“金星的这些好战的手和心是从哪里来的?”斯塔提乌斯在底比斯对奥维德民兵的颠覆

Matt Ludwig
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摘要

斯塔提乌斯的《底比德》一直被认为是一部高度典故的史诗,但其中的典故体系——与拉丁爱情挽歌有关——却比其他典故体系得到的研究较少。为了解决这个疏忽,我在这篇文章中指出,斯塔提乌斯在整个底比斯史诗中使用爱的语言时,明显地引用了奥维德哀歌的技巧和修辞。在对一系列史诗的奥维德挽歌互文进行分类后,我认为斯塔提乌斯在《底比斯记》第五卷中保留了对《爱摩斯》第一卷的典故。在《底比斯记》第五卷中,希西佩尔提供了维纳斯介入利姆诺斯的插页叙述:在被抛弃的爱神的影响下,利姆诺斯的女性屠杀了所有的男性人口。在我的阅读中,希西佩尔的叙述代表了对他的文学模式的典型的斯塔丁式颠覆。在《爱》第一卷中,奥维德发展了“爱的战争”(militia amoris)这一比喻,这是对之前史诗家和挽歌家更为忧郁和严厉的诗学的一种半开玩笑的修正。相反,斯塔提乌斯将奥维德的民兵之爱中的轻松幽默元素重新塑造成他自己的美学模式,由此,爱在底比斯的宇宙中变得像战争一样可怕和具有破坏性。也就是说,斯塔提乌斯反映了奥维德自己的颠覆性暗示的技巧,标志着他的诗学也得益于挽歌先驱,并对其进行了创新。但在斯塔提乌斯的例子中,悲歌爱情的世界变得更严肃而不是轻松,更严肃而不是幽默。总而言之,斯塔提乌斯在他的《底比斯》中颠覆性地暗示了奥维德的挽歌,尤其是在第五卷中,将奥维德的利维斯之爱(阿摩太书3:1.41)变成了最可怕的对应。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“Where do these warrish hands and heart of Venus come from?” Statius’ subversion of Ovidian militia amoris in the Thebaid
Statius’ Thebaid has long been recognized as a highly allusive epic, but one system of its allusions— that which engages with Latin love elegy—has received less study than others. To address this oversight, I argue in this article that Statius makes marked references to techniques and tropes of Ovidian elegy in his use of love language throughout the Thebaid. After cataloguing a range of the epic’s Ovidian elegiac intertexts, I argue that Statius sustains an allusion to Amores book one in Thebaid book five. In Thebaid book five, Hypsipyle provides an inset narrative of Venus’ intervention in Lemnos: under the influence of the spurned love goddess, the Lemnian women slaughter the entire male population. In my reading, Hypsipyle’s narrative represents a characteristically Statian subversion of his literary models. In book one of the Amores, Ovid develops the ‘warfare of love’ (militia amoris) trope as a tongue-in-cheek revision of both previous epicists’ and elegists’ more morose and austere poetics. Statius, conversely, recasts the light and humorous elements of Ovid’s militia amoris into his own aesthetic mould, whereby love becomes as horrifying and destructive a force as war in the cosmos of the Thebaid. That is, Statius mirrors Ovid’s own techniques of subversive allusion to mark his poetics also as both indebted to and an innovating of elegiac precursors. But in Statius’ case, the world of elegaic amor becomes graver rather than lighter, more severe than humorous. In sum, Statius’ subversive allusions to Ovidian elegy in his Thebaid, particularly in book five, transform Ovid’s levis love (Am. 3.1.41) into its most monstrous counterpart.
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