Ahil po smrti Ritsos, Janis; Isak Kres, Jelena
Clotho (Ljubljana, Online),
08/2020, Letnik:
2, Številka:
1
Journal Article
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Zelo je utrujen – kaj naj zdaj počne s slavo? – dovolj je bilo.
Dobro je spoznal sovražnike in prijatelje – domnevne prijatelje,
kajti za občudovanjem in ljubeznijo so se skrivale njihove lastne ...koristi,
njihove lastne sumljive sanje, pretkane in hkrati nedolžne.
Dioniz in Nil v varstvu Boga Blaž Božič
Keria: Studia Latina et Graeca,
08/2021, Letnik:
23, Številka:
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Prispevek osvetljuje dva glavna problemska sklopa, ki se kažeta pri obravnavi korpusa poznoantičnega pesnika Flavija Dioskora oz. Dioskora iz Afroditopolisa iz 6. stoletja po Kr. Razprava izhaja iz ...kratke biografske osvetlitve, pregleda kontekstov Dioskorovega ustvarjanja in prevoda treh tipičnih primerov njegovih pesmi (dveh epitalamijev in enega enkomija). Najprej se posvečam vrednotenju Dioskorove poezije v 20. stoletju: »najslabši pesnik antike«, nesrečni epitet, ki zgoščeno povzema splošne sodbe o njegovem delu do poznega 20. stoletja, skušam prikazati v luči dveh širših problematik: vpeljanega razumevanja celotnega obdobja »pozne antike« kot obdobja dekadence in propada ali pa kot prehodnega obdobja na eni, in kot problem vrednotenja »priložnostne poezije« in figure »priložnostnega pesnika« na drugi strani. Prevedene pesmi nato postavljam v kontekst poznoantične literature, oziroma natančneje, literarnega ustvarjanja v Egiptu 6. stoletja. S tem naslavljam drugi problemski sklop, to je problematika »krščanskega« in »poganskega« v njegovi poeziji, v zvezi s katero izpostavljam motiv Dioniza in Nila v varstvu krščanskega Boga, ki se pojavi v Epitalamiju Izaku (P.Cair.Masp. III 67318): probleme tovrstnih dinamik med »krščanskim« in »poganskim« je na primeru opusa Nonosa iz Panopolisa (avtorja »poganskega« Epa o Dionizu in »krščanske« Parafraze Janezovega evangelija) uspešno reševal Robert Shorrock, in sicer s pomočjo modela dveh poznoantičnih »pesniških person« oz. literarnih kodov, namreč »pesnika muz« in »pesnika Kristusa«. V nadaljevanju razprave argumentiram, da se za obravnavo poezije Flavija Dioskora takšen pristop kaže kot le deloma primeren. Menim namreč, da je dinamiko med »krščanskim« in »poganskim« ravno zaradi »priložnostnosti« te poezije, torej dejstva, da je še posebej tesno povezana s svojim pragmatičnim kontekstom (in tako s konvencijami obreda, npr. v kontekstu poroke), ustrezneje kot (zgolj) literarno igro razumeti kot literarni odraz žive verske dinamike v Egiptu 6. stoletja.
Daleč na Vzhodu je kraj, preblažen v svoji samoti, kjer na široko stoje duri neba zevajoč,tamkaj Sonce ne vzhaja nad zimskim, poletnim ne časom, le na pomlad z voza zliva njegova se luč.
Že ko odpremo antologijo Vpletel bom belo vijolico, v kateri mag. Jelena Isak Kres predstavlja 124 epigramov štiriintridesetih abecedno razvrščenih avtorjev iz helenističnega obdobja grške ...književnosti, opazimo, da se uvršča med študioznejše izdaje v Logosovi zbirki Poezije, kar se za gradivo iz časa aleksandrijskih filologov tudi spodobi.
The paper considers the perception of metals such as gold, silver, bronze and iron in Hesiod’s Theogony and Works and Days, composed around late 8th or early 7th century BC. An analysis reveals that ...gold appears exclusively as an attribute of the gods. Only gods wear objects of gold and their works are golden, too; indeed, they are described as golden themselves. Arguably this metal not only serves as a metaphor for the quality of the immortal and unreachable gods, i.e. Aphrodite, Dionysus, Hera, Zeus and Apollo, but also appears in the ‘distant territories of the divine cosmos’ – golden is Triton’s palace, golden are the apples guarded by a horrible snake on the edge of the earth. Hesiod’s golden race, the first mortal race, excellent in all aspects, free of troubles and hard work, is, significantly, also closest to the gods. The silver race, created after the golden one, is inferior to the first just as silver is less precious than gold. Hardly ever mentioned in Hesiod’s poems, this metal is omitted from descriptions of jewellery or weapons. What is described as silver are river whirlpools, the colossal pillars of the underworld, and the feet of the nymph Thetis. A possible interpretation is that all these objects are untamed and unreachable, similar to gold but not divine anymore. After the silver race, the gods create the bronze race. This is a race of violent giants, fierce and strong, who are born from the ash tree. Bronze is therefore even farther from the divine: it is human. Moreover, it is the first alloy, and the manufacture of bronze objects demands much more knowledge and skill in comparison with gold and silver. Hesiod uses bronze as a synonym for all that is hard and strong in both poems – bronze is the material of the anvil, of the high walls, door, and doorstep which hold back the Titans in Tartarus, and of the arms carried by Memnon and Heracles. The only race not associated with metals is the race of heroes, exempted in this respect from the progressive devaluation. The fifth and last race is the iron race, to which the poet himself belongs. It is described as beset by the sorrow, hard work and cares sent by the gods. Made of iron are mostly tools and weapons; iron is the soul of Death, hard and heartless. With iron, the worst of all metals, the cycle of devaluation is complete. However, archaeological investigations present a somewhat different picture. In the early Iron Age, i.e. contemporary with the two Hesiodic poems, iron ultimately prevails in the territory of today’s Europe. Yet it is not used only to produce weapons and tools – this period reveals a rapid increase in iron jewellery as well. The abundance of the latter shows that iron was not only new but even fashionable, despite being unsuitable for the making of jewellery. In fact, it may have been prized more than gold itself in this period. Why, then, does the poet characterise the iron race as the worst, despite all the advantages brought by this metal? Simply because iron is the material supplying tools and weapons, which are used in labour and warfare respectively. In the golden age, by contrast, men lived in peace, leisure, and opulence like the immortal gods. Innovation and technological progress, such as the knowledge of iron and its techniques, are not perceived to contribute to tranquillity and prosperity; rather, they are associated with harrowing work and war.
In his historical poems, Cavafy not only records historical facts but creates his own historical poetry, thus detaching himself from the historian - scholiast. His poetry yields three major models of ...presenting historical figures, ranging from protagonists who are purely fictional, such as the Hegemon from West Libya, to practically anonymous or little known figures, such as Kaisarion, and to important historical personages, such as Antonius. In all three types of poem, history is the background rather than the main theme. While the reader may be tricked by the (seemingly) historical references into believing that the poems are historical, they in fact refer to fictional characters. The poet applies history in order to highlight a certain theme or detail from the past which characterizes the historical period better than a well-known fact or major agent. These half-shaped figures are far more suggestive, allowing both poet and reader greater creativity in attributing to them a meaning within the historical frame. Well-known and famous protagonists (e.g. Antonius) are portrayed at the time of their fall, or at moments which reveal their weakness or strength of character. Even when their actions are known from history to have been pernicious and fatal to their agents, Cavafy does not determine their behaviour or reactions, leaving it to the reader instead to draw his own conclusions. Rather than to a certain period of the past, his heroes belong to all time the atmosphere in which they act is a transient historical situation which allows any kind of development and interpretation. Influenced by symbolism, as is obvious from his prose essays and notes, Cavafy chooses the historical themes which permit an atmosphere of uncertainty, always requiring a knowledge of the historical facts and the ability to perceive the past within dramatic and poetic dimensions.
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