Cet article propose de voir dans l’episode d’Echo conte au livre III du roman Daphnis et Chloe les traces de reprises intertextuelles des Metamorphoses d’Ovide. Cette hypothese d’une (re)connaissance du poete latin par un auteur grec s’accompagne de l’experimentation de criteres qui peuvent permettre de valider l’existence de tels jeux allusifs. Un premier critere reside dans le fait que l’auteur citant ne se contente pas d’imiter un episode particulier (ce qui pourrait toujours s’expliquer par le recours a une source commune perdue ou par la vague reprise d’un contenu mythologique amplement diffuse) mais superpose ou combine les reprises de passages distincts d’un meme poeme, eventuellement lies entre eux par des liens subtils – ce qui suppose une lecture attentive de l’œuvre en tant que telle (en l’occurrence, Longus semble imiter plusieurs passages epars dans les Metamorphoses, autour de la figure de Pan (en compagnie de Syrinx / sa syrinx), aux livres I et XI, ou de celle d’Orphee, au livre XI egalement). Un second critere est la presence de ‘marqueurs d’intertextualite’ par lesquels l’auteur signale, et eventuellement commente, le geste allusif qu’il est en train d’accomplir (ce que fait Longus en thematisant dans l’episode de la mort d’Echo le caractere approximatif, disperse et meme peut-etre crypte de ses reprises ovidiennes, jouant ainsi sur l’aveu paradoxal d’une intertextualite qui ne se dit qu’en tant qu’elle se cache).
本文建议在小说《达芙妮与克洛伊》第三卷的echo conte插曲中看到奥维德变形的互文重复的痕迹。这种希腊作家对拉丁诗人(重新)认识的假设，伴随着对标准的实验，可以验证这种典故游戏的存在。第一份2.1.1 . reside在提交人引用这一事实并不满足于模仿某一幕总是(这可能是因为使用了一个失去的共同来源或复苏浪潮假说或神话内容广泛传播),而是结合了多次传代单独一诗,可是最终渣之间的微妙联系—这意味着认真阅读作品的本身(在这个例子中,朗格斯似乎在《变形记》中模仿了潘的形象(在第一卷和第十一卷中有Syrinx / sa Syrinx)，或者在第十一卷中有orphee的形象)。第二台(五)是出现在‘d’intertextualite’标记,而由提交人指出,和密封罐道allusif举动,他正在完成(Longus所作所为死在l’episode thematisant回声的大致的性格,也许甚至分散并ovidiennes及其石窟的场合上,从而承认了自相矛盾的intertextualite谁都不会说,她作为缓存)。
{"title":"Quels critères de l’allusion pour une intertextualité ‘latente’ ?Échos cachés / dispersés des Métamorphoses d’Ovide dans l’Écho de Longus.","authors":"F. Klein","doi":"10.4000/DICTYNNA.1749","DOIUrl":"https://doi.org/10.4000/DICTYNNA.1749","url":null,"abstract":"Cet article propose de voir dans l’episode d’Echo conte au livre III du roman Daphnis et Chloe les traces de reprises intertextuelles des Metamorphoses d’Ovide. Cette hypothese d’une (re)connaissance du poete latin par un auteur grec s’accompagne de l’experimentation de criteres qui peuvent permettre de valider l’existence de tels jeux allusifs. Un premier critere reside dans le fait que l’auteur citant ne se contente pas d’imiter un episode particulier (ce qui pourrait toujours s’expliquer par le recours a une source commune perdue ou par la vague reprise d’un contenu mythologique amplement diffuse) mais superpose ou combine les reprises de passages distincts d’un meme poeme, eventuellement lies entre eux par des liens subtils – ce qui suppose une lecture attentive de l’œuvre en tant que telle (en l’occurrence, Longus semble imiter plusieurs passages epars dans les Metamorphoses, autour de la figure de Pan (en compagnie de Syrinx / sa syrinx), aux livres I et XI, ou de celle d’Orphee, au livre XI egalement). Un second critere est la presence de ‘marqueurs d’intertextualite’ par lesquels l’auteur signale, et eventuellement commente, le geste allusif qu’il est en train d’accomplir (ce que fait Longus en thematisant dans l’episode de la mort d’Echo le caractere approximatif, disperse et meme peut-etre crypte de ses reprises ovidiennes, jouant ainsi sur l’aveu paradoxal d’une intertextualite qui ne se dit qu’en tant qu’elle se cache).","PeriodicalId":30340,"journal":{"name":"Dictynna","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82974371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper explores how Menaechmus II of Syracuse unintentionally succeeds in removing Menaechmus I, his Epidamnian twin, from a society which has been exploiting him. The process of withdrawal runs through the play, and is achieved in two stages in which Menaechmus II assumes his twin brother’s meta-dramatic role: in the first play the newly arrived brother alienates the Epidamnian twin from his immediate social and family milieu; and in the second he almost leads the Epidamnians to have his brother isolated within the community on account of the latter’s alleged insanity. As servus bonus, Messenio initially discourages Menaechmus II from comic merrymaking, thus impeding the reunion of the siblings, but later assists in forwarding the plot: he thwarts the Epidmanians’ intention to seclude him and eventually facilitates the recognitio between the twins as well as their final decision to return to their native land. Thus, Menaechmus II’s quest for his twin, which seems to have been deferred when he first arrives in Epidamnus, is prepared for and effectively carried through via the evolution of meta-plots.
{"title":"Plautus, Menaechmi: Twin Helping Twin","authors":"Stavros Frangoulidis","doi":"10.4000/dictynna.1688","DOIUrl":"https://doi.org/10.4000/dictynna.1688","url":null,"abstract":"This paper explores how Menaechmus II of Syracuse unintentionally succeeds in removing Menaechmus I, his Epidamnian twin, from a society which has been exploiting him. The process of withdrawal runs through the play, and is achieved in two stages in which Menaechmus II assumes his twin brother’s meta-dramatic role: in the first play the newly arrived brother alienates the Epidamnian twin from his immediate social and family milieu; and in the second he almost leads the Epidamnians to have his brother isolated within the community on account of the latter’s alleged insanity. As servus bonus, Messenio initially discourages Menaechmus II from comic merrymaking, thus impeding the reunion of the siblings, but later assists in forwarding the plot: he thwarts the Epidmanians’ intention to seclude him and eventually facilitates the recognitio between the twins as well as their final decision to return to their native land. Thus, Menaechmus II’s quest for his twin, which seems to have been deferred when he first arrives in Epidamnus, is prepared for and effectively carried through via the evolution of meta-plots.","PeriodicalId":30340,"journal":{"name":"Dictynna","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82985769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper focuses on the relationship between otium and literature in the Carmina Priapea. In the double prologue of the collection (Priap. 1-2), although lexemes and idioms are similar to those which can be found in most epigrammatic authors, there are significant differences in the use of literary topoi connected to the theme of otium. The new idea of poetry as a ‘rough’ offering of a supposedly ‘idling’ poet in Priapus’ sacred space takes shape through a number of refined allusions to Catullus, Martial, and also (with high probability) to Strato’s Paidike Mousa, in the most important metapoetic poems of the Priapea (1-2, 41, 47, 49, 80). This suggests that the collection is the work of a unique author largely inspired by Martial’s epigrammatic corpus (Mart. 1,1-4, 1,107, 8 pr., 8,3, 8,55, 11,1-6, 12 pr., and 12,1 are re-examined).
{"title":"Otium e letteratura nei Carmina Priapea (e in Marziale)1","authors":"A. Morelli","doi":"10.4000/dictynna.1525","DOIUrl":"https://doi.org/10.4000/dictynna.1525","url":null,"abstract":"This paper focuses on the relationship between otium and literature in the Carmina Priapea. In the double prologue of the collection (Priap. 1-2), although lexemes and idioms are similar to those which can be found in most epigrammatic authors, there are significant differences in the use of literary topoi connected to the theme of otium. The new idea of poetry as a ‘rough’ offering of a supposedly ‘idling’ poet in Priapus’ sacred space takes shape through a number of refined allusions to Catullus, Martial, and also (with high probability) to Strato’s Paidike Mousa, in the most important metapoetic poems of the Priapea (1-2, 41, 47, 49, 80). This suggests that the collection is the work of a unique author largely inspired by Martial’s epigrammatic corpus (Mart. 1,1-4, 1,107, 8 pr., 8,3, 8,55, 11,1-6, 12 pr., and 12,1 are re-examined).","PeriodicalId":30340,"journal":{"name":"Dictynna","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83656911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Part I of this two-part study argues that Aratus’s decision to base his LEPTĒ acrostic, which occurs during a discussion of moonlight (Phaen. 783-87), on Homer’s LEUKĒ acrostic (Il. 24.1-5) was motivated by the connection in Homer between the adjective λeυκός and various types of light from the sky, including the light of dawn, which appears shortly after the acrostic (Il. 24.12), and the light of the moon (Il. 23.455). In Part II, I will argue that a study of the reception of Aratus’s acrostic in Greek and Latin poetry reveals that many ancient poets solved the “riddle” of how Aratus’s acrostic relates to Homer’s.
这个由两部分组成的研究的第一部分认为，阿拉图斯在讨论月光(Phaen. 783-87)时，决定将他的LEPTĒ离合词(Il. 24.1-5)建立在荷马的LEUKĒ离合词(Il. 24.1-5)的基础上，这是由于荷马中形容词λ e κός与天空中各种类型的光之间的联系，包括在离合词(Il. 24.12)之后不久出现的黎明的光和月亮的光(Il. 23.455)。在第二部分中，我将论证，对希腊和拉丁诗歌中对阿拉图斯的离诗的接受的研究表明，许多古代诗人解开了阿拉图斯的离诗与荷马的离诗之间的“之谜”。
{"title":"Seeing the light, Part I:Aratus’s interpretation of Homer’s LEUKĒ acrostic1","authors":"L. Kronenberg","doi":"10.4000/dictynna.1535","DOIUrl":"https://doi.org/10.4000/dictynna.1535","url":null,"abstract":"Part I of this two-part study argues that Aratus’s decision to base his LEPTĒ acrostic, which occurs during a discussion of moonlight (Phaen. 783-87), on Homer’s LEUKĒ acrostic (Il. 24.1-5) was motivated by the connection in Homer between the adjective λeυκός and various types of light from the sky, including the light of dawn, which appears shortly after the acrostic (Il. 24.12), and the light of the moon (Il. 23.455). In Part II, I will argue that a study of the reception of Aratus’s acrostic in Greek and Latin poetry reveals that many ancient poets solved the “riddle” of how Aratus’s acrostic relates to Homer’s.","PeriodicalId":30340,"journal":{"name":"Dictynna","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74980722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Part I of this study argued that Aratus’s decision to base his LEPTĒ acrostic, which occurs during a discussion of moonlight (Phaen. 783-87), on Homer’s LEUKĒ acrostic (Il. 24.1-5) was motivated by the connection in Homer between the adjective λeυκός and various types of light from the sky, including the light of dawn, which appears shortly after the acrostic (Il. 24.12), and the light of the moon (Il. 23.455). In Part II, I argue that a study of the reception of Aratus’s acrostic in Greek and Latin poetry reveals that many ancient poets solved the “riddle” of how Aratus’s acrostic relates to Homer’s.
本研究的第一部分认为，阿拉图斯在讨论月光(Phaen. 783-87)时决定将他的LEPTĒ离合诗(LEUKĒ离合诗)建立在荷马的LEUKĒ离合诗(Il. 24.1-5)的基础上，这是由于荷马中形容词λ e κός与天空中各种类型的光之间的联系，包括在离合诗(Il. 24.12)之后不久出现的黎明的光和月亮的光(Il. 23.455)。在第二部分中，我认为对希腊和拉丁诗歌中对阿拉图斯的离诗的接受的研究表明，许多古代诗人解开了阿拉图斯的离诗与荷马的离诗之间的“之谜”。
{"title":"Seeing the light, Part II: The reception of Aratus’s LEPTĒ acrostic in Greek and Latin literature1","authors":"L. Kronenberg","doi":"10.4000/dictynna.1575","DOIUrl":"https://doi.org/10.4000/dictynna.1575","url":null,"abstract":"Part I of this study argued that Aratus’s decision to base his LEPTĒ acrostic, which occurs during a discussion of moonlight (Phaen. 783-87), on Homer’s LEUKĒ acrostic (Il. 24.1-5) was motivated by the connection in Homer between the adjective λeυκός and various types of light from the sky, including the light of dawn, which appears shortly after the acrostic (Il. 24.12), and the light of the moon (Il. 23.455). In Part II, I argue that a study of the reception of Aratus’s acrostic in Greek and Latin poetry reveals that many ancient poets solved the “riddle” of how Aratus’s acrostic relates to Homer’s.","PeriodicalId":30340,"journal":{"name":"Dictynna","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81039711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Alla fine del terzo libro dell’Ars, Ovidio esorta le cultae lettrici a non dare spazio al sentimento della gelosia, estraneo all’adulterino mondo dell’elegia erotica, e introduce il mito dell’amore infelice di Cefalo e Procri (3, 683-746), exemplum ‘serio’ (non leve) delle nefaste conseguenze di un atteggiamento non moderato in amore. Il presente contributo focalizza l’attenzione sulla figura di Procri come anti-exemplum, modello oppositivo della elegiaca femina culta, e legge la ‘credulita’ della fanciulla, vittima dell’inganno prodotto dal nome della presunta rivale (aura), alla luce della rusticitas che delinea le similari figure di puellae abbandonate delle Heroides. Nella cornice didascalica ovidiana il mito funziona come modello culturale contrario all’estetica del decorum. La ricerca della moderazione e l’invito al rispetto del modus costituiscono il fulcro del messaggio dell’Ars. Connotato come ‘dramma dell’inganno dell’eros’, il mito di Procri si presta a divenire exemplum negativo di insania amorosa, modello perduto di simplicitas che viola i paradigmi dell’amore elegiaco e mal s’addice all’aetas ovidiana del cultus e della raffinatezza.
{"title":"Iucundus nominis error (Ov. Ars 3, 729): Procri rustica puella nell’Ars amatoria","authors":"G. Bua","doi":"10.4000/dictynna.1593","DOIUrl":"https://doi.org/10.4000/dictynna.1593","url":null,"abstract":"Alla fine del terzo libro dell’Ars, Ovidio esorta le cultae lettrici a non dare spazio al sentimento della gelosia, estraneo all’adulterino mondo dell’elegia erotica, e introduce il mito dell’amore infelice di Cefalo e Procri (3, 683-746), exemplum ‘serio’ (non leve) delle nefaste conseguenze di un atteggiamento non moderato in amore. Il presente contributo focalizza l’attenzione sulla figura di Procri come anti-exemplum, modello oppositivo della elegiaca femina culta, e legge la ‘credulita’ della fanciulla, vittima dell’inganno prodotto dal nome della presunta rivale (aura), alla luce della rusticitas che delinea le similari figure di puellae abbandonate delle Heroides. Nella cornice didascalica ovidiana il mito funziona come modello culturale contrario all’estetica del decorum. La ricerca della moderazione e l’invito al rispetto del modus costituiscono il fulcro del messaggio dell’Ars. Connotato come ‘dramma dell’inganno dell’eros’, il mito di Procri si presta a divenire exemplum negativo di insania amorosa, modello perduto di simplicitas che viola i paradigmi dell’amore elegiaco e mal s’addice all’aetas ovidiana del cultus e della raffinatezza.","PeriodicalId":30340,"journal":{"name":"Dictynna","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85590781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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