PERFORMING MIRACLES: THE NATALICIA OF PAULINUS OF NOLA AS POPULAR ENTERTAINMENT

Paulinus of Nola might not be very widely read today, even among professional classicists, but he remains the most popular Latin poet in his adopted hometown. At the Christian basilica complex in Cimitile, near Nola, where Paulinus founded a community for ascetic devotees of the cult of St. Felix in the late fourth century, his poetry is still recited publicly on a number of festive days each year. On a recent visit to Cimitile, I found myself in the audience at one of these narrazioni, which had been organized as a prelude to the Festa dei Gigli, held annually in Paulinus’ honor on June 22. For a group of local residents, gathered around the tomb of Felix in the basilica uetus, an actor read passages from an Italian translation of Paulinus’ carmina, which were then subjected to theological exposition by the Vicar General of the Diocese of Nola. Even now, therefore, Paulinus’ poems, with their straightforward diction and everyday subject matter, are seen as an appropriate vehicle for inspiring religious devotion in the lay community. It is not difficult to imagine a similar scene at Cimitile when Paulinus himself was leading the festivities, 1600 years ago. Still, this modern recitation raises questions about how the Natalicia—that is, the series of poems he composed for Felix's feast day each January 14—were performed in their original context. Presumably, Paulinus would have delivered the Natalicia on his own, without the assistance of actors—but would he have recited all 858 verses of Natalicium 13 (for example), or would he only have presented excerpts? Would the readings have been supplemented by any commentary—theological, or even literary?