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Abstract(s)
Concentrando-se nas obras de Libânio e Corício (retores do século IV e VI, respectivamente), este artigo tem como objectivo a exposição das diferentes facetas que a figura do herói guerreiro adquiriu nas declamações. Estas eram exercícios modelares compostos para uso em sala de aula, mas que, ao longo do tempo, adquiriram também um valor lúdico, sendo declamadas fora do contexto escolar. Embora a literatura grega da Antiguidade tardia esteja a tornar-se cada vez mais um objecto de estudo, os estudiosos não têm prestado muita atenção às qualidades literárias da declamação grega. Aqui destacam-se, nomeadamente, a sua capacidade de criar novos mundos, a absorção e apropriação de modelos literários (epopeia, drama e romance) e a crescente tendência de explorar o âmbito pessoal em vez do cívico ou político.
Dividido em três secções, este artigo começa por contextualizar a prática da declamação dentro do panorama da educação da Antiguidade Tardia. Em seguida temos dois momentos de reflexão. Um primeiro considera a reformulação do herói iliádico por excelência, Aquiles, analisando a natureza controversa e ambígua do herói em dois progymnasmata de Libânio de Antioquia (8.3 e 9.1) e duas declamações de Corício de Gaza (Decl. 1 e 2). Num outro momento, abordam-se as conotações teatrais da declamação, analisando primeiro o herói guerreiro fanfarrão (Lib. Decl. 33) e depois o herói apaixonado (Chor. Decl. 5 e 6), explorando como ambas as figuras ecoam heróis análogos da Comédia Nova e do Romance Grego. Esta visão geral ilustra não apenas a evolução literária de tais personagens, mas também como essas figuras - e os géneros e autores principais anteriores nos quais estavam inseridas - moldaram a paideia da Antiguidade Tardia e, por sua vez, foram moldadas e adaptadas para se adequarem às expectativas sociais contemporâneas.
This article focuses on the works of Libanius and Choricius (rhetoricians of the 4th and 6th century respectively), expounding on the different facets which the figure of the hero-soldier acquired in their declamations – model exercises composed for classroom use but which also had an independent entertainment value and could be performed in other social settings, outside the classroom. While the Greek literature of late antiquity is increasingly becoming the object of serious study, scholars have not paid much attention to the literary qualities of Greek declamation: its world-making capacities; its absorption of literary models (epic, drama, and the novel); and its growing tendency to delve into the personal rather than the civic or political. This article first contextualizes the practice of declamation within the panorama of late antique education. It then considers the recasting of the Iliadic hero by excellence, Achilles, analyzing the controversial and ambiguous nature of the hero in two progymnasmata by Libanius of Antioch (8.3 and 9.1) and two declamations by Choricius of Gaza (Decl. 1 e 2). A third and final section takes in the theatrical connotations of declamation, analysing first the braggart warrior hero (Lib. Decl. 33) and then the hero in love (Chor. Decl. 5 e 6), exploring how both figures echo analogous heroes in New Comedy and the Greek novel. This overview illustrates not only the literary evolution of such figures but also how these – and the previous, core genres and authors in which they were embedded – shaped late antique paideia and were in turn shaped by, and adapted to fit, contemporary social expectations.
This article focuses on the works of Libanius and Choricius (rhetoricians of the 4th and 6th century respectively), expounding on the different facets which the figure of the hero-soldier acquired in their declamations – model exercises composed for classroom use but which also had an independent entertainment value and could be performed in other social settings, outside the classroom. While the Greek literature of late antiquity is increasingly becoming the object of serious study, scholars have not paid much attention to the literary qualities of Greek declamation: its world-making capacities; its absorption of literary models (epic, drama, and the novel); and its growing tendency to delve into the personal rather than the civic or political. This article first contextualizes the practice of declamation within the panorama of late antique education. It then considers the recasting of the Iliadic hero by excellence, Achilles, analyzing the controversial and ambiguous nature of the hero in two progymnasmata by Libanius of Antioch (8.3 and 9.1) and two declamations by Choricius of Gaza (Decl. 1 e 2). A third and final section takes in the theatrical connotations of declamation, analysing first the braggart warrior hero (Lib. Decl. 33) and then the hero in love (Chor. Decl. 5 e 6), exploring how both figures echo analogous heroes in New Comedy and the Greek novel. This overview illustrates not only the literary evolution of such figures but also how these – and the previous, core genres and authors in which they were embedded – shaped late antique paideia and were in turn shaped by, and adapted to fit, contemporary social expectations.
Description
Keywords
Exercícios de retórica Libânio Corício de Gaza Antiguidade Tardia Recepção da comédia Recepção de Aquiles Rhetorical exercises Libanius Choricius Late Antiquity Reception of comedy Reception of Achilles
Pedagogical Context
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Universidade de Aveiro Editora