The Augustan poets often modelled their recusationes on Callimachus’ portrayal of Apollo in the Aetia Prologue. The paper discusses parallel passages in Horace’s oeuvre, illustrating some typical ...characteristics of Horace’s poetry and of his attitude to his poetic models. After a brief introduction, the paper first touches on three poems by Horace where the role of Callimachus’ Apollo is taken over by another deity: the Muse in C. 1.6.10-12, Venus in C. 1.19.9-12, and adeus (presumably Cupid) in Epod. 14.6-8. The three examples display similarities to, rather than identity with, the Callimachean situation: instead of supplying a direct quote, Horace merely reports the words of a ῾higher power’ which allegedly prevented him from writing what he wanted or what was expected of him. In the two Odes Horace thus refuses to compose an epic, while Epode 14 is not a typical recusatio: Horace’s polished iambics paradoxically profess his inability to compose iambic poetry, and his preference for erotic lyric poetry. The next section focuses on Satire 1.10.31-35, which portrays the Roman god Quirinus warning the young poet in a dream that writing Greek verse is pointless. An analysis of this complex programmatic satire reveals continual departures from, and approximations to, Callimachean poetic, as Horace interweaves several, at times clearly irreconcilable, traditions. Indeed, Callimachean poetic itself is not unequivocal or monolithic but contains many tensions. The short fourth section discusses Horace’s prayer to Mercury in Satire 2.6.13-15. Although superficially lacking a ῾programmatic’ dimension, the satire in fact contains several allusions to Callimachus. It serves to show that Horace’s images function at several levels at once, and that his satires closely interweave ethics with aesthetics. The final and longest section focuses on Horace’s last poem, C. 4.15. In the first strophe, Horace is finally given a warning by Apollo himself. Of all the passages discussed, this one comes closest to the description of Callimachus’ Apollo in the Aetia Prologue. Besides a detailed analysis of the similarities and contrasts between the two poets’ portrayals of Apollo, the fifth section includes a comparison with Vergil’s sixthEclogue and Propertius’ third book of elegies, which undoubtedly served as Horace’s models as well. A prominent function is given to the metaphor of seafaring, which is linked by all three Roman poets to the composition of epic poetry. The paper, moreover, underlines the surprising continuation of Ode 4.15: rather than retreat into bucolic or erotic poetry, as might be expected, Horace openly launches into an ode heralding a new Aeneid and evoking ancient hymnic poetry. Even in the final poem, Horace’s Apollo thus testifies to Horace’s originality in reworking his models.
Pričujoči zbornik Antika za tretje tisočletje je izšel v zbirki Agora kot njen drugi zvezek in je delno rezultat kolokvija »Antika in tretje tisočletje« v novembru 2001, ki sta ga organizirala ISH ...Fakultete za podiplomski humanistični študij Ljubljana ter Društvo za antične in humanistične študije Slovenije.
The paper surveys »Greece through Roman eyes« by searching individual Hellenistic literary epigrams for traces of their impact on the Augustan poets, especially on Vergil, but also on Horace, ...Propertius, Tibullus, and Ovid. The first section focuses on those passages which echo the poetry of the older generation of epigrammatists (4th-3rd century B.C.), particularly Callimachus, Posidippus, and Asclepiades, and the second on those which allude to epigrams composed by the younger generation of Greek authors from the archaic and classical periods of Latin literature, such as Damagetus, Dioscorides, Philodemus, and Crinagoras. Besides the echoes of Greek poetry in the Roman poets’ passages, the paper examines in what ways and to what degree Roman history and Roman authors marked such Greek epigrammatists as Antipater of Sidon or Philip of Thessalonica. A key observation seems to be that Roman authors, albeit they may have written epigrams themselves, nevertheless preferred to embed fragments of epigrammatic poetry (or allusions to it) in their longer works, as Vergil did in his Eclogues or the Aeneid. One way in which Vergil played on epigrammatic discourse was to include in the Aeneid recognisable motifs from the Hellenistic literary epigram (e.g. by Anyte and Damagetus), and to treat implicitly through these motifs, embedded in a new context, the same thematic problems as the model epigrams did. Another interesting observation is that the (supposed) allusions do not refer exclusively to Greek epigrams but sometimes even to epigrammatic discourse within other poetry genres. An example is Vergil’s passage on Daphnis’ death in the Eclogues, which continues, and alludes to, Theocritus’ episode in the Idylls. While Theocritus’ passage on Daphnis’ death imitates the discourse of funerary epigrams in the voice of Thyrsis or Daphnis himself, Vergil’s passage actually contains a kind of rounded-off, spoken mythological epitaph. Later, in the Aeneid, predicting the sad fate of Marcellus the Younger, Vergil uses the voice of Anchises to imitate funerary epigrammatic discourse through a twofold allusion Anchises’ words call to mind both Dioscorides’ epigram on the death of Aleximeneus and Vergil’s own passage on the death of Daphnis in theEclogues. The Marcellus passage thus evokes the atmosphere of ritually resuscitating the dead Aleximeneus by his own music, as well as displays the adynaton from Thyrsis’ song, which is ingeniously embedded by Vergil in the lament for the deceased Daphnis, together with his final apotheosis.
Na začetku moram priznati, da mi je precej neprijetno, ker sem se znašel v položaju, ko bi moral kot skoraj popoln zelenec na pedagoškem polju povedati nekaj modrih misli o blišču in bedi pouka ...antične književnosti pri slovenščini in latinščini. Spričo dejstva, da se nikakor ne morem sklicevati na koš izkušenj pri delu v tem vinogradu, se bom v svojem prispevku skušal omejiti na tisto, kar je vidno na prvi pogled, se pravi v prvi vrsti na gola dejstva o okvirjih, v katere so v naših gimnazijah ujeti grški in rimski pisci.
Jezuitski učitelji, ki so v Ljubljani ustanovili gimnazijo in nekakšno polovično univerzo, so se ukvarjali z antično književnostjo na vrsto načinov. Njihovo delovanje je predstavljeno v šestih ...razdelkih. V prvem je opisan jezuitski šolski sistem nasploh, medtem ko drugi prikazuje odnos reda do klasikov. Pri tem je posebej izpostavljeno znanstveno delovanje jezuitov na Slovenskem. V tretjem razdelku je podan nadroben pregled (zlasti) latinskega čtiva, predpisanega za pouk v vsakem od šestih gimnazijskih razredov, poleg tega pa tudi opis učnih metod. V četrtem razdelku so navedeni ohranjeni naslovi in vsebine zaključnih gimnazijskih izpitov iz književnosti, ki so potekali v Ljubljani. V petem so začrtane glavne značilnosti jezuitske šolske dramatike, šesti pa zaokroži prispevek z razpravo o sedemnajstih dramah z (domnevno) tematiko iz antične književnosti, ki so jih napisali in uprizorili ljubljanski jezuiti s svojimi učenci.
A comparison between Sophocles’ and Seneca’s Oedipus the King affords large scope for illuminating the similarities and contrasts between their respective cultural milieus. The generic and thematic ...similarity of the works (which, of course, points to the embeddedness of Roman drama in the Greek genre) helps to set off the enormous cultural differences: the social function of the theatre, the conception of myth, and the religious and spiritual horizons in the early Roman Empire vastly differed from those of the classical Athens. It is only against the background of these general cultural differences that the issue most interesting to literary hermeneutics can be estimated: the irreducibly individual feature of either author, Sophocles or Seneca – his style. Seneca’s plays, regardless of their (un)stageability, are strongly rhetorical. The extensions of certain motifs of the traditional myth (description of the plague at Thebes), their inventive reworking, and narrative digressions (divination using entrails, description of the forest, rite of evoking the dead) significantly slow down the dramatic action. The scenes are thus often lengthy and static, yet at the same time meticulously and evocatively elaborated as images of the external and internal worlds. The effects of the characters’ extensive psychological self-illuminations in their monologues sometimes run counter to dramaturgical logic, a feature which sets Seneca’s Oedipus most clearly apart from Sophocles’. Given this striking extensiveness, the reconciliation of Seneca’s tragic hero to his fate seems the more surprising: a likely motive for it is the pedagogical principle of Stoic poetic, according to which the spectator is ‘purified’ of his affects through the catharsis which is experienced by the characters within the dramatic space and time.
Z izrazom »summer school« označujemo seminar, ki zaključuje poletne počitnice in uvaja novo akademsko leto. Tako študijsko srečanje je letos organiziral Oddelek za študij antike (Dipartimento Scienze ...dell'antichita) tržaške leposlovne fakultete.
Kot učitelj latinščine in grščine, pa tudi sploh kot ljubitelj antike, sem hudo pogrešala primerno obsežen in funkcionalen priročnik za grško in latinsko književnost. Medtem ko smo v zadnjih letih z ...veseljem pozdravili izid gradiva za pouk latinščine, ki vsaj delno krije potrebe gimnazijcev in univerzitetnih študentov ter vseh tistih, ki se več ali manj poklicno srečujejo z rimskim svetom in njegovo kulturo, se je zaradi skromne razširjenosti poučevanja grščine v Sloveniji zdelo, da bo poglobljen in popoln priročnik o grški književnosti še dolgo ostal le desideratum.
Prispevek se ukvarja z vprašanjem, kako obravnavati literarne vsebine iz antične književnosti pri pouku latinščine na osnovni šoli. Temeljno izhodišče referata je, da je tudi na osnovnošolski stopnji ...pouka latinščine potrebno obravnavati literarne vsebine, ki so ustrezno prilagojene osebnemu razvoju učencev. Pri tem si avtorica zastavlja vprašanje, ali je recepcija antične književnosti v osnovni šoli mogoča, v kolikšni meri in kakšna je pri tem vloga učitelja. V drugem delu referata je prikazana okvirna opredelitev literarnih vsebin pri pouku latinščine, kaj naj le-ta vsebuje in kakšni naj bodo njegovi cilji, predstavljenih pa je tudi nekaj primerov pedagoške prakse pri pouku književnosti.
Grški helenistični roman je bil v zadnjih tridesetih letih deležen ponovnega zanimanja, delno tudi zaradi premikov, ki so se zgodili na področju raziskovanja književnosti. Podrobneje sem pregledala ...dva slovenska članka o grškem antičnem romanu in v nadaljevanju opisala nekaj modernih literarnih metod, ki so jih pogosteje uporabljali za preučevanje grškega helenističnega romana.
PDF
