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Genres Rediscovered: Studies in Latin Miniature Epic, Love Elegy, And GENRES REDISCOVERED: STUDIES IN LATIN MINIATURE EPIC, LOVE ELEGY, AND EPIGRAM OF THE ROMANO-BARBARIC AGE AN N A MARIA W ASYL GENRES REDISCOVERED: STUDIES IN LATIN MINIATURE EPIC, LOVE ELEGY, AND EPIGRAM OF THE ROMANO-BARBARIC AGE JAGIELLONIAN UNIVERSITY PRESS This volume was supported by the Jagiellonian University - Faculty of Philology and Institute of Classical Studies REVIEWERS Dr. Hab. Przemysław Nehring Prof. Dr. Hab. Jerzy Styka COVER DESIGN Jadwiga Burek Cover illustration: the Rape of Hylas (opus sectile panel from the Basilica of Junius Bassus on the Esqui- line Hill, Rome, the Museo Nazionale Romano) © Copyright by Anna Maria Wasyl & Wydawnictwo Uniwersytetu Jagiellońskiego First edition, Kraków 2011 All rights reserved No part of this book may be reproduced, translated, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording, or other­ wise, without permission from the Author and the Publisher. ISBN 978-83-233-3089-9 WYDAWNICTWO UNIWERSYTETU JAGIELLOŃSKIEGO www.wuj.pl Jagiellonian University Press ul. Michałowskiego 9/2, 31-126 Kraków phone: 12-631-18-81, 12-631-18-82, fax 12-631-18-83 Sales: phone 12-631-01-97, phone/ fax 12-631-01-98 mobile: 0506-006-674, e-mail: [email protected] Bank account: PEKAO SA, nr 80 1240 4722 1111 0000 4856 3325 CONTENTS Introduction........................................................................................................................... 7 PART ONE The Miniature Epic in Vandal Africa and the Heritage of a ‘Non-Genre’ I. 1. Defining the (Latin) epyllion: some recapitulations............................................. 13 I. 2. La narrazione commentata: the narrator’s presence in Dracontius’s epyllia 29 I. 2. 1. Hylas................................................................................................................... 31 I. 2. 2. De raptu Helenae............................................................................................... 31 I. 2. 3. M edea................................................................................................................. 39 I. 2. 4. Orestis Tragoedia............................................................................................... 42 I. 3. Dracontius and the poetics of ‘non-Homeric’ epic............................................... 49 I. 3. 1. Hylas.................................................................................................................... 50 I. 3. 2. De raptu Helenae............................................................................................... 52 I. 3. 3. M edea................................................................................................................. 59 I. 3. 4. Orestis Tragoedia....................................................................................... 65 I. 4. ‘Mixing of genres’ in Dracontius’s epyllia............................................................ 75 I. 4. 1. Hylas............................................................................................................ 76 I. 4. 2. De raptu Helenae....................................................................................... 79 I. 4. 3. M edea.......................................................................................................... 85 I. 4. 4. Orestis Tragoedia.............................................................................................. 91 I. 5. Dracontius’s epyllia: final remarks....................................................................... 98 I. 6. The Aegritudo Perdicae and the epyllion tradition................................................ 100 PART TW O The Elegy without Love: Maximianus and His Opus II. 1. The supposed liber elegiarum or how to make Maximianus readable as an elegiac poet?.............................................................................................................. 113 II. 2. The polyphony of lament: themes and forms in ‘Elegy’ 1................................ 120 II. 3. Love memories in episodes: ‘Elegies’ 2-5........................................................... 136 II. 3. 1. ‘Elegy’ 2: Lycoris............................................................................................... 136 6 CONTENTS II. 3. 2. ‘Elegy’ 3: Aquilina......................................................................... 139 II. 3. 3. ‘Elegy’ 4: Candida......................................................................... 145 II. 3. 4. ‘Elegy’ 5: Graia puella................................................................... 149 II. 3. 5. And yet non omnis moriar: the coda (or ‘Elegy’ 6).................................... 158 II. 4. Maximianus’s elegy: final remarks......................................................................... 159 PART TH REE The Roman Epigram in the Romano-Barbaric World III. 1. Martial and the definition of the Roman epigram............................................. 165 III. 2. “The Martial of the Vandals:” Luxorius, the follower and the innovator 170 III. 2. 1. The dull epigrammatist and his not too learned public: Luxorius’s self-presentation.......................................................................................... 170 III. 2. 2. The liber epigrammaton and its characteristics........................................... 187 III. 2. 3. The poems: an overview................................................................................ 192 III. 2. 3. 1. Scoptic epigrams.................................................................................... 192 III. 2. 3. 2. Epideictic and ecphrastic epigrams..................................................... 205 III. 2. 3. 3. Laudationes and epitaphia.................................................................... 214 III. 2. 4. Luxorius’s epigrams: final remarks............................................................... 216 III. 3. Luxorius and his contemporary epigrammatic writing.................................... 219 III. 3. 1. Unius poetae sylloge........................................................................................ 219 III. 3. 1. 1. The sylloge and its characteristics........................................................ 219 III. 3. 1. 2. The poems: an overview ....................................................... 224 III. 3. 2. Ennodius and his epigrams ........................................................................ 237 III. 3. 2. 1. Jacques Sirmond’s edition or was Ennodius a self-conscious epigrammatist?............................................................................................................ 237 III. 3. 2. 2. Notes on selected poems..................................................................... 244 Conclusion.............................................................................................................................. 253 Bibliography........................................................................................................................... 257 Index of Ancient and Medieval Authors and Works.............................................. 289 Introduction ‘Change’ and ‘continuity’: these two words, however antonymic, are used repetitively and often simultaneously in studies describing the cultural phenomenon of late antiquity. In­ deed, the culture of Spatantike, in particular the literary one, can hardly be defined other than ‘post-classical’, which means, on the one hand, a culture (naturally enough) based on the classical tradition, developing in and through a dialogue with that unique heritage, but on the other hand, a culture in many aspects simply different from that of classical antiquity. This difference - as students of late antique aesthetics and poetics emphasize with imitable persistence1 - cannot be reduced to the mere question of quality. One of more relevant, if not the most relevant, features of late antique poetics is a ten­ dency to mix various genres and styles,2 to create works that are hardly interpretable in ‘old’ generic terms or, at least, to widen the semantics of a certain form by adding new, untypical (ostentatiously untypical at times) elements or characteristics. This tendency actually does not point to anything else but the fact that late antique poetry - not less than Greek Hellenistic or Latin neoteric one, which was similarly experimental and manner- istic - is composed by and for connoisseurs for whom writing and reading is, and should be, an intellectual adventure, a subtle play with most varied literary codes and tropes. At the same time, however, it should not be argued that late antiquity is an epoch already wholly blind or indifferent to the notion of a literary genre, or an epoch in which ‘traditional’ forms are forgotten or laid aside. A telling example, in Latin writings, may be the epithalamium, a genre practiced by the Roman poets since at least Catullus and the Neoterics but apparently reaching its zenith (only?) in Spatantike.3 Interestingly enough, in Late Latin poetry, and what is more, especially the one composed already in a period once considered the outset of the ‘Dark Ages’ and nowadays redefined as a part of the 1 See especially - I quote exempli gratia - the (already canonical) book by Roberts 1989a, who himself referred in the first place to Marrou’s experience in studying the relationship between clas­ sical and late antique aesthetics. Actually, Roberts in each of his studies on late antique literature (therefore, I speak above
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