Some carmina by Cirta are examined, whose historical, geographical and phi lological content helps to understand the strong territorial roots of the epigraphic po etry of this city of Algerian Numidia and reveals the desire of local authors to insert themselves within the strands of Greek epigrammatics and Latin epigraphic poetry, to express feelings and emotions. In this sense, one of the poems, from which the title of the article The Little Attic Bee and the Poet’s Tomb is taken, is particularly significant: Cirta represents a poetic microcosm to be rediscovered, as shown by the funerary poem of an anonymous poet, which has been somewhat neglected by more recent studies on African poems. Moreover, other carmina also contribute to directing towards this re search perspective. And then the figure of the rhetorician and grammarian Frontone di Cirta, the teacher of Aulo Gellio and tutor of the princes Marcus Aurelius and Lucio Vero, emerges in an overwhelming manner; the relations of Frontone with his homeland and the influence that seems to derive from his contacts with Cirta for the development of stylistic features and models subsequently used by the local epigraphic workshops for the development of the carmina are examined. Thanks to a fragmentary poem in honor of three Augusti and the presence in it of the verb bacchari, the existence of a school of cirtense rhetoric is hypothesized. The degree of poetic awareness of the clients and recipients of cirtense poetry is examined. Finally, different perspectives of analysis on the contents of these carmina are indicated, useful for example to know the composition of cirtense society and the role of women had in it, often with reference to pagan, oriental and Christian religiosity.
Vengono esaminati alcuni carmina di Cirta, il cui contenuto storico, geo grafico e filologico aiuta a comprendere il forte radicamento territoriale della poesia epigrafica di questa città della Numidia algerina e lascia emergere il desiderio degli autori locali di inserirsi entro i filoni dell’epigrammatica greca e della poesia epigrafica latina, per esprimere sentimenti ed emozioni. In questo senso uno dei carmi, dai cui è tratto il titolo dell’articolo La piccola ape attica e la tomba del poeta, risulta particolarmen te significativo: Cirta rappresenta in effetti un microcosmo poetico da riscoprire, come mostra il carme funerario di un anonimo poeta, che è stato un po’ trascurato dagli studi più recenti sui carmi africani. Del resto anche altri carmina concorrono a indirizzare verso questa prospettiva di ricerca. Ed ecco allora che riemerge in maniera prepotente la figura del retore e grammatico Frontone di Cirta, il maestro di Aulo Gellio e istitutore dei principi Marco Aurelio e Lucio Vero; vengono esaminati i legami di Frontone con la sua patria d’origine e l’influsso che pare derivare dai suoi contatti con Cirta per lo svi luppo di stilemi e modelli successivamente utilizzati dalle officine epigrafiche locali per la messa a punto dei carmina. Si ipotizza grazie ad un carme frammentario in onore di tre Augusti e alla presenza in esso del verbo bacchari, l’esistenza di una scuola di retorica cirtense. Si esamina il grado di “consapevolezza” poetica dei committenti e dei destina tari della poesia cirtense. Si indicano infine diverse prospettive di analisi sui contenuti di questi carmina, utili ad esempio per conoscere la composizione della società cirtense e il ruolo femminile, spesso con riferimento alla religiosità pagana, orientale, cristiana.
La piccola ape attica e la tomba del poeta. Alcuni carmina Latina epigraphica di Cirta, un microcosmo poetico da riscoprire / Ruggeri, Paola. - (2023), pp. 275-305.
La piccola ape attica e la tomba del poeta. Alcuni carmina Latina epigraphica di Cirta, un microcosmo poetico da riscoprire
Ruggeri, Paola
2023-01-01
Abstract
Some carmina by Cirta are examined, whose historical, geographical and phi lological content helps to understand the strong territorial roots of the epigraphic po etry of this city of Algerian Numidia and reveals the desire of local authors to insert themselves within the strands of Greek epigrammatics and Latin epigraphic poetry, to express feelings and emotions. In this sense, one of the poems, from which the title of the article The Little Attic Bee and the Poet’s Tomb is taken, is particularly significant: Cirta represents a poetic microcosm to be rediscovered, as shown by the funerary poem of an anonymous poet, which has been somewhat neglected by more recent studies on African poems. Moreover, other carmina also contribute to directing towards this re search perspective. And then the figure of the rhetorician and grammarian Frontone di Cirta, the teacher of Aulo Gellio and tutor of the princes Marcus Aurelius and Lucio Vero, emerges in an overwhelming manner; the relations of Frontone with his homeland and the influence that seems to derive from his contacts with Cirta for the development of stylistic features and models subsequently used by the local epigraphic workshops for the development of the carmina are examined. Thanks to a fragmentary poem in honor of three Augusti and the presence in it of the verb bacchari, the existence of a school of cirtense rhetoric is hypothesized. The degree of poetic awareness of the clients and recipients of cirtense poetry is examined. Finally, different perspectives of analysis on the contents of these carmina are indicated, useful for example to know the composition of cirtense society and the role of women had in it, often with reference to pagan, oriental and Christian religiosity.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.