status as an auctor, naturally obscures the intentions and significance behind Dante’s characterization of Stazio. A correction to this tendency is to study the Latin poet as Dante’s medieval audience would have encountered him. Recent studies of the reception of Statius have addressed the various changes in his popularity and the shifting interpretations of his work over time. This study will focus on pertinent aspects of the late-medieval 1 In order to distinguish between the historical Statius and Dante’s personaggio, this dissertation will refer to the Commedia character as “Stazio,” and the historical person as “Statius.” 1 reception of Statius and his works, so as to establish a foundation for how Dante and his peers might have regarded the poet. Thus, among the first questions to be asked in this inquiry are: Who was reading Statius in the Middle Ages? and How was he read? 1.1 Dante and Medieval Education 1.1.1 The Florentine Schools It is unfortunate that there exist few specific accounts of Florentine education prior to the mid-fourteenth century, so it is difficult to form a clear picture of Dante’s own education or that of his peers. In 1339, Giovanni Villani recounted in his Cronica2 some details of lay instruction: about ten percent of the population (Charles T. Davis estimates 8,000-10,000 children) were being taught to read, and about an eighth of these (550-600) went on to Latin schools for the study of grammar and logic, in which pursuit they would likely encounter some of the auctores.3 However, very little is known about Florentine education in the previous century. In Robert Davidsohn’s research into Florentine notarial records, he finds only a single reference to a grammar teacher that exists prior to 1300.4 Other 2 Giovanni Villani, Cronica di Giovanni Villani: a miglior lezione ridotta coll’aiuto de’testi a penna Tomo II, ed. Ignazio Moutier and Francesco Gherardo Dragomanni (Firenze: Sansone Coen, 1845), XI, 94. 3 Charles T. Davis, "Education in Dante's Florence," Speculum 40 (July 1965): 415. 2 pertinent documents include letters written to two Florentine schoolmasters by Mino da Colle in the 1280s,5 and a 1299 document unearthed by Santorre Debenedetti concerning the income and expenses for a particular grammar school.6 Davis argues that Dante probably obtained the grammatical education he put to use in reading Cicero and Boethius in a grammar school like the ones noted in these records, but there is no historical source that can provide a clearer picture of what this education might have looked like or whether Davis’ hypothesis is actually sustainable.7 Charles T. Davis’ research into ecclesiastical-based education in Duecento and Trecento Florence suggests that Santa Maria Novella and Santa Croce did not have extensive literary holdings.8 Although these schools were involved in the teaching of grammar, the education there emphasized philosophical and theological texts over literary ones. Santa Croce propagated Bonaventure’s neo-Platonist doctrines, whereas Santa Maria Novella emphasized the teaching of the Thomistic synthesis of Aristotle and scholastic thought.9
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