Apollonius Rhodius, Argonautica , III, 744-752: A SHORT COURSE OF NIGHT SCENE BETWEEN OLD
In the third book of the Argonautica Apollonius in describing the changing and contradictory attitude towards his love of Medea for Jason puts a beautiful scene in which it is opposed to the mood of heroin to calm restless night (vv. 744-752):
Νὺξ μὲν ἔπειτ 'ἐπὶ γαῖαν ἄγεν κνέφας, οἱ δ' ἐνὶ πόντῳ
ναυτίλοι Elikin in tech and stars Orion 745
edrakon on the ships, he and the ypnoio oditis
already eeldeto pylaoros, and Tina boys
mother τεθνεώτων ἀδινὸν περὶ κῶμ' ἐκάλυπτεν,
οὐδὲ κυνῶν ὑλακὴ ἔτ' ἀνὰ πτόλιν, οὐ θρόος ἦεν
ἠχήεις, σιγὴ δὲ μελαινομένην ἔχεν ὄρφνην· 750
ἀλλὰ μάλ 'οὐ Μήδειαν ἐπὶ γλυκερὸς λάβεν ὕπνος.
πολλὰ γὰρ Αἰσονίδαο πόθῳ μελεδήματ 'ἔγειρεν
Medea Chalciope sister has just promised to help with her magic arts Phrixus and Jason's children to pass the tests imposed by the father EETAA. In this context, So you enter the evocative image of a night that comes, so to speak, to take a deserved rest and to human activities than to those of nature as a whole. In this handful of verses, the poet describes an entire macrocosm through rapid and precise strokes that give us an image rather than actual reality: the sailors (vv. 744-746), a traveler and a guardian (vv. 746-747) a mother who has lost his children (vv. 747-748), dogs (see 749) and the silence of the night (v. 750). Insomnia Medea (the more dramatic when compared to the sleep of poor mother without children), which can be seen as a conflict between individual and environment, it is undoubtedly moderno e vicino a quella sensibilità che il Romanticismo ha saputo ben valorizzare nel corso della sua evoluzione storica. Tuttavia, dietro a questi versi che sembrano anticipare di secoli una certa sensibilità moderna è possibile intravvedere l'eco di alcuni autori greci che Apollonio dovette indubbiamente tenere presente. In effetti a livello letterario la situazione dell'insonnia di un personaggio contrapposta al sonno degli altri trova un importante precedente in un passo dell' Iliade in cui viene descritto il dubbio di Zeus riguardo ai modi per aiutare Achille (II, 1-4):
Ἄλλοι μέν ῥα θεοί tech and amounted ippokorystai
evdon pannychioi, Jupiter d essential having nidymos sleep,
but who is ce mermirize Against Achilles as a brake
timisῃ, olesῃ δὲ πολέας ἐπὶ νηυσὶν Ἀχαιῶν.
The situation returns back to X, 1-4, where, however, this time it is insomnia of Agamemnon:
Ἄλλοι μὲν παρὰ νηυσὶν ἀριστῆες Παναχαιῶν
εὗδον παννύχιοι μαλακῷ dedmimenoi ypnῳ ·
But essential Atreidin Agamemnon shepherd
sweet sleep having many things fresin ormainonta.
Nell ' Odissea , invece, Atena recatasi a Lacedemone per incitare Telemaco a tornare ad Itaca, trova il figlio di Nestore addormentato nell'atrio e Telemaco insonne a causa delle preoccupazioni per il destino del padre (vv. 1-7):
the d Lacedaemon in Pallas Athena evrychoron
ᾤchet 'Odyssios magnanimousness faidimon son
homesickness reminders and otryneousa neesthai.
placement brokers But Telemachus and Nestor's son Aglaia
evdont 'In prodomῳ kydalimoio Menelaus, 5
ie alive or Nestoridin malakῷ dedmimenon ypnῳ ·
Telemachus, Is not having a sweet sleep, but to aid thymῷ
night self amvrosiin meledimata egeiren father.
Passando da Omero ai lirici il passaggio al celebre notturno di Alcmane (fr. 89 Page) risulta obbligatorio anche se problematico:
εὕδουσι δ' ὀρέων κορυφαί τε καὶ φάραγγες
πρώονές τε καὶ χαράδραι
φῦλά τ' ἑρπέτ' ὅσα τρέφει black earth
Thireas t 'oreskoioi and bee genus
and knodal' In venthessi purple alos ·
evdousi d sacrifices tanypterygon tribes.
of this elegant and evocative description of the peace at night, evoked through a detailed list of places and animals, unfortunately, completely ignore the context. We do not know, because if it is a description an end in itself or whether it was opposed to concerns of one or more persons. Although we do not have the opportunity to understand the full value of the fragment Alcman, it is not implausible to think, just based on the above scenes of night, the stillness of the night was a way to mark a human emotion in stark contrast to the peace . A possible confirmation of this hypothesis could also come from a well-known and controversial piece Sappho (168 Voigt b)
δέδυκε μὲν ἁ σελάνα
καὶ Πληϊάδες, μέσαι δὲ
νύκτες, παρὰ δ 'ἔρχεθ' ὥρα ·
ἐγὼ δὲ μόνα καθεύδω.
Disregarding for a moment the thorny question of Sappho in the allocation (even if a famous study Marzullo 1 appear to show the belonging to the fragment corpus the poet of Lesbos), the situation described in these verses does not appear too different from the substance of the other Clubs run up to this moment: a macrocosm that follows a natural order (in this case represented by the movement of the stars) and that is a sort of peace in the stillness of the night, contrasts with the loneliness and, by implication, the restlessness of the protagonist of the poem.
back there in the Hellenistic Age ' Idyll of Theocritus II a brief image of the night when ormai appare esplicito, esattamente come in Apollonio, il riferimento erotico (vv. 33-36):
ἠνίδε σιγῇ μὲν πόντος, σιγῶντι δ' ἀῆται·
ἁ δ' ἐμὰ οὐ σιγῇ στέρνων ἔντοσθεν ἀνία,
ἀλλ' ἐπὶ τήνῳ πᾶσα καταίθομαι ὅς με τάλαιναν
ἀντὶ γυναικὸς ἔθηκε κακὰν καὶ ἀπάρθενον ἦμεν.
Simeto These are the words of the woman in love that makes even obscure magical practices to win back his love. The reference to the context of the night we get from the previous mention of the moon (vv. 10-11).
In this brief journey through poems of different eras can not miss the reference to Virgil, the Latin poet who was able to rework the earlier Greek literary tradition in the light of experience Latin poetry. The entire fourth book of ' Aeneid, for example, is in many ways a tribute to Apollonius as the poet has built the image of Dido through the figure of the poet's Medea Hellenistic. Just in this section of the poem we find a direct resumption of night Apollonius refers to Dido (vv. 522-532):
Nox erat 2 et placidum carpebant fessa soporem
corpora per terras, siluaeque et saeua quierant
aequora, cum medio uoluuntur sidera lapsu,
cum tacet omnis ager, pecudes pictaeque uolucres, 525
quaeque lacus late liquidos quaeque aspera dumis
rura tenent, somno positae sub nocte silenti,
lenibant curas et corda oblita laborum.
at non infelix animi Phoenissa, neque umquam
soluitur in somnos oculisue aut pectore noctem
accipit: ingeminant curae rursusque resurgens
saeuit amor magnoque irarum fluctuat aestu.
In questi versi not only hear the echo of Apollonius, but there is also the night Alcman throughout the series of specific references to animals and, say, even the reference to Theocritus 3 (v. 525 Tacet ; σιγῶντι v. 33).
In conclusion of this short path that led us to Apollonius Rhodius Virgil carry some lines taken from Ovid's Epistulae ex Ponto (III, 3, vv. 1 et seq. ) in which the poet combines literary topos the night with that vision in a dream. Ovid, in fact, imagine that during a moonlit night in which it had dozed off to sleep appears suddenly to awaken love. From the dialogue between Ovid and the god is taken the cue to talk about the personal situation of the poet (the exile) and the literary choices (as opposed to epic poetry loving Journal). I said there, so to speak, a merger between the two topoi , the fact that if at the beginning of Ovid's poem seems to describe a real apparition that can interrupt sleep later 4 (vv. 93-94) is suggested doubt that it was just a dream. However, what is to be stressed is the fact that this text presents a contrast between the situation of a night's sleep is something that occurs to disrupt and interfere with normal sleep of the protagonist. Whether it's an apparition or a dream, then it matters little, because in both cases there always remains such a contrast:
It uacat exiguum tempus give refugee friend,
o sidus Fabiae, Maxime, gentis, ades,
dum tibi quae uidi refero, seu corporis umbra
seu ueri species seu fuit ille sopor.
Nox erat et bifores intrabat luna fenestras,
mense fere medio quanta nitere solet.
Publica me requies curarum somnus habebat
fusaque erant toto languida membra toro,
cum subito pennis agitatus inhorruit aer
et gemuit paruo mota fenestra sono.
Territus in cubitum releuo mea membra sinistrum,
pulsus et e trepido pectore somnus abit.
Stabat Amor, uultu non quo prius esse solebat,
fulcra tenens laeua tristis acerna manu,
nec torquem collo neque habens crinale capillo
nec bene dispositas comptus ut ante comas.
Horrida pendebant molles super ora capilli
et uisa est oculis horrida penna meis,
qualis in aeriae tergo solet esse columbae
tractatam multae quam tetigere manus. 20
1 Cfr. B. Marzullo, Studi di poesia eolica , Firenze 1958.
2 incipit see why. also III, 147, VIII, 26.
3 The reference to Theocritus is likely when you consider the fact that this step of the 'Aeneid is preceded by a scene of their dark magic. See E. Cesareo, Studies Virgil I. Exploring teocritei epic in Virgil, "Athenaeum" VII, 1929, p. 173 et seq.
4 But already in the opening verses. 3-4. Useless emphasize that this is fiction.
0 comments:
Post a Comment