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Von Herodas Zu Elytis Walter Puchner Von Herodas zu Elytis Studien zur griechischen Literaturtradition seit der Spätantike B V W · K · W Gedruckt mit der Unterstützung durch den Fonds zur Förderung der wissenschaftlichen Forschung Bibliografische Information der Deutschen Nationalbibliothek : Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie ; detaillierte bibliografische Daten sind im Internet über http ://dnb.d-nb.de abrufbar. ISBN 978-3-205-78710-5 Das Werk ist urheberrechtlich geschützt. Die dadurch begründeten Rechte, insbesondere die der Übersetzung, des Nachdruckes, der Entnahme von Abbildungen, der Funksendung, der Wiedergabe auf fotomechanischem oder ähnlichem Wege, der Wiedergabe im Internet und der Speicherung in Daten ver arbeitungsanlagen, bleiben, auch bei nur auszugsweiser Verwertung, vorbehalten. © 2012 by Böhlau Verlag Ges.m.b.H. und Co. KG, Wien · Köln · Weimar http ://www.boehlau-verlag.com Umschlaggestaltung: Michael Haderer Gedruckt auf umweltfreundlichem, chlor- und säurefrei gebleichtem Papier. Druck : Wissenschaftlicher Bücherdienst, 50668 Köln In memoriam Herbert Hunger Inhaltsverzeichnis Vorwort ....................................... 9 Kapitel 1 Die spätantiken »Mimiamben« des Herodas : mimischer Solovortrag oder theatralische Aufführung ? ............................. 15 Kapitel 2 »Christus patiens« und antike Tragödie. Vom Verlust des szenischen Verständnisses im byzantinischen Mittelalter .................. 41 Kapitel 3 Der Zypriotische Passionszyklus und seine Probleme .............. 87 Kapitel 4 Das griechische Volksbuch des »Bertoldo« (1646) : von der Dialoghaftigkeit eines popularen Lesestoffes ............................ 157 Kapitel 5 »Germanograecia« zu Beginn des 19. Jahrhunderts : die literarischen Übersetzungen von Konstantinos Kokkinakis und Ioannis Papadopoulos ... 179 Kapitel 6 Frauendramatik zur Zeit der griechischen Revolution .............. 225 Kapitel 7 Die patriotische Dramatik im 19. Jahrhundert .................. 275 Kapitel 8 Griechische Sprachsatire im bürgerlichen Zeitalter ............... 295 1. Die Satire auf die Verwendung des Altgriechischen .............. 299 2. Sprachenbabel ................................. 348 3. Europäisierung und Modesprache ....................... 413 8 Inhaltsverzeichnis Kapitel 9 »Der Tod des Pallikaren« von Kostis Palamas (1891). Studien zur griechischen Dorfnovelle .................................... 423 Kapitel 10 Odysseas Elytis und der griechische Surrealismus in der Dichtung des 20. Jahrhunderts .................................. 455 Schlußwort ..................................... 473 Quellennachweis .................................. 477 Literaturverzeichnis ................................ 479 Personenregister .................................. 489 Titelregister .................................... 506 Ortsregister .................................... 515 Sach- und Begriffsregister ............................ 519 Vorwort Die griechische Sprach- und Literaturtradition mit ihren mannigfaltigen Stilebenen und ihrer dreitausendjährigen Entwicklung gehört zu den faszinierendsten Phänomen der europäischen Kulturüberlieferung und hat seit der Renaissance und dem Huma- nismus die Aufmerksamkeit und die Bewunderung vieler Gelehrter und Forscher auf sich gezogen. Die Spätantike blieb freilich ein Stiefkind der klassischen Philologie, ebenso wie die griechische Patristik, die jedoch in den theologischen Studien früh eine wesentliche Stütze fand. Das byzantinische Jahrtausend mußte länger zuwarten, um die Vorurteile der europäischen Geschichtsschreibung revidiert zu sehen, die vor allem in der Aufklärung die Dimension eines negativen Pauschalurteils angenommen haben und zum Ausschluß des Byzantinischen Reiches aus dem Kanon der europäischen Ge- schichte, wie er etwa in den Schulbüchern reflektiert ist, führten. Die byzantinische Literatur stieß vielfach auf das gleiche Unverständnis und wurde lange Zeit in ihrer Eigenprägung kaum erkannt und bloß als Erbträger und Quellenarchiv der Alten Herr- lichkeit rezipiert. Dies ändert sich erst in der zweiten Hälfte des 19. Jahrhunderts mit der wissenschaftlichen Fundierung der Byzantinistik durch Karl Krumbacher. In dieser Phase etwa ist zum erstenmal auch ein etwas regeres Interesse an der neugriechischen Sprache und Literatur zu verzeichnen, sei es durch Übersetzungen oder sprachwissen- schaftliche Untersuchungen, durch den Sprachstreit um 1900 oder die ersten Literatur- geschichten. Ein genuines Interesse an der neugriechischen Literatur und Philologie setzt jedoch erst später im 20. Jahrhundert ein. Die griechische Literatur und Sprache bildet eine Einheit, trotz aller Entwicklungen, Beeinflussungen, Wandlungen und Mutationen, der Ausformung ganz verschiedener Stilebenen, der heuristischen Scheidung von hoch- und volkssprachlicher Literatur in Byzanz und der vereinfachenden Kodifizierung der Sprachtraditionen zwischen ka- tharevousa (Reinsprache) und dimotiki (Volkssprache) im 19. Jahrhundert. Dieser An- sicht ist auch der vorliegende Band verpflichtet, der zehn Studien zusammenstellt, die griechische Literaturphänomene vom 3. Jahrhundert v. Chr. bis ins 20. Jahrhundert auf ganz verschiedenen Stil- und Ausdrucksebenen und in unterschiedlichen genres der Belle tristik, mit einem gewissen Schwerpunkt auf das 19. Jahrhundert, zusammenstellt. Dabei kommen mimischer Vortrag, cento-Komposition, Passionsspielentwürfe, Volks- buch und populäre Lesestoffe, Übersetzungen und Originaldramatik, Sprachsatiren und Dialektkomödien, Novellistik und Dichtung zur Sprache. In gewisser Hinsicht stellt 10 Vorwort der Band den dritten Teil eines Triptychons dar, das mit 27 Studien in den Beiträgen zur Theaterwissenschaft Südosteuropas und des mediterranen Raums, 2 Bde., Wien/Köln/ Weimar, Böhlau-Verlag 2006/07 (S. 356+444) begann und in den 24 Beiträgen der Studien zur Volkskunde Südosteuropas und des mediterranen Raums, Wien/Köln/Weimar, Böhlau-Verlag 2009 (S. 738) seine Fortsetzung fand. In diesen Bänden war neben den komparativen Studien jeweils der zweite Teil spezifisch griechischen Themenstellungen gewidmet. Wie schon in diesen voraufgegangenen Bänden umfaßt auch dieser Studien, die zum Großteil zum erstenmal in einer der europäischen Hauptsprachen erscheinen und sich in ihrer Erstfassung (mit Ausnahme der ersten Kapitel) vorwiegend an ein griechi- sches Leserpublikum gerichtet haben. Die meisten Beiträge wurden nicht bloß über- setzt, sondern durchwegs überformt, gekürzt und überarbeitet, sowie mit Nachträgen versehen ; die einschlägige Bibliographie wurde auf den letzten Stand gebracht, neuere Forschungsmeinungen wurden berücksichtigt und eingearbeitet. Über Erstveröffentli- chungen und die Art und Form der Bearbeitung gibt der Quellennachweis am Band- ende Auskunft. Griechisches wird bis 1453 in der aus der humanistischen Tradition bekannten Schreibweise wiedergegeben, in Texten nach 1453 wird das nun schon einige Jahrzehnte gültige monotonische Akzentuierungssystem verwendet. Autorennamen werden transskribiert, Werktitel der Belletristik vielfach auch ins Deutsche übersetzt ; im Falle von Kurzzitaten originaler Textpassagen wurde von Übersetzungen Abstand genommen. Die Reihenfolge der Einzelkapitel folgt chronologischen Kriterien und spannt den Bogen von der Spätantike bis ins 20. Jahrhundert. Das erste Kapitel, »Die spätantiken Mimiamben des Herodas : mimischer Solovortrag oder theatralische Aufführung ?«, führt ins 3. Jahrhundert v. Chr. und beschäftigt sich mit den sieben (bzw. acht) »Mimiamben« des Herodas (Herondas oder auch Herodes), kur- zen dialogischen genre-Szenen aus dem hellenistischen Stadtleben, die im allgemeinen als Texte für einen mimischen Solovortrag erachtet werden, neuerdings allerdings auch als Dialogtexte für eine Theateraufführung apostrophiert wurden ; eine akribische Un- tersuchung der problematischen Passagen, wo Bühnenraum, Bühnenzeit und Personen- handlung unterdefiniert bleiben, engt den Spielraum der Interpretationsmöglichkeiten derart ein, daß das Ergebnis einer intendierten Mimus-Deklamation augenfällig wird. Das zweite Kapitel, »Christus patiens und antike Tragödie. Vom Verlust des szenischen Verständnisses im byzantinischen Mittelalter«, beschäftigt sich mit dem umfangreichen Dialog-cento des »Χριστός πάσχων« und den zahlreichen Problemen, die diese Stellen- kompilation aus antiken Tragödien und Evangelienberichten aufwirft, und liefert einen Beitrag zur Datierung des Werkes (4./5. Jahrhundert oder 11./12.), zu Autorenkreis und Zielpublikum, sowie zu seiner literarischen Entität : christliche Tragödie, Passionsspiel oder Dialoggedicht eines κέντρων ? Die Untersuchung geht in drei Teilen vor sich : Ana- Vorwort 11 lyse von Raum, Zeit und Logik der Handlungssequenz, Vergleich mit den mittelby- zantinischen Passionsbildzyklen (Staurosis, Apokathelosis, Threnos) und Analyse der ausgedehnten Judasverfluchungen aus dem Munde der Mutter Gottes, die vielfach der euripideischen »Medea« entnommen sind. Das dritte Kapitel, »Der Zypriotische Passi- onszyklus und seine Probleme«, behandelt einen ähnlichen dialogischen cento-Text (vor 1320) und seine philologischen Probleme (Autorschaft, Datierung, westliche oder öst- liche Provenienz, Aufführbarkeit usw.), zu dem eine umfangreiche Kontroversliteratur vorliegt. Der Text ist insofern einmalig in der byzantinischen Literatur, als der Prolog an den Spielleiter ohne Zweifel eine intendierte Aufführung nahelegt, von den Bibel- und Apokryphenzitaten sind allerdings nur die Anfangsworte (incipit) angegeben, die
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