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Iambic Metapoetics in Horace, Epodes 8 and 12
Helios Pub Date : 2016-01-01 , DOI: 10.1353/hel.2016.0001
Erika Zimmermann Damer

When in Book 1 of his Epistles Horace reflects back upon the beginning of his career in lyric poetry, he celebrates his adaptation of Archilochean iambos to the Latin language. He further states that while he followed the meter and spirit of Archilochus, his own iambi did not follow the matter and attacking words that drove the daughters of Lycambes to commit suicide (Epist. 1.19.23-5, 31). (1) The paired erotic invectives, Epodes 8 and 12, however, thematize the poet's sexual impotence and his disgust during encounters with a repulsive sexual partner. The tone of these Epodes is unmistakably that of harsh invective, and the virulent targeting of the mulieres' revolting bodies is precisely in line with an Archilochean poetics that uses sexually-explicit, graphic obscenities as well as animal comparisons for the sake of a poetic attack. Epodes 8 and 12 may, in fact, offer Roman culture's most overtly misogynistic tone. (2) In spite of the vehemence in the speaker's verbal assaults, he is reacting to his own perceived sexual weakness. In fact, Horatian iambic continually notes the unmartial status and weakness of the speaker's body. He is programmatically imbellis acfirmas parum (Epod. 1.16) and his final appearance is that of an enervated old man: he is jaundiced, breathless, feverish, and aged on account of Canidia's powers (Epod. 17.21-6, 31-4). (3) Accordingly, I posit here that bodily invective in Epodes 8 and 12 functions metapoetically. I call attention to the repetition of stylistic terms--mollitia, inertia, and rabies--within Epodes 8 and 12, and show how these two poems can be seen as part of Horace's ongoing project to distinguish his own emerging iambic project from the incipient genre of Roman love elegy. (4) To these two elegiac terms, mollitia and inertia, the Horatian iambic speaker adds the quintessentially iambic rabies, a term that the poet Horace himself will later call the emotion that first generated iambic poetry. My reading thus suggests that Horace was well aware not only of the tropes and topoi of Roman love elegy, (5) but also of its vocabulary of style that routinely associates the human bodies of its characters with the central stylistic qualities of the poetic genre. While critics have disputed the chronology, (6) most agree that Horace's Epodes were published soon after Actium, in approximately 31/30 BCE, and were followed by the publication of Propertius's Monobiblos and Tibullus's Book 1 in 28 and 27 BCE, respectively. (7) We thus have evidence in the intergeneric dialogue that I draw out of Epocies 8 and 12 for the existence of two-way influence between the poets of Roman iambic and elegiac erotic poetry, what Peter Heslin (2011, 60) has aptly called "an extended process in which each poet defined himself against the other[s]." Furthermore, Horace's poems articulate an iambic refusal to valorize these terms that generally characterized effeminacy or other failings of normative Roman masculinity in broader Roman discourses of gender and sexuality. Iambos, despite its transgressively obscene content, thus serves to uphold and reinforce the status quo in a period where elite Roman masculinity was challenged through social forces, upset by the political instability of the Triumviral period, and was witness to the emergence of alternative masculinities in the sartorial self-expression of Roman elites like Caesar and Maecenas and in the poetic aesthetics of Roman love elegy. (8) For many decades, Epodes 8 and 12 were considered so obscene that they were censored from publication and ignored by critics of Horadan iambic. (9) By the late 1980s, however, these Epodes began to be re-evaluated as an integral part of Horace's first lyric collection. (10) William Fitzgerald's groundbreaking study (1988) argued for the interrelation between the political, invective, and erotic poems of the Epodes, and has laid the foundation for much later criticism focused on the sociopolitical context of the Epodes' production and on Roman sexuality. …

中文翻译:

贺拉斯中的抑扬格元诗学,Epodes 8 和 12

在他的书信第一卷中,贺拉斯回顾了他的抒情诗生涯的开始,他庆祝他将 Archilochean iambos 改编成拉丁语。他进一步指出,虽然他遵循 Archilochus 的韵律和精神,但他自己的 iambi 并没有遵循这件事,并没有遵循促使 Lycambes 的女儿们自杀的攻击性话语(Epist. 1.19.23-5, 31)。(1) 然而,成对的色情谩骂,Epodes 8 和 12,主题化了诗人在遇到令人厌恶的性伴侣时的性无能和厌恶。这些 Epodes 的语气无疑是严厉的谩骂,而对穆里耶尔令人反感的身体的恶毒攻击恰好符合 Archilochean 的诗学,为了诗意的攻击而使用色情、图像淫秽和动物比较. 事实上,Epodes 8 和 12 可能提供了罗马文化最明显的厌恶女性的语气。(2) 尽管说话者的言语攻击很激烈,但他正在对自己感知到的性弱点做出反应。事实上,霍拉蒂安抑扬格不断地注意到说话者身体的非军事状态和弱点。他在程序上是 imbellis acfirmas parum (Epod. 1.16) 并且他的最终外观是一个虚弱的老人:由于 Canidia 的力量,他黄疸、气喘、发烧和衰老 (Epod. 17.21-6, 31-4)。(3) 因此,我在此假设第 8 章和第 12 章中的身体责骂在元诗学上起作用。我提请注意在 Epodes 8 和 12 中重复的文体术语——mollitia、惯性和狂犬病,并展示这两首诗如何被视为贺拉斯的一部分 他正在进行的项目是为了将他自己新兴的抑扬格项目与罗马爱情挽歌的初期类型区分开来。(4) 除了这两个挽歌词 mollitia 和惯性之外,霍拉提亚抑扬格的说话者添加了典型的抑扬格狂犬病,诗人贺拉斯本人后来将这个词称为首先产生抑扬格诗歌的情感。因此,我的阅读表明,贺拉斯不仅非常了解罗马爱情挽歌的比喻和主题,(5) 还非常了解其风格词汇,这些词汇通常将其人物的人体与诗歌体裁的核心风格品质联系起来。虽然评论家对年表提出异议,但 (6) 大多数人同意贺拉斯的 Epodes 是在 Actium 之后不久出版的,大约在公元前 31/30 年,随后是 Propertius 的 Monobiblos 和 Tibullus 的 Book 1 于公元前 28 年和 27 年出版,分别。(7) 因此,我们在跨属对话中有证据表明,我从第 8 纪和第 12 纪中得出的证据表明,罗马抑扬格和挽歌情色诗的诗人之间存在双向影响,彼得赫斯林 (2011, 60) 恰当地称之为“一个扩展的过程,在这个过程中,每个诗人都将自己与其他人[s] 进行对比。” 此外,贺拉斯的诗歌表达了抑扬格拒绝评价这些术语的价值,这些术语在更广泛的罗马性别和性话语中普遍表征了女性气质或规范罗马男子气概的其他失败。尽管 Iambos 的内容令人反感,但在这个时期,罗马精英男子气概受到社会力量的挑战,被三巨头时期的政治不稳定所扰乱,因此有助于维持和加强现状,并见证了在凯撒和梅塞纳斯等罗马精英的服装自我表达以及罗马爱情挽歌的诗意美学中出现了另类男性气质。(8) 几十年来,Epodes 8 和 12 被认为非常淫秽,以至于它们被禁止出版并被 Horadan 抑扬格的评论家忽视。(9) 然而,到 1980 年代后期,这些 Epodes 开始被重新评估为 Horace 第一部抒情诗集的组成部分。(10) 威廉·菲茨杰拉德 (William Fitzgerald) 的开创性研究 (1988) 论证了埃波德斯的政治、谩骂和色情诗歌之间的相互关系,并为后来侧重于埃波德斯作品的社会政治背景和罗马性行为的批评奠定了基础. … Epodes 8 和 12 被认为非常淫秽,以至于它们被禁止出版并被 Horadan 抑扬格的评论家忽视。(9) 然而,到 1980 年代后期,这些 Epodes 开始被重新评估为 Horace 第一部抒情诗集的组成部分。(10) 威廉·菲茨杰拉德 (William Fitzgerald) 的开创性研究 (1988) 论证了埃波德斯的政治、谩骂和色情诗歌之间的相互关系,并为后来侧重于埃波德斯作品的社会政治背景和罗马性行为的批评奠定了基础. … Epodes 8 和 12 被认为非常淫秽,以至于它们被禁止出版并被 Horadan 抑扬格的评论家忽视。(9) 然而,到 1980 年代后期,这些 Epodes 开始被重新评估为 Horace 第一部抒情诗集的组成部分。(10) 威廉·菲茨杰拉德 (William Fitzgerald) 的开创性研究 (1988) 论证了埃波德斯的政治、谩骂和色情诗歌之间的相互关系,并为后来侧重于埃波德斯作品的社会政治背景和罗马性行为的批评奠定了基础. … 和 Epodes 的色情诗,并为后来的批评奠定了基础,这些批评集中在 Epodes 作品的社会政治背景和罗马性行为上。… 和 Epodes 的色情诗,并为后来的批评奠定了基础,这些批评集中在 Epodes 作品的社会政治背景和罗马性行为上。…
更新日期:2016-01-01
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