La retórica siempre ha mantenido estrechas relaciones con otros géneros literarios en la antigüedad. Con el teatro, en particular, sus relaciones inter y extratextuales son aún más evidentes. En este artículo, tenemos la intención de investigar este enfoque basado en tres personajes típicos de la nueva comedia romana: senex, adulescens y meretrix puestos en escena bajo las tramas de amor más irreverentes, responsables del entrelazamiento de estos personajes. Partimos de Excerptum 37 de Calpúrnio Flaco y Declamatio Minor 356 de (...) Pseudo-Quintiliano, señalando su correspondencia con la obra Mercator de Plauto, cuyo argumento es muy similar al de las declaraciones. (shrink)

The influence of Latin texts on Greek literature of the Imperial period remains somewhat understudied. However, there are some Greek texts that seem to depend from a Latin pretext, from works of Vergil in particular. This article discusses an epigram by Apollonides (Anth. Gr. 6.239), in which an old beekeeper named Kleiton is presented in much the same way as the old Corycian in Vergil’s “Georgics” (4.116-148). Vergil’s famous digression might therefore be a pretext for Apollonides’ poem. Moreover, Apollonides apparently (...) alludes to an epigram by Leonidas of Tarentum (Anth. Gr. 6.226) which features another old farmer named Kleiton. Apollonides’ poem could thus serve as an ‘appendix’ to Leonidas’ epigram based on the model of Vergil’s senex Corycius. (shrink)

L’articolo si propone di investigare l’uso dell’aggettivo lepidus nel Miles gloriosus, a partire dalla figura del senex lepidus Periplectomeno e della sua aristia in 3.1. L’indagine farà emergere due accezioni del termine: da una parte, lepidus è laparola chiave per indicare il meccanismo del comico su cui si regge la commedia; dall’altra, esso definisce uno stile di vita –e, implicitamente, un modello educativo– fondato sulla ‘lepiditas’. A partire da Plauto, tale modello verrà ripreso attivamente in età repubblicana, per poi (...) venire meno, invece, in età imperiale, dove lepidus va incontro ad un impoverimento semantico e viene usato solo come marcatore di un genere comico minore e disimpegnato. (shrink)

This article describes how cc. 39 and 37 create distinct tones of voice and use them to preclude the social pretensions of Egnatius in different spheres. The style of c. 39, markedly oratorical—and non-Catullan—in the syntax of its opening lines, develops into the voice of a respectable senex by way of archaisms of vocabulary and syntax and is capped by a figure of humor otherwise absent from the polymetrics, the apologus. The style thus creates a voice perfectly suited to (...) chastise Egnatius' social ineptitudes and, more importantly, constitutes on the verbal level an embodiment of the standards of the urban elite. Catullus thus illustrates to Egnatius that a subtle system of social gestures can be learned - something which Egnatius, for all his apparent pretensions to social prominence, manifestly has not grasped, marred as he is by the habit of grinning inappropriately. C. 37, which ends with an attack on the same Egnatius, is far different in tone, commingling tokens of artfulness with vulgarity and forcefulness. That mixed style exercises ironic decorum towards Lesbia's lovers, who are themselves an oddly mixed group, well-off on the one hand, but "backstreet adulterers" on the other. But the two tones of voice, and indeed the two groups of lovers, also embody the paradoxes of the Roman construction of stylish behavior, which could be represented as elegant dalliance or reprehensible vice. Inasmuch as Egnatius' fashion affectations, ridiculed at the poem's end, fail to qualify him for the ranks of Lesbia's lovers, he is represented as outside sophisticated society, however it be constructed. In concert the two poems utterly derail Egnatius' social pretensions: c. 39 as it were outflanks him on the "right," barring him from respectable society, and c. 37 outflanks him on the "left," barring him from the "jet set.". (shrink)

sola scripturarum ars est, quam sibi omnes passim uindicent: ‘scribimus indocti doctique poemata passim’ [Hor. Epist. 2.1.117]. hanc garrula anus, hanc delirus senex, hanc soloecista uerbosus, hanc uniuersi praesumunt, lacerant, docent, antequam discant. alii adducto supercilio grandia uerba trutinantes inter mulierculas de sacris litteris philosophantur, alii discunt—pro pudor!—a feminis, quod uiros doceant, et, ne parum hoc sit, quadam facilitate uerborum, immo audacia disserunt aliis, quod ipsi non intellegunt. taceo de meis similibus, qui si forte ad scripturas sanctas post saeculares (...) litteras uenerint et sermone conposito aurem populi mulserint, quicquid dixerint, hoc legem dei putant nec scire dignantur, quid prophetae, quid apostoli senserint, sed ad sensum suum incongrua aptant testimonia, quasi grande sit et non uitiosissimum dicendi genus deprauare sententias et ad uoluntatem suam scripturam trahere repugnantem. quasi non legerimus Homerocentonas et Vergiliocentonas ac non sic etiam Maronem sine Christo possimus dicere Christianum, quia scripserit: ‘iam redit et uirgo, redeunt Saturnia regna, iam noua progenies caelo demittitur alto’ [Verg. Ecl. 4.6–7], et patrem loquentem ad filium: ‘nate, meae uires, mea magna potentia solus’ [Verg. Aen. 1.664], et post uerba saluatoris in cruce: ‘talia perstabat memorans fixusque manebat’ [Verg. Aen. 2.650]. puerilia sunt haec et circulatorum ludo similia, docere, quod ignores, immo, et cum stomacho loquar, nec hoc quidem scire, quod nescias. (shrink)

As fábulas de Fedro são surpreendentemente instigantes, ainda na atualidade, porque tratam de temas universais, focalizando questões que envolvem o próprio homem como um ser social. A análise de três fábulas fedrianas - Ouis, canis et lupus; Leo senex, aper, taurus et asinus; Vulpes et ciconia, mostrará de que modo o fabulista se serve das palavras para difundir ideias e defender princípios morais por meio de discursos que transmitem muito mais do que se depreende numa simples e desatenta leitura.

El trabajo se propone analizar la representación de la ira en la comedia de Menandro y, en particular, la operación de ‘tipificación’ de la cólera en su obra, que se vincula con la construcción de personajes-tipo. Adoptamos como marco teórico algunos lineamientos de la concepción aristotélica de las pasiones y del constructivismo social. En este marco, sostenemos que la ira en la comedia de Menandro se encuentra atravesada por determinaciones de edad, género y condición libre o esclava y se presenta, (...) sobre todo, como un rasgo negativo dominante del ciudadano varón anciano y cabeza del hogar. (shrink)