Les préambules conservés sous forme fragmentaire, pour les livres 1 et le livre 7 de les Annales d'Ennius, associent la conception de l'épopée comme chant sacréé et une conception plus technique de la littérature, héritée de la culture alexandrine et de ses poètes "philologues". Ennius suggère une image de lui-meme en tant que vates et primus inventor d'une poésie technique et savante. Le poète avait conscience de la valeur exemplaire et intrinsèquement "politique" de son oeuvre.L'autoprésentation trouve dans le préambule un espace favorable: il s'agit toutefois d'un préambule particulier, puisqu'il ne figure pas au début meme de l'oeuvre, mais au début du livre 7. Le début du livre 1 restait attaché aux accents sacrés de la puissance inaugurale et s'employait à fuir la "Muse légère" de type callimaquéen; le début du livre 7, en revanche, analyse la nouvelle poétique.
The Prooemia, preserved in fragmentary form, which are assigned to books 1 and 7 of tha Annals of Ennius, combine the idea of the epic as a sacred song with tha idea, inherited from Alexandrian poets "philologists", of poetry as a learned technique. With verse that problably open the poem, Musae quae pedibus pulsatis Olympum, Ennius takes openly stand in the Homeric tradition. But Ennius proclaims himself the first poet dicti studiosus: he suggests an image of himself not only as vates but also as primus inventor of a learned poetry that creates a new language and a new rythm. This self-definition finds in the Prooemium a favourable space: a particular Prooemium that is not at the beginning of the poem, but at the beginning of Book 7. Ennius presents his poem and its originality in relation to tha topos of primus ego in two Prooemia: at the beginning of the poem in the form of a dream initiatory as a moment of poetic investiture according to the Theogony, and then at the beginning of Book 7 in literary terms, making an agonistic reference to Naevius. The political function and duty of the Roman poet requires a poetic form that defines new literary terms. This definition is the only one that can reflect the role of the poet and express the change of the poetic function in relation to the model of the poet "philologist" of Alexandrian tradition.
Deux manifestes poétiques chez Ennius (Annales, fr. 1 et 206-211 Skutsch)
ROMEO, Alessandra
2012-01-01
Abstract
The Prooemia, preserved in fragmentary form, which are assigned to books 1 and 7 of tha Annals of Ennius, combine the idea of the epic as a sacred song with tha idea, inherited from Alexandrian poets "philologists", of poetry as a learned technique. With verse that problably open the poem, Musae quae pedibus pulsatis Olympum, Ennius takes openly stand in the Homeric tradition. But Ennius proclaims himself the first poet dicti studiosus: he suggests an image of himself not only as vates but also as primus inventor of a learned poetry that creates a new language and a new rythm. This self-definition finds in the Prooemium a favourable space: a particular Prooemium that is not at the beginning of the poem, but at the beginning of Book 7. Ennius presents his poem and its originality in relation to tha topos of primus ego in two Prooemia: at the beginning of the poem in the form of a dream initiatory as a moment of poetic investiture according to the Theogony, and then at the beginning of Book 7 in literary terms, making an agonistic reference to Naevius. The political function and duty of the Roman poet requires a poetic form that defines new literary terms. This definition is the only one that can reflect the role of the poet and express the change of the poetic function in relation to the model of the poet "philologist" of Alexandrian tradition.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
