Il volume n. 4 contiene anche gli Atti del Convegno internazionale Phantasia. Il pensiero per immagini degli antichi e dei moderni (Trieste, 21-22 aprile 2004), a cura di Lucio Cristante e Marco Fernandelli. L’incontro rientra nell’ambito del Réseau thématique europeénne «Le phénomène littéraire aux premiers siècles de notre ère».Phantasia è la parola con cui l’antichità greco-latina, da Empedocle ai Neoplatonici, designò quel fenomeno psicologico – la visione interiore – grazie al quale l’atto produttivo dell’artista, del retore o del pensatore si salda in dinamica unità con il processo della ricezione.
Compared to the traditional connection ars-ingenium, the inspiration is certainly an element nearest to the ingenium, because of its irrational nature. Unlike of the ingenium however, it qualifies more as an event that as a requirement and provides, at least in the traditional conception, the intervention of a deity. Some odes of Horace, especially in books I-III, reflecting in their conduct the dialogue of the poet with the inspiring divine force, a dialogue in which alternating cooperation, conflict, terror and exaltation. Rather than determining the belief of Horace in the reality of the images he created, it is studied the operation in terms of their power of representation of a psychology of the poetic inspiration. In Ode III, 4 there is also a special relationship between the poetic investiture received from Horace and his ability to sing the lene consilium (also a gift of the Muses), with which Augustus ruled the world at peace now. Both the Epistle to Augustus that the Ars poetica extensively develop this correspondence between civilizing Musa and inspiring Musa, so that in the notion of sapientia, as it is configured in the Ars, it is possible to capture the final synthesis of an extensive study linking moral and political function of poetry, art of the good governance and poetic inspiration.
Per la quarta crociata (1202-1204) l’unica fonte greca contemporanea è la Χρονικὴ διήγησις (Narrazione cronologica) di Niceta Coniata (c. 1150-c. 1217). Tra le opere che testimoniano un interesse storico per la quarta crociata si annovera anche un poema epico-cavalleresco, l’Enrico, ovvero Bisanzio acquistato, pubblicato a Venezia nel 1635, di cui è autrice Lucrezia Marinella, che presenta la vicenda secondo la tradizione veneziana. La conoscenza di Niceta Coniata (II 7,13-14; 8,1), attraverso i suoi tre volgarizzamenti, è particolarmente evidente nel passo in cui Lucrezia Marinella ricorda gli ostacoli frapposti dai Bizantini all’avanzata dei crociati (LXIII-LXV) e soprattutto rievoca la battaglia del Meandro.
Prof. Lenaz remember the years of teaching Latin Literature in Padua: he gave great importance to the elements of rhetoric and metric because, although it is risky to harness the interpretation of a literary text by strict rules, however these patterns are essential: those who began their studies need to follow a road, but the road must not be too difficult, as Quintilian said in his proemium to the book VIII: via opus est incipientibus, sed ea plana.
Philip of Thessalonica edited his Στέφανος, an anthology of epigrams, around the mid I century AD, thus imitating the collection that Meleager had produced, with the same title, roughly one hundred and fifty years before. The whole proem to Philip’s Στέφανος is constructed as an aemulatio of Meleager’s first poem, even though somewhere it ostensibly contrasts it: various elements - partly already familiar to the critical debate, partly still to be thoroughly examined - stress a clear programmatic function in AP IV 2. Starting from his proem, Philip provides an example of what the style of the πλότεροι (v. 6) is supposed to be: elaborate and, above all, concise. The poets of this collection speak on several occasions with a virulent anti-Callimacheian tone; but in their overall interpretation of the ‘genre’ and in their detailed use of generic repertoire, they prove to be ‘Alexandrian’ to the utmost.
In the organization of Martianus Capella’s De nuptiis Philologiae et Mercurii, the allegorical representation of the seven Artes (liberales) as characters-actors in the plot of the story, eponymous of the seven liberal disciplines, is an element which conveys the comprehensive message of the work as a whole; thus, it is not merely an allegorical process, and furthermore it is strikingly for its originality. The peculiarity of the complex figurative apparatus of the single artes is directly functional to the run of knowledge (or, in a neo-platonic way, of memory) under the philosophical-allegorical fabula of the marriage between Mercury and Philologia; therefore, it contributes to the global exegesis of the poetical and cultural meaning (or meanings) of the work. The description thus provides a unitary historical and epistemological vision of ars and provides the key for its comprehension.