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Prophetia ex Dictis Sibyllae Magae
Get PDFLa figura mitologica della Sibilla ha ispirato numerosi componimenti letterari a partire dall’epoca classica (V sec. a.C.) fino a quella contemporanea. Tra questi compare, in epoca tardoantica, un poemetto latino di incipit Mundus Origo mea est, intercettato da B. Bischoff e da lui edito nel 1951 .
Si tratta di un testo esametrico di 136 versi rappresentanti un vaticinio di natura apocalittico-escatologica. La Sibylla Maga, cui è attribuito l’oracolo, dopo essersi presentata al suo pubblico di lettori, ripercorre i momenti salienti della Creazione, annunciando la venuta di Cristo e dispensando consigli etici in attesa del Giudizio Universale.
Il presente elaborato, tenuto conto dell’ampliamento delle testimonianze manoscritte attestanti il componimento, ha come scopo quello di indagare la vicenda ecdotica del testo sibillino, producendone una edizione critica con traduzione e commento e descrivendo le dinamiche storiche della sua diffusione.
La poesia rientra a pieno titolo nel tipo specifico di letteratura ispirata alla image letteraria di Sibilla, la quale a partire da Eraclito, viene ripresa con continuità nella letteratura greca, romana, giudaico-ellenistica e cristiana. Muovendo dalla analisi comparata della raccolta degli Oracula Sibyllina, prodotti nel VI sec. d.C. da un anonimo compositore bizantino, viene proposta una lettura antropologico-letteraria e multifocale della produzione sibillina tout court. Essa è caratterizzata da un fenomeno di riscrittura per il quale un testo viene assemblato a partire da un avan-testo, cristallizzatosi come intertesto duro sibillino (imagologicamente inteso), il quale conserva, oltre alla tipica attribuzione alla profetessa Sibilla, anche l’impronta tematica politica, apocalittica, escatologica e salvifica e un assetto retorico conforme alle produzioni di enigmi e oracoli. Se ne ricava una specificità letteraria distintiva che permette una lettura a sistema di molti componimenti per lo più isolati o adespoti. Tra gli esempi degni di menzione vanno ricordati: 1)i Versus Sibylle Theodole Magne (X sec.- inedito), vero e proprio panphlet in cui la grande Sibilla, incalzata dall’arcangelo Michele, vaticina sulla venuta di Cristo, concedendosi un indugio descrittivo dell’Eden e degli episodi salienti della infanzia di Maria; 2) gli oracoli sibillini annessi alle varie edizioni (1481-1517) degli Opuscola di Filippo Barbieri, realizzati nel pieno XV sec., i quali rappresentano la pars poetica delle didascalie iconiche utili a designare i prototipi iconografici sibillini umanistici in voga fino al XIX sec.; 3) il Mundus Origo.
Ribattezzato Prophetia ex Dictis Sibyllae Magae per confronto delle occorrenze manoscritte, il poemetto entra a far parte di un più ampio compendio caratterizzante e culturalmente poliedrico, recependo la complessa strutturazione tematica e retorico-stilistica del tempo di cui è figlio. Infatti, la Prophetia per la quale l’indagine filologica sul campo ha permesso di identificare 11 codici di trasmissione, databili tra IX e XV sec., è una vera e propria summa delle letture classiche in voga nel pieno V sec. d.C., evocate anche negli aspetti fonici e stilistici come rileva l’andamento parafonico delle partes terminali di verso e spesso re-interpretate in una funzionalità teologica impegnata, tutta votata alla diffusione dei messaggi salienti della novella religio cristiana.
D’altra parte, ispirandosi alla metodologia comparata di matrice francese, viene proposto un raffronto del testo sibillino con quello più noto di Voluspà, appartenente alla raccolta norrena degli Edda. L’attinenza strutturale e le modalità con cui viene proposta la figura della Sibilla nel vaticinio hanno permesso di identificare l’analogia con il ruolo della volva di Odino: entrambe le ministre divine sono concepite come strumenti di dispensazione sapienziale e i messaggi offerti condividono la medesima struttura drammatico-dialogica nella presentazione degli argomenti. Condivisa è pure la matrice neoplatonica ravvisabile nella concezione degli spazi terrestri e nella organizzazione di quelli celesti.
D’altra parte la Sibylla del componimento latino è considerata propriamente una Maga: il sostantivo, nonostante sia presumibilmente derivato da un errore filologico di eziologia meccanica, rivela un nuovo tipo sibillino, intermediario rispetto alla profetessa classica e cristiana e alla Sibilla fata e strega dei romanzi medievali, arricchendo l'idea del magico cristiano in epoca tardoantica. La Sibylla Maga rientra tra le manifestazioni del monstrum immaginario-letterario e antropologico, secondo quanto confermato dalla esemplificativa descrizione di Gervasio di Tilbury negli Otia imperalia (legitur autem Sibilla que in Italia vaticinata est Chimera dicta propter sua vaticinia, que mutabilitate sua varias profecie producebat figuras (cap. CXXI), per la quale si recepisce il transfert phantasmatico di questa donna mitemica sui generis.
Eppure, la percezione transeunte del personaggio Sibilla nella Prophetia ex Dictis Sibyllae Magae rimane ancora conforme alla più tradizionale oracolistica cristiana, come pure è evidente dal core tematico del testo, rappresentato dall’annuncio della venuta di Cristo. Sulla scorta della ricezione cristiana della materia virgiliana e, specificamente, del valore messianico attribuito alla Ecloga IV (Carmen Cumaeum), anche la Maga tardoantica vaticina sulla venuta del Figlio di Dio in terra. Egli, per mezzo di una minuziosa costruzione retorica, viene sovente accostato alla figura classica di Saturno disceso nelle terre del Lazio a ristorare il mondo, collaudando un sistema di dialogo prolifico tra fonti pagane e cristiane nel passaggio al tardoantico. Il nome del Salvatore, appellato sempre per mezzo di perifrasi, viene rivelato solo attraverso il gioco acrostico dei versi 77-83, i quali restituiscono il nome CRISTUS, attestando una familiarità dell’anonimo autore con le più consuete scritture sibilline e con le tendenze tematiche e stilistiche dell’epoca. Infatti, l’uso acrostico accanto alla prassi metrica tecnicamente irregolare ma comunque finalizzata a una resa euritmica coerente con le norme classiche, l’uso del lessico e delle espressioni dialogicamente intervallate con soluzione di continuità hanno permesso di leggere il testo della Prophetia in maniera analogica rispetto alla produzione commodianea. Pur non potendo esprimersi in merito a una diretta attribuzione del testo, emergono chiaramente i lineamenti di una letteratura poetica teologicamente e storicamente impegnata dove, pur mancando l’attenzione politica, continua a risaltare l’impegno paideutico per la distinzione tra un comportamento cristiano ispirato alla fides Dei (v.4) e uno destinato ad essere punito con il Tartarus (v.129), nonché un certo rimaneggiamento sapiente delle fonti sia pagane sia cristiane (prioritariamente veterotestamentarie) che ne eleva lo stile e ne determina una longeva conservazione nel tempo.
Il testo non rimane emarginato nella parentesi tardoantica ma è stato recepito in versione ridotta fino almeno al XV sec. L’estratto di sei/nove versi, relativo alla venuta di Cristo in terra, viene presto associato alla produzione dei carmi pseudo-virgiliani e della Appendix, per poi emigrare nella raccolta scolastica nota con il titolo Carmina Duodecim Sapientum.
Si tratta di 12 serie di 12 carmi metrici ciascuna, con le quali la Prophetia ex Dictis Sibyllae Magae rimane affiancata fino alla più tarda epoca umanistica e, proprio in virtù di tale associazione letteraria, il componimento verrà trascritto anche nel noto codice autografo di Boccaccio Plut. 33.31, oggi presso la Biblioteca Medicea Laurenziana.The mythological figure of the Sybil has inspired many literary works since the Classical Antiquity (5th century BC) up until now. One of these works is incipit Mundus Origo mea est, a short poem in Latin dating back to Late Antiquity discovered by B. Bischoff and edited by him in 1951 . It is a hexametric text with 136 verses describing a prophecy of apocalyptic and eschatological nature. After introducing herself to her readership, the Sibylla Maga, who is credited with this oracle, recalls the main phases of the Creation announcing the advent of Christ and dispensing ethical advice while waiting for the Universal Judgement.
This paper takes into account the greater handwritten evidence attesting the poem and aims at analysing the ecdotics of the Sibylline text in order to present a critical edition with a translation and commentary while describing the historical dynamics of its dissemination.
The poem is part and parcel of the type of literature inspired by the Sybil’s literary image that, starting from Heraclitus, is regularly recaptured by the Greek, Roman (Sibylline Books), Judeo-Hellenistic and Christina literatures. Starting from the comparative analysis of the main collection of Oracula Sibyllina, produced in the 6th century A.C. by an anonymous Byzantine author, a new anthropological, literary and multifocal interpretation of the Sibylline production tout court is presented. This production is characterised by re-writing: a text is assembled from a pre-text that crystallises itself into a core Sibylline inter-text (imagologically understood) which, as well as being typically attributed to the Sybil, preserves its political, apocalyptical, eschatological and salvific nature as well as a rhetoric structure in line with the production of riddles and oracles. All this work has highlighted a distinctive literary peculiarity enabling a systematic and multidisciplinary reading of many texts that are on the main isolated or adespota. Some examples that are worth mentioning are: a) Versus Sibylle Theodole Magne (10th century - unpublished), a real pamphlet where the great Sybil, pressed by the Archangel Michael, prophesises the advent of Christ while indulging in a long description of the Eden and the most salient episodes of Mary’s childhood; b) the Sibylline oracles included in the various editions (1481-1517) of Filippo Barbieri’s Opuscola, written in the 15th century and showing the poetic pars of the iconic caption that were useful to designate the humanistic Sibylline iconographic prototypes in vogue until the 19th century; c) Mundus Origo.
Renamed Prophetia ex Dictis Sibyllae Magae after comparing it with the handwritten texts, this short poem becomes part of a larger, more distinguishing and culturally versatile collection and acknowledges the complex thematic and stylistically rhetoric structure of the time it spawned from. As a matter of fact, Prophetia, for which the philological analysis has enabled to identify 11 transmission codes dated between the 9th and 10th century AD, is a true summa of classical readings in vogue in the 5th century AD. These readings are also recalled by their phonic and stylistic aspects, as shown by the para-phonic trend of the end partes of the verses and are often re-interpreted in an engaged theological functionality totally devoted to spreading the salient messages of the Christian religious novella. Furthermore, by drawing inspiration from the comparative methodology of French origin, a comparison between the Sibylline text and the better known text by Voluspà, belonging to the Norse Edda collection, is made. The similarities in terms of structure and content as well as the ways the Sybil is represented within the oracle have helped to identify a significant analogy with the role played by Odin’s volva. Both divine female ministers are seen as instruments to dispense wisdom, and their messages share the same dramatic and dialogic structure when outlining the various topics. They also share the same neo-platonic matrix that can be recognised in the way terrestrial spaces are conceived and celestial spaces are organised.
In the Latin text, however, Sybilla is considered a true Maga: although this noun must presumably have come from a philological mistake of mechanical aetiology, it shows a new Sibylline type, an intermediary in relation to the classic and Christian prophetesses and the Sybil as fairy and witch of medieval novels, thus enriching the idea of Christian magic in the Late Antiquity. According to what is confirmed by the illustrative description of Gervase of Tilbury in Otia imperalia (legitur autem Sibilla que in Italia vaticinata est Chimera dicta propter sua vaticinia, que mutabilitate sua varias profecie producebat figuras (chapter CXXI), which takes on board the phantasmatic transfert of this sui generis mythological woman, Sybil Maga is one of the expressions of the imaginary, literary and anthropological monstrum.
Yet, the transient perception of the Sybil in Prophetia ex Dictis Sibyllae Magae is still in keeping with the more traditional Christian way of formulating oracles, as is clear by the thematic core of the text: the announcement of the advent of Christ. In the wake of the Christian reception of the Virgilian themes and, more specifically, the messianic value attributed to Ecloga IV (Carmen Cumaeum), the Maga of the Late Antiquity prophesises the advent of the Son of God on earth as well. By means of a meticulous rhetoric construction, he is often compared to the classic figure of Saturn who descended to Lazio to revive the world thus testing a system of prolific dialogue of pagan and Christian sources when moving onto the Late Antiquity. The name of Saviour, always mentioned through paraphrases, is revealed only through the acrostic play of verses 77-83 which the name CRISTUS appears thus testifying to the familiarity of the anonymous author with the more usual sibylline writings and the thematic and stylistic trends of the time. An analogic interpretation of Prophetia as opposed to the Commodian production has been possible thanks to: a) this acrostic approach alongside the technically irregular metrics still aiming at a eurythmic rendition consistent with classic norms; and b) lexicon and expressions that are dialogically and seamlessly spaced out. Even though the text cannot be clearly attributed to anyone in particular, the features of a theologically and historically engaged poetic literature come clearly to the fore. Although there is no political focus, the paideutic commitment to distinguish between Christian behaviour inspired by the fides Dei (v. 4) and behaviour bound to be punished with Tartarus (v.129), as well as wise reorganisation of pagan and Christian sources (the Old Testament being the first source) elevate its style and make for its long shelf life.
During Late Antiquity this text was not marginalised. However, until at least the 15th century only a reduced version of it was available. This excerpt (six/nine verses) relating to the advent of Christ on earth was soon associated to the production of pseudo-Virgilian solemn poems and the Appendix. It was subsequently transferred to the Scholastic collection known as Carmina Duodecim Sapientum. This is a collection of 12 series with 12 metric solemn poems, each of which will be associated with Prophetia ex Dictis Sibyllae Magae until the late humanistic period. Thanks to this literary association, the poem was transcribed in the famous code by Boccaccio Plut. 33.31, currently kept at the Biblioteca Medicea Laurenziana
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Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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