Results found: 2

Search results

Sort By:

Limit search:

Epika „epigramatyczna”. Ekkeharta Versus ad Picturas wobec tradycji poetyckiej

100%

Smolak K.

Symbolae Philologorum Posnaniensium Graecae et Latinae

2015

vol. 25

issue 2

73-95

As a consequence of the large variety of poetic genres dealing with biblical material in Christian-Latin literature of Late Antiquity, in the 11th century the two extremely opposite forms of poetic expression were artificially combined, namely continuous epic narration and epigrammatic conciseness of the so called tituli, that is to say metrical inscriptions which were meant to explain wall paintings or mosaics of selected biblical topics. By order of Aribo, archbishop of Mainz, Ekkehart IV of St. Gall composed an “epigrammatic epic”, which was to cover the wide range of the entire Bible from Genesis to Apocalypse, contemporary exegesis partly included. Aribo was supposed to select those “epigrammes” from this “biblical epic” which he needed for a new decoration of the cathedral – a project, however, which was never realised. Ekkehart’s highly manneristic poetic creation, preserved only in his autograph, MS 393 of St. Gall, remained unparalleled. Nevertheless, it is an important testimony of the experimental and innovative character of medieval Latin poetry in the period of transition from monastic literary production of the previous centuries to the golden age of medieval Latin classics, which originated in the cathedral schools, during the late 11th and the 12th centuries.

Homo sum – amicus sum, sive de Terentio Christiano Hrotsvithae Gandeshemensis

100%

Smolak K.

Symbolae Philologorum Posnaniensium Graecae et Latinae

2021

vol. 31

issue 1

249-263

The most famous line from Terence, homo sum etc. (Heautontimoroumenos 77), has been interpreted in different ways under different circumstances by authors ranging from Cicero and Seneca in antiquity and Erasmus at the beginning of the modern age to figures of the 19th and 20th centuries, such as Friedrich Nietzsche, George Bataille, and Thomas Mann. Augustine of Hippo was the first to refer to Terence within a broader Christian context, and in the 12th century John of Salisbury equated the presumed philanthropic attitude of the Roman comedian and imitator of Menander with charity, the ultimate Christian virtue. Whereas most of the testimonia to the reception of Heautontimoroumenos 77 have already been identified and in part analyzed, a refined indirect ῾quotation᾿ of the line in question has been neglected: In a sort of réécriture of the initial scene of Terence’s drama, Roswita (Hrotsvit) of Gandersheim (10th century), in her hagiographic comedy ῾Abraham᾿, interpreted the even then proverbial sentence by introducing for the attitude of ῾humanity towards one’s neighbour᾿ both the Aristotelian definition of friendship (῾one soul in two bodies᾿) and a reference to the ideal of a Christian society with ‘one heart and one soul᾿ (Acts 4, 32). Thus the Terentian humanum is bothparaphrased by and identified with both an other classical and a Christian concept of mutual human affection.

Refine search results

2 Symbolae Philologorum Posnaniensium Graecae et Latinae

2 Smolak K.

1 2021

1 2015

Search results

Epika „epigramatyczna”. Ekkeharta Versus ad Picturas wobec tradycji poetyckiej

Homo sum – amicus sum, sive de Terentio Christiano Hrotsvithae Gandeshemensis