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Traduction Et Commentaire Des Epigrammes De John Owen (1564 ?-1622) Sylvain Durand

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Traduction Et Commentaire Des Epigrammes De John Owen (1564 ?-1622) Sylvain Durand La récréation poétique : traduction et commentaire des Epigrammes de John Owen (1564 ?-1622) Sylvain Durand To cite this version: Sylvain Durand. La récréation poétique : traduction et commentaire des Epigrammes de John Owen (1564 ?-1622). Littératures. Université de la Sorbonne nouvelle - Paris III, 2012. Français. NNT : 2012PA030143. tel-00921382 HAL Id: tel-00921382 https://tel.archives-ouvertes.fr/tel-00921382 Submitted on 20 Dec 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITE SORBONNE NOUVELLE – PARIS 3 ECOLE DOCTORALE 120 – Littérature française et comparée EQUIPE DE RECHERCHE EA 173 Thèse de doctorat de lettres latines Sylvain Durand LA RECREATION POETIQUE TRADUCTION ET COMMENTAIRE DES EPIGRAMMES DE JOHN OWEN (1564 ?-1622) Tome 2 (Traduction) Thèse dirigée par Monsieur Philippe Heuzé Soutenue le 03 Décembre 2012 Jury : M. Ph. Heuzé, Professeur émérite à l’Université Paris III – Sorbonne Nouvelle Mme Sylvie Laigneau-Fontaine, Professeur à l’Université de Bourgogne M. Pierre Laurens, Professeur émérite à l’Université Paris IV – Sorbonne M. Michel Magnien, Professeur à l’Université Paris III – Sorbonne Nouvelle M. Etienne Wolff, Professeur à l’Université Paris X – Nanterre Résumé Les Epigrammes de John Owen (1564 ?-1622) constituent un ensemble unique dans la production néo-latine, tant par le nombre de pièces qui le composent, environ mille cinq cent, que par le niveau d’excellence atteint par le « Martial anglais » (gallois, plutôt) qui fit du monodistique l’instrument privilégié de son génie. Le recueil du poète, qui connut pendant plus d’un siècle un véritable rayonnement européen, reflète son époque de composition en bien des points : la préférence accordée à l’inspiration satirique et morale, le culte de la brièveté ingénieuse, la recherche du bon mot et le plaisir du jeu verbal étaient en effet à même de satisfaire les zélateurs de l’esprit nouveau qui s’affirmait alors en Angleterre, vers la fin de l’ère élisabéthaine. L’épigramme owenienne est donc d’abord un exercice de subtilité, et l’étude du recueil, qui se présente au lecteur dans un savant désordre, révèle aussi la subtilité des liens qui régissent son organisation. Celle-ci ne dit pas seulement le soin apporté par le poète à son texte, qui témoigne d’une ambition certaine, mais souligne encore l’extraordinaire variété des sujets qui répond à une caractéristique du genre et à la volonté affirmée d’Owen de faire feu de tout bois. De cet ensemble kaléidoscopique, riche de ses propres échos et où le second degré apparaît souvent comme un témoignage de respect à l’égard de la tradition sur laquelle l’œuvre s’est construite (celle de la poésie morale et gnomique), il faut, enfin, souligner la modernité et la beauté qui sont les secrets du grand œuvre ; en cela, John Owen est bien l’héritier légitime de Martial. Mots clés : épigramme, satire, moraliste, néo-latin, brièveté, Owen Abstract John Owen’s Epigrams represent an exceptional contribution in the neo-latin production, not only by the number of the poems, but also by the near perfection reached by the « English Martial » (welsh, actually) who made the elegiac couplet the prime instrument of his personal genius. Owen’s collection was met immediately with tremendous success in Great Britain as well as on the continent ; this success should last for more than a century, especially on the continent. The collection reflects his age of composition in many ways : the preference given to the satirical and moral inspiration, the cult of wity brevity and the passion for different types of puns were able to please the devotees of the new wit which spread then in England towards the end of elizabethan era. Thus, Owen’s epigram is above all an exercise of subtlety, and the study of the ten books, which are built on an artistic disorder, show as well the subtlety of the links which rule their organisation. This organisation not only show the care given by the author to his work, which is a sign of ambition, but emphasize the remarkable variety of the subject which is certainly the rule for this special type of poetry, but also tell us Owen’s will for major eclecticism. Finally, we have to insist on the tradition to which the Epigrams are linked, that of moral poetry, and on the ironic treatment that the poet apply to commonplaces of gnomic sayings (or ordinary ones), inexhaustible source of inspiration for the witty epigrammatist who found there a way to surprise the reader. John Owen Latin epigrams are probably the wittiest and most pointed that have ever been produced in that tongue. Keywords : epigram, satire, brevity, wit, pun, Owen 1 Ioannis Audoeni Epigrammatum Libri Decem Epigrammatum libri III ad illustrissimam D. Mariam Neville Epigrammatum liber singularis ad nobilissimam D. Arbellam Stuartam Epigrammatum libri tres. Ad Henricum, Principem Walliae duo Ad Carolum Eboracensem unus Epigrammatum libri tres ad tres Maecenates. Ad Edoardum Noel, unus Ad Guilielmum Sidley, alter Ad Rogerum Owen, tertius 2 L’édition utilisée pour ce travail est celle de John R. C. Martyn, parue dans les volumes XLIX et LII de la revue Textus minores (Leyde, Brill, 1976 et 1978). Cette édition, revue et corrigée par nos soins, est pourvue de notes précieuses qui ont souvent facilité l’intelligence du texte. Les notes reprises partiellement ou intégralement sont suivies de la mention DM (dixit Martyn). Il existe une édition numérique des épigrammes de John Owen publiée sur le site de l’université de Birmingham, the philological museum, par Dana F. Sutton. L’édition du texte est moins rigoureuse que celle de Martyn, mais les notes qui l’accompagnent nous ont été également d’une grande aide. Nous signalons la reprise de ces notes par la mention DS (dixit Sutton). Les astérisques renvoient aux notes que John Owen a jointes à certaines de ses pièces. Nous avons choisi de les regrouper en fin de texte pour ne pas les confondre avec nos propres notes. 3 LIBER PRIMUS Ad Illustrissimam Heroinam Dominam Mariam Neville , 1. Patronam suam : A la très illustre héroïne Lady Marie Neville, sa protectrice Pour que partout mes vers s’entourent de Inveniant nostri patronum ut ubique libelli, soutiens, Libros lectori dedico, meque tibi . Ce livre est au lecteur mais je vous appartiens. 2. Ad lectorem : Au lecteur Toi qui lis ces vers, je blâme ta bêtise, si tu les Qui legis ista, tuam reprehendo, si mea laudas loues sans exception ; si tu n’en loues aucun, je Omnia, stultitiam ; si nihil, inuidiam. blâme ta jalousie. 1 3. Ad Io . Hoskins, I . C . Poetam ingeniosissimum : A John Hoskins 2, poète très subtil De suo libro : Sur son livre Ce livre, c’est le monde, Hoskins. Mes vers ? Hic liber est mundus, homines sunt, Hoskine, Ses hommes. versus ; Rares sont les bons vers : ils sont tels que nous Inuenies paucos hic, ut in orbe, bonos. sommes. 4. Ad Dominam Mariam Neville, Patronam suam : A Madame Marie Neville, sa protectrice Si l’on suit sans erreur Pythagore et sa loi, Si nos Pythagorae non fallunt dogmata, corpus Pallas, Junon, Vénus se sont glissées en toi. Intrarunt Pallas, Iuno, Venusque tuum. Trois vertus en ton sein ont fait cause commune Tres nam virtutes te reperiuntur in una : Quand chez tant d’autres gens on n’en trouve pas Cum tamen in multis rara sit una tribus. une. 5. Ad eandem : A la même Telle, au ciel le soleil, sa lumière en otage, Ut sol in caelis, ut lux in sole, uidetur Ainsi voit-on Vertu habiter ton visage. Virtus in vultu sic habitare tuo. Quiconque vient te contempler, te quitte épris, Spectator quicumque venit, discedit amator ; Saisi par ta vertu, ou par ta beauté pris. Aut illum virtus, aut tua forma capit. 1 François-Bernard Cocquard a donné, dans ses Poésies diverses (Dijon, 1754, p. 146), une traduction versifiée de cette épigramme : « Si dans mes vers tout peut vous plaire, Vous n’êtes pas judicieux. Si rien ne peut vous satisfaire, Lecteur vous êtes envieux. » 2 John Hoskins (1566-1638), poète et homme politique anglais, proche de Sir Walter Raleigh et de Ben Jonson, connut John Owen à l’école de Winchester. Il apparaît dans l’œuvre comme son plus vieil ami. 4 6. Ad eiusdem filium, Thomam Neville, maximae spei puerum : A son fils, Thomas Neville, garçon des plus prometteurs On raconte sur ton esprit des choses si admirables De genio tam mira tuo memorantur, ut omnem qu’elles paraissent, bien que toutes avérées, au- Exsuperent, quamvis omnia vera, fidem. delà de toute créance. Celui qui loue un enfant, Qui puerum laudat, spem, non rem, laudat in loue en lui des virtualités, non la réalité ; or la illo ; réalité même prouve ton esprit, non des Non spes, ingenium res probat ipsa tuum. 3 virtualités. 7. Ad eiusdem filiam, Caeciliam Neville : A sa fille, Cécilia Neville Tu es la même que ta mère ; inutile d’en dire plus Es similis matri, de te mihi dicere plura à ton sujet ; il suffit que tu sois comme elle. Nil opus est ; matri te similem esse, sat est. 8. Nosce te ipsum : Connais-toi toi-même Te connaître toi-même, Harpalus, à quoi bon ? Tu non es tanti, sis dignus ut, Harpale, nosci ; Cherche un plus digne objet à ta méditation.
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