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Lucian of Samosata in the Two Hesperias. An essay in Literary and Cultural Translation

:	Michael O. Zappala
:	Lucian of Samosata in the Two Hesperias. An essay in Literary and Cultural Translation
:	Digitalia
:	9780916379711
:	1
:	CHF 53.80
:

:	Kunst, Literatur
:	English

:	394
:	DRM
:	PC/MAC/eReader/Tablet
:	PDF

This important diachronic study of the life and works of Lucian of Samosata investigates the varied images of the Sophist from Syria from late Antiquity to the seventeenth-century. Using sources in Patristic literature, Byzantine glosses, the Neo-Latin satire of the Quattrocento, the Vitae Luciani, and Golden Age texts, Zappala demonstrates how the writings of Lucian are fragmented into a series of“authors”: the historiographer, the writer of fantasy, the moralist, the atheist, the stylist.

The study illustrates the dynamic relationship between a fixed text and the cultural translation which“unfixes” that text and spins it out onto surprising, paradoxical recreations. Both in its sources and its treatment, this work is a groundbreaking study which illuminates previously unstudied areas of the continuing mutation of Classical literature in the European heritage.

“El estudio de Michael O. Zappala viene a llenar un vacío en la historia de las relaciones culturales entre la tradición griega, la italiana renacentista y la española.”-Victo iana Roncero López, Cuadernos de ALDEEU.

Chapter XIV Lucian as Authority on Style (p. 243)

For the Byzantines, Lucian had been considered a model of that clear, forceful and balanced prose that had gone by the name of"Attic."1 He figured in the Byzantine canon of prose stylists even though many of his late Greek imitators preferred rhetorical expansion.

Lucian`s Nco-Latin imitators also eschewed his concise but less rolling prose, a result of the millenial discrepancy between the Greek and Roman ideals of the grand style (Debora Shuger,"Christian Grand Style").

The Quattrocento Humanists were well practiced in the Ciceronian esthetic of expressing passion through copia and expansive periodicity, but not in the alternate tradition of Greek prose with its ideal of brevity and clarity.

Plato`s periods, for example, or Herodotus`, with their short clauses and frequent halts (Denniston, Greek Prose, 61), and Thucydides` compressed prose were perhaps the most important Greek models of brevity. Nor did the early Humanists cultivate the brief, concise Latin stylists either.

Aside from a few early Taciteans, such as Machiavelli, the imitation of a Silver Age style did not become generalized until the second half of the sixteenth-century, and then would be the object of a lively polemic.

Despite clearly different esthetic ideals, many Golden Age authors, like the Quattrocento Humanists and the Byzantines, admired Lucian`s concise eloquence, and mentioned his works both as a model of style and for the author`s precepts on writing in works such as De Historia Conscribenda (Bowcn, Words, 14).

Spanish writers also quote from Lucian`s specifically"linguistic" satires such as Lexiphanes to criticize misuse of language. Though their comments are often general and reveal no first-hand knowledge of Lucian`s actual style, Golden Age writers do not hesitate to enlist the Syrian as a prose authority in a number of literary polemics.

Vives, for example, admires Lucian`s style. He calls Lucian`s letters"dilucidae ac facilcs," terms he applies to Erasmus` letters as well (Opera, 2:312, 314). He describes the Syrian`s style as"purus,""facilis" (Opera, 3:133) and"dilucida" (Opera, 6:136), and his vocabulary as"tcrsa" (ibid.).

The"simple" style Vives sees in these letters recalls Aeneas Sylvius` comment on the style of his own missives:"apertum stilum habcnt . . . Nude sunt et solum animi mei iudices" (in G. Paparelli,"II De Miseriis" 216).

Though Vivcs observes the clarity of Lucian`s style, and, like Photius, associates the prose of the Syrian and John Chrysostom, the Valencian surprisingly places Lucian among the"Asiatics" rather than the Atticists. This judgment reflects his reservation about the Syrian`s"Asiatic" character ("afflucns dclitiis, atque his deditus," Opera, 2:217), and explains the Valcncian`s warning to keep Lucian out of the hands of the young"subsannator" (ibid., 6:320).

The clear, careful, but unaffected language set forth as an ideal by Luis de Leon in his De los nombres de Cristo (Obras, 413-417, 685-689), will be associated by various authors with Lucian.

	Table of Contents	8
	Introduction	12
	I: Lucian, Classical Paideia, the Fathers and Byzantium	22
	II: The Hermeneutical Path and the Images of Lucian in Italy	43
	III: Lucian, Hellenism and Pro-Reform Literature	63
	IV: Lucian, Hellenism and the Reform (Part II)	74
	V: Byzantium, Hellenism and Lucian in Fifteenth-Century Spain	93
	VI: Hellenism and Lucian in Sixteenth-Century Spain	120
	VII: The Lucian of the Quattrocento and Cinquecento in Spain	155
	VIII: Images of Lucian in Golden Age Spain: The Moral Philosopher	178
	IX: Lucian as Moral Philosopher: The Second Period (1560-1600)	202
	X: Lucian as Moral Philosopher: The Third Period (1600-1680)	214
	XI: Lucian as Atheist	224
	XII: Lucian, Fantastic Literature and Subjectivism	232
	XIII: Lucian and Golden Age Historiography	245
	XIV: Lucian as Authority on Style	254
	XV: Conclusion	262
	Notes	267
	Bibliography	316
	Index	368
	A	368
	B	369
	C	371
	D	373
	E	374
	F	375
	G	375
	H	377
	I	377
	J	378
	K	378
	L	378
	M	382
	N	383
	O	384
	P	384
	Q	386
	R	386
	S	387
	T	388
	U	389
	V	389
	W	390
	X	390
	Z	391