Pablo Martínez Astorino | CONICET (original) (raw)
Papers by Pablo Martínez Astorino
Graeco-Latina Brunensia 29, 2024
The Phaethon episode emphasizes the claim to divinity and failed divinization, and so it can be r... more The Phaethon episode emphasizes the claim to divinity and failed divinization, and so it can be read as an anti-apotheosis: there is a purification, an epitaph that mimics the titulus and the elogium of the deified characters' statues in the Forum of Augustus, a declaration of Phaethon's fault with the language of apotheosis, and an allusion to the constellation that he did not become. Like Caesar, Phaethon has become a stella; as in Caesar's passage, the poet refers to his anima; like Caesar's apotheosis, his anti-apotheosis occurs in Italian territory; in both passages, the sun ceases to appear. The contrast of the two episodes in the first and the last book, the first of which also has an echo (the Icarus episode) in the central part of the Metamorphoses, thus seems deliberately sought by the representation. Finally, while the anti-apotheosis is one further example in the first two books of the dynamics of chaos, normally triggered by a fault, the apotheosis structurally recovers the dynamics of cosmos.
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UNLP, Colección Estudios/Investigaciones; 86, 2024
Las correspondencias entre el pasaje de la creación del hombre de la Vetus Latina y el pasaje en ... more Las correspondencias entre el pasaje de la creación del hombre de la Vetus Latina y el pasaje en que Ovidio relata la creación del hombre no son prueba del influjo de la primera sobre el segundo, pero por la relación que forjan deben ser consideradas necesariamente cada vez que se comenta el relato ovidiano de la creación del hombre. Asimismo, si bien otros textos de Cicerón ofrecen semejanzas referenciales más próximas con la creación ovidiana, en De finibus encontramos un desarrollo filosófico sobre la naturaleza del hombre que constituye un perfecto complemento formal de la creación ovidiana.
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Auster 28, 2023
The purpose of this paper is to focus on the interpretation the Ovidius moralizatus makes of some... more The purpose of this paper is to focus on the interpretation the Ovidius moralizatus makes of some episodes linked to natural disasters in Books 1 and 2 of Ovid’s Metamorphoses: the Flood, Lycaon, and Phaethon. I will seek to highlight aspects in which Bersuire’s reading seems to provide an interpretation that, in addition to being Christian, illuminates aspects of Ovid’s stories. The texts will be compared in order to highlight, in the allegorical function of Bersuire’s, the particular meaning that this Christianized Ovid sometimes shows.
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Quintus Horatius Flaccus, Odas/ Carmina (ed. bilingüe). Traducción y notas: Emilio F. Rollié. Prólogo: Pablo Martínez Astorino, 2023
Prólogo
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Rheinisches Museum für Philologie 166, 2023
Since falsehood, following Hesiod’s tradition (Theog. 26 – 28), is linked to poetry – as the Muse... more Since falsehood, following Hesiod’s tradition (Theog. 26 – 28), is linked to
poetry – as the Muses can utter pseudea polla capable of being believed as truth (i. e., plausible, uerisimilia) –, the gate of falsa insomnia crossed by Aeneas hesiodically suggests that the speech of Anchises, the history Virgil chooses to represent in Book 6, is in the realm of false things, though in a literary sense: that is, in the realm of plausible things, of poetry. At issue is history as poetic construction, emphasized
especially by: 1. Anchises’ use of the word dicta to make explicit the fata; 2. fertur’s allusion to Homer and the Varronian derivation from fari of the word falsus; 3. the fact that at the very beginning of the book, an artist, Daedalus, sculpts some gates introducing the artistic interpretation for the final image of the gates (continued in the Shield of Vulcan); 4. the use of the word uates in the sense of ‘poet’, vicariously applied to the mythic poet Musaeus in the catabasis and, immediately (7,41), in the prelude of the ‘historic’ horrida bella. What is a construction to the reader is, for the
character Aeneas, a revelation known only in general terms.
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Acta Universitatis Carolinae Philologica 4 / Graecolatina Pragensia, 2021
An Ovidian Diptych: Numa, Augustus, and the Poet in the Fasti in the Light of the Metamorphoses T... more An Ovidian Diptych: Numa, Augustus, and the Poet in the Fasti in the Light of the Metamorphoses The article proposes to analyze the Fasti's Numa in relation to that of the Metamorphoses, considering: (1) the Ovidian representation of the monarchy; (2) the link between Numa and Augustus as a peacemaker; (3) the link between Numa and the poet. The conclusion to be reached is that, although Ovid, through Numa, represents in the Fasti a sort of contrafactual Augustus post Actium, in the light of the Metamorphoses, where the Numa's association with Augustus through the motif of pax leads to the poet, the image of the contrafactual Augustus cannot be understood as the end of the representation, but it is resolved in the image of an Augustus-Numa that, added to that of the Metamorphoses, constitutes a diptych, a double and complementary contemporary representation, which also in Fasti, though in a different way, leads to the poet, showing the primacy of poetry over politics in Ovidian writing.
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L’Antiquité Classique. Revue interuniversitaire d’études classiques 90, 2021
We exam thoroughly in Virgil’s, Horace’s and Ovid’s poetry the sphragîdes or passages in which th... more We exam thoroughly in Virgil’s, Horace’s and Ovid’s poetry the sphragîdes or passages in which the first person is emphasized. Our aim is to prove in which specific way (or in which terms) the generic progression, in accordance with the progression in the political and Rome’s celebration, conditions or nuances, in Virgil and Horace, the self-exaltation of the poet. We will also analize how Ovid puts in crisis the harmony in that progression, redefining, in a kind of inversion, the generic conception as well as that of poetry and poet, and showing that the supremacy of the poetic speaker exceeds the generic configuration.
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Iter 26, 2020
The individual lyric topic of poverty reaches its climax in the First Roman Ode, whose political ... more The individual lyric topic of poverty reaches its climax in the First Roman Ode, whose political and communal character is easily demonstrable. Since the poetic
resolution of the theme in Ode 3, 24 is also of a communal nature, it is possible to interpret its appearances in the individual lyric, in a final mode, as a preliminary individual appreciation of what the poet, already in its climax, will understand, as Virgil did, in its most complex communal sense. The positive consideration of poverty integrates in the “Roman Odes” the exhortation to other virtues appreciated
by ancient Romans and, as a sign of the authority of the poetic exhortation, remains valid, insofar as poverty is not named as a restored virtue, even in Ode 4, 15, which
represents the praise of Augustus because of the restoration of that lost past.
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Myrtia. Revista de Filología Clásica 35, 2020
In the allusive representation of Cleopatra through Dido it is shown that Virgil's work is not an... more In the allusive representation of Cleopatra through Dido it is shown that Virgil's work is not another chapter of the Roman discourse of imperialism, but a nuanced literary version in which human aspects are highlighted and in which the political aspect is problematized, avoiding a schematic characterization.
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Apart from the "mythologization", the purpose of which is to include the stories of this long seq... more Apart from the "mythologization", the purpose of which is to include the stories of this long sequence in the preceding plot by creating a "mythologized" universal history, there are in the so-called "Ovidian Aeneid" textual marks that keep Aeneas’ character and story present, in accordance with the Roman meaning of the hero and, especially, with his apotheosis, which puts an end to the sequence. Such marks constitute what we have called the level of "reading". In this paper the allusions to the Aeneas Romanus are examined in relation to the “Ovidian Aeneid”. This Aeneas Romanus is especially based on Virgil’s epic, which Ovid follows as a general meaning, even beyond occasional references to previous traditions not included by Virgil We understand by Aeneas Romanus the character who is turned by Virgil both into a legacy of the Roman culture and an original family myth, given the canonical nature of his Aeneid. Among these allusions, it has a central role the term Cythereius heros in Ringkomposition, which refers to Aen., I, 257-258 and secures the Virgilian value of the sequence in the level of "reading".
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In the Fasti the image of Romulus fails to allude to Augustus because Ovid’s contemporary Augustu... more In the Fasti the image of Romulus fails to allude to Augustus because Ovid’s contemporary Augustus no longer responds to the Romulean prototype of a new founder of the city, and resembles Numa instead, king devoted to peace, rites and to the study of the stars. This circumstance is especially dramatized in II 119-144 as well as in I 27-44 and III 73-166. Nevertheless, Book III is the locus of the work in which this dramatization is most emphasized, since little less than a half of the Book (the first half) is devoted successively to Romulus and to Numa. In this paper we study how this succession-structure influences the construction of Augustus as a character, with conclusions about the Ovidian poetic construction of history: Ovid presents his interpretation of the after-Actium Augustus, which becomes rather a poetic device.
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The purpose in this paper is to find out, seeking in the allusion and the style, Cicero's influen... more The purpose in this paper is to find out, seeking in the allusion and the style, Cicero's influence on Ovid's longest works, an influence which have been briefly suggested, in the case of the Metamorphoses, by Hardie and Gildenhard and Zissos. While the Ovid's type of link is, as we shall see, a literary one, we will realize that political definitions, even in an allegedly apolitical author, are also involved. The discussion will consider, especially in the Metamorphoses but also in the Fasti, Cicero’s influence in the creation of man, the apotheosis motif, the proem and the sphragis, as well as in the Ovidian representation of the unus homo and the eulogy of monarchy, with its Augustan associations.
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The Cipus episode must be understood in literary terms as a mythologization of Julius Caesar prev... more The Cipus episode must be understood in literary terms as a mythologization of Julius Caesar previous to his apotheosis, just as the Aesculapius episode constitutes a mythologization of Augustus. The purpose is to allude in a mythologized way to two episodes of Caesar’s political life: the rejection of the royal emblems fi rst from the Senate and then from Antonius in the Lupercalia (Suet. Iul. 79.2). But, although the most central aspect of this representation of history is the device per se, it is possible to see also a reflection on monarchy in the history of Rome, which functions as a significant interpretation of the recent history: the
monarchic legacy, which evokes not only Tarquinus but also Numa, should not be understood as a mistake and Cipus and Caesar, unlike Augustus, failed to assume it, even though Ovidian (Numan) conception of monarchy is problematically applied to Augustus.
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In this paper, we analyse three kinds of appearance of history in the Romulus episode: 1. referen... more In this paper, we analyse three kinds of appearance of history in the Romulus episode: 1. referential allusions to outstanding passages of the Romulus myth; 2. suppression of problematic references to his figure; 3. use of the Ennian intertext. Although points 1 and 2 have been understood as an example of historical or political correction, taking into account the importance of point 3 we will try to show that what prevails in the text is the representation of a poetic construction of history in terms of a device (this concept is duly explained): the three points, indeed, are intended to maintain or highlight the value of the central apotheosis theme, which, in the light of the ending, has a literary meaning. In Fasti, a work in which this device functions as a way of presenting the Romulus story according to his association with Augustus and his adaptation to times of peace, the image of Romulus fails to allude convincingly to Augustus because, in Ovid’s times of peace, he no longer responds to the Romulean prototype of a new founder of the city, and the image of a pacifier Romulus, merely announced in Metamorphoses and Fasti, leads to Numa, the paradigm of the idea and a better foil to the ‘new’ Augustus.
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The literary framework of Naevius’ Bellum Punicum and the construction of the Caesar-Augustus fig... more The literary framework of Naevius’ Bellum Punicum and the construction of the Caesar-Augustus figure in the Jupiter-Venus dialogue of Aeneid 1 are seen as the preliminary phase for the transformation operated in Metamorphoses 15 by Ovid, who inserts the dialogue, now concerning Julius Caesar, in a mythologized universal history, and displays a fictional representation based on the use or transformation of two Virgilian passages (Aen. 1, 223 ff.; Georg, 1, 474 ff.). This higher level of construction is closely linked to the degree of poet’s self-celebration: while only indirect references to immortality (Aen 9, 446-7; Aen 1, 379) appear in Virgil, Ovid announces his own rise super alta ... / astra (15, 875-6), putting himself over the matter of the literary representation.
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Auster, 2004
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Graeco-Latina Brunensia 29, 2024
The Phaethon episode emphasizes the claim to divinity and failed divinization, and so it can be r... more The Phaethon episode emphasizes the claim to divinity and failed divinization, and so it can be read as an anti-apotheosis: there is a purification, an epitaph that mimics the titulus and the elogium of the deified characters' statues in the Forum of Augustus, a declaration of Phaethon's fault with the language of apotheosis, and an allusion to the constellation that he did not become. Like Caesar, Phaethon has become a stella; as in Caesar's passage, the poet refers to his anima; like Caesar's apotheosis, his anti-apotheosis occurs in Italian territory; in both passages, the sun ceases to appear. The contrast of the two episodes in the first and the last book, the first of which also has an echo (the Icarus episode) in the central part of the Metamorphoses, thus seems deliberately sought by the representation. Finally, while the anti-apotheosis is one further example in the first two books of the dynamics of chaos, normally triggered by a fault, the apotheosis structurally recovers the dynamics of cosmos.
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UNLP, Colección Estudios/Investigaciones; 86, 2024
Las correspondencias entre el pasaje de la creación del hombre de la Vetus Latina y el pasaje en ... more Las correspondencias entre el pasaje de la creación del hombre de la Vetus Latina y el pasaje en que Ovidio relata la creación del hombre no son prueba del influjo de la primera sobre el segundo, pero por la relación que forjan deben ser consideradas necesariamente cada vez que se comenta el relato ovidiano de la creación del hombre. Asimismo, si bien otros textos de Cicerón ofrecen semejanzas referenciales más próximas con la creación ovidiana, en De finibus encontramos un desarrollo filosófico sobre la naturaleza del hombre que constituye un perfecto complemento formal de la creación ovidiana.
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Auster 28, 2023
The purpose of this paper is to focus on the interpretation the Ovidius moralizatus makes of some... more The purpose of this paper is to focus on the interpretation the Ovidius moralizatus makes of some episodes linked to natural disasters in Books 1 and 2 of Ovid’s Metamorphoses: the Flood, Lycaon, and Phaethon. I will seek to highlight aspects in which Bersuire’s reading seems to provide an interpretation that, in addition to being Christian, illuminates aspects of Ovid’s stories. The texts will be compared in order to highlight, in the allegorical function of Bersuire’s, the particular meaning that this Christianized Ovid sometimes shows.
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Quintus Horatius Flaccus, Odas/ Carmina (ed. bilingüe). Traducción y notas: Emilio F. Rollié. Prólogo: Pablo Martínez Astorino, 2023
Prólogo
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Rheinisches Museum für Philologie 166, 2023
Since falsehood, following Hesiod’s tradition (Theog. 26 – 28), is linked to poetry – as the Muse... more Since falsehood, following Hesiod’s tradition (Theog. 26 – 28), is linked to
poetry – as the Muses can utter pseudea polla capable of being believed as truth (i. e., plausible, uerisimilia) –, the gate of falsa insomnia crossed by Aeneas hesiodically suggests that the speech of Anchises, the history Virgil chooses to represent in Book 6, is in the realm of false things, though in a literary sense: that is, in the realm of plausible things, of poetry. At issue is history as poetic construction, emphasized
especially by: 1. Anchises’ use of the word dicta to make explicit the fata; 2. fertur’s allusion to Homer and the Varronian derivation from fari of the word falsus; 3. the fact that at the very beginning of the book, an artist, Daedalus, sculpts some gates introducing the artistic interpretation for the final image of the gates (continued in the Shield of Vulcan); 4. the use of the word uates in the sense of ‘poet’, vicariously applied to the mythic poet Musaeus in the catabasis and, immediately (7,41), in the prelude of the ‘historic’ horrida bella. What is a construction to the reader is, for the
character Aeneas, a revelation known only in general terms.
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Acta Universitatis Carolinae Philologica 4 / Graecolatina Pragensia, 2021
An Ovidian Diptych: Numa, Augustus, and the Poet in the Fasti in the Light of the Metamorphoses T... more An Ovidian Diptych: Numa, Augustus, and the Poet in the Fasti in the Light of the Metamorphoses The article proposes to analyze the Fasti's Numa in relation to that of the Metamorphoses, considering: (1) the Ovidian representation of the monarchy; (2) the link between Numa and Augustus as a peacemaker; (3) the link between Numa and the poet. The conclusion to be reached is that, although Ovid, through Numa, represents in the Fasti a sort of contrafactual Augustus post Actium, in the light of the Metamorphoses, where the Numa's association with Augustus through the motif of pax leads to the poet, the image of the contrafactual Augustus cannot be understood as the end of the representation, but it is resolved in the image of an Augustus-Numa that, added to that of the Metamorphoses, constitutes a diptych, a double and complementary contemporary representation, which also in Fasti, though in a different way, leads to the poet, showing the primacy of poetry over politics in Ovidian writing.
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L’Antiquité Classique. Revue interuniversitaire d’études classiques 90, 2021
We exam thoroughly in Virgil’s, Horace’s and Ovid’s poetry the sphragîdes or passages in which th... more We exam thoroughly in Virgil’s, Horace’s and Ovid’s poetry the sphragîdes or passages in which the first person is emphasized. Our aim is to prove in which specific way (or in which terms) the generic progression, in accordance with the progression in the political and Rome’s celebration, conditions or nuances, in Virgil and Horace, the self-exaltation of the poet. We will also analize how Ovid puts in crisis the harmony in that progression, redefining, in a kind of inversion, the generic conception as well as that of poetry and poet, and showing that the supremacy of the poetic speaker exceeds the generic configuration.
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Iter 26, 2020
The individual lyric topic of poverty reaches its climax in the First Roman Ode, whose political ... more The individual lyric topic of poverty reaches its climax in the First Roman Ode, whose political and communal character is easily demonstrable. Since the poetic
resolution of the theme in Ode 3, 24 is also of a communal nature, it is possible to interpret its appearances in the individual lyric, in a final mode, as a preliminary individual appreciation of what the poet, already in its climax, will understand, as Virgil did, in its most complex communal sense. The positive consideration of poverty integrates in the “Roman Odes” the exhortation to other virtues appreciated
by ancient Romans and, as a sign of the authority of the poetic exhortation, remains valid, insofar as poverty is not named as a restored virtue, even in Ode 4, 15, which
represents the praise of Augustus because of the restoration of that lost past.
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Myrtia. Revista de Filología Clásica 35, 2020
In the allusive representation of Cleopatra through Dido it is shown that Virgil's work is not an... more In the allusive representation of Cleopatra through Dido it is shown that Virgil's work is not another chapter of the Roman discourse of imperialism, but a nuanced literary version in which human aspects are highlighted and in which the political aspect is problematized, avoiding a schematic characterization.
Bookmarks Related papers MentionsView impact
Apart from the "mythologization", the purpose of which is to include the stories of this long seq... more Apart from the "mythologization", the purpose of which is to include the stories of this long sequence in the preceding plot by creating a "mythologized" universal history, there are in the so-called "Ovidian Aeneid" textual marks that keep Aeneas’ character and story present, in accordance with the Roman meaning of the hero and, especially, with his apotheosis, which puts an end to the sequence. Such marks constitute what we have called the level of "reading". In this paper the allusions to the Aeneas Romanus are examined in relation to the “Ovidian Aeneid”. This Aeneas Romanus is especially based on Virgil’s epic, which Ovid follows as a general meaning, even beyond occasional references to previous traditions not included by Virgil We understand by Aeneas Romanus the character who is turned by Virgil both into a legacy of the Roman culture and an original family myth, given the canonical nature of his Aeneid. Among these allusions, it has a central role the term Cythereius heros in Ringkomposition, which refers to Aen., I, 257-258 and secures the Virgilian value of the sequence in the level of "reading".
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In the Fasti the image of Romulus fails to allude to Augustus because Ovid’s contemporary Augustu... more In the Fasti the image of Romulus fails to allude to Augustus because Ovid’s contemporary Augustus no longer responds to the Romulean prototype of a new founder of the city, and resembles Numa instead, king devoted to peace, rites and to the study of the stars. This circumstance is especially dramatized in II 119-144 as well as in I 27-44 and III 73-166. Nevertheless, Book III is the locus of the work in which this dramatization is most emphasized, since little less than a half of the Book (the first half) is devoted successively to Romulus and to Numa. In this paper we study how this succession-structure influences the construction of Augustus as a character, with conclusions about the Ovidian poetic construction of history: Ovid presents his interpretation of the after-Actium Augustus, which becomes rather a poetic device.
Bookmarks Related papers MentionsView impact
The purpose in this paper is to find out, seeking in the allusion and the style, Cicero's influen... more The purpose in this paper is to find out, seeking in the allusion and the style, Cicero's influence on Ovid's longest works, an influence which have been briefly suggested, in the case of the Metamorphoses, by Hardie and Gildenhard and Zissos. While the Ovid's type of link is, as we shall see, a literary one, we will realize that political definitions, even in an allegedly apolitical author, are also involved. The discussion will consider, especially in the Metamorphoses but also in the Fasti, Cicero’s influence in the creation of man, the apotheosis motif, the proem and the sphragis, as well as in the Ovidian representation of the unus homo and the eulogy of monarchy, with its Augustan associations.
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The Cipus episode must be understood in literary terms as a mythologization of Julius Caesar prev... more The Cipus episode must be understood in literary terms as a mythologization of Julius Caesar previous to his apotheosis, just as the Aesculapius episode constitutes a mythologization of Augustus. The purpose is to allude in a mythologized way to two episodes of Caesar’s political life: the rejection of the royal emblems fi rst from the Senate and then from Antonius in the Lupercalia (Suet. Iul. 79.2). But, although the most central aspect of this representation of history is the device per se, it is possible to see also a reflection on monarchy in the history of Rome, which functions as a significant interpretation of the recent history: the
monarchic legacy, which evokes not only Tarquinus but also Numa, should not be understood as a mistake and Cipus and Caesar, unlike Augustus, failed to assume it, even though Ovidian (Numan) conception of monarchy is problematically applied to Augustus.
Bookmarks Related papers MentionsView impact
In this paper, we analyse three kinds of appearance of history in the Romulus episode: 1. referen... more In this paper, we analyse three kinds of appearance of history in the Romulus episode: 1. referential allusions to outstanding passages of the Romulus myth; 2. suppression of problematic references to his figure; 3. use of the Ennian intertext. Although points 1 and 2 have been understood as an example of historical or political correction, taking into account the importance of point 3 we will try to show that what prevails in the text is the representation of a poetic construction of history in terms of a device (this concept is duly explained): the three points, indeed, are intended to maintain or highlight the value of the central apotheosis theme, which, in the light of the ending, has a literary meaning. In Fasti, a work in which this device functions as a way of presenting the Romulus story according to his association with Augustus and his adaptation to times of peace, the image of Romulus fails to allude convincingly to Augustus because, in Ovid’s times of peace, he no longer responds to the Romulean prototype of a new founder of the city, and the image of a pacifier Romulus, merely announced in Metamorphoses and Fasti, leads to Numa, the paradigm of the idea and a better foil to the ‘new’ Augustus.
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The literary framework of Naevius’ Bellum Punicum and the construction of the Caesar-Augustus fig... more The literary framework of Naevius’ Bellum Punicum and the construction of the Caesar-Augustus figure in the Jupiter-Venus dialogue of Aeneid 1 are seen as the preliminary phase for the transformation operated in Metamorphoses 15 by Ovid, who inserts the dialogue, now concerning Julius Caesar, in a mythologized universal history, and displays a fictional representation based on the use or transformation of two Virgilian passages (Aen. 1, 223 ff.; Georg, 1, 474 ff.). This higher level of construction is closely linked to the degree of poet’s self-celebration: while only indirect references to immortality (Aen 9, 446-7; Aen 1, 379) appear in Virgil, Ovid announces his own rise super alta ... / astra (15, 875-6), putting himself over the matter of the literary representation.
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Auster, 2004
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UNLP, Colección Estudios/Investigaciones; 86, 2004
El libro que presentamos intenta abarcar el estudio de los diversos campos semánticos de la Natur... more El libro que presentamos intenta abarcar el estudio de los diversos campos semánticos de la Naturaleza (natura) en la literatura romana a través de sus textos más relevantes. Se propone una indagación pormenorizada del corpus literario latino desde los comienzos de la República en una investigación sistemática que, tras una introducción, comprende trabajos sobre Plauto, Cicerón, Varrón, Lucrecio, Virgilio, Horacio, Ovidio, Séneca y autores de la tardoantigüedad y la Edad Media
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El objeto de este trabajo ha sido estudiar el motivo de la apoteosis con el fin de descubrir de q... more El objeto de este trabajo ha sido estudiar el motivo de la apoteosis con el fin de descubrir de qué manera se integra positivamente en la representación de las Metamorfosis. Se intenta trascender interpretaciones denigratorias o irónicas del motivo.
El estudio consta de dos partes. En el primer capítulo de la primera parte, “La apoteosis en la estructura de las Metamorfosis”, se demuestra con un análisis intratextual la importancia que tiene el relato de la creación del hombre como sanctius animal, considerada paradigmática, en el estudio del motivo de la apoteosis. El segundo capítulo insiste en la dimensión intertextual, recordando la influencia estructural de dos modelos poéticos de las Metamorfosis de Ovidio, Hesíodo y la Égloga 6 de Virgilio, para una representación que comienza en la creación del hombre y termina en la apoteosis del poeta.
La introducción a la segunda parte, “Valor semántico de la apoteosis,” pone el acento en tres aspectos esenciales para el estudio de la apoteosis. En primer lugar, la idea de “lectura”, i.e., la trascendencia latente del motivo de la apoteosis y de la idea de estirpe a lo largo de la obra. Se propone, en segundo lugar, el concepto de “mitologización” como una forma de examinar la apropiación que hace el poeta del mito historizado y del mito con alusión augustea. Esa apropiación tendrá como fin destacar el aspecto literario de las historias y ejercerá un papel fundamental en la construcción de una figura de poeta que, mediante la apoteosis por su obra, se eleva por sobre las figuras de filósofo y de político. Su tratamiento en este trabajo, pues, se debe al hecho de que está ligado, en último término, con el motivo de la apoteosis.
Dado que el estudio tiene como punto de partida la relación entre el sanctius animal, paradigma de la creación del hombre, y la apoteosis, se ha elegido examinar detalladamente aquellas apoteosis en que aparece una alusión explícita a la parte mortal o a la parte inmortal, i.e., las de Ino y Melicertes, Hércules, Eneas, Glauco, Rómulo, Hersilia, César, Augusto y Ovidio. Se incluyen, de todas maneras, otras referencias y apoteosis relevantes. La alusión a la imagen de la pars, siguiendo una de las denominaciones con más trascendencia formal en la obra, remite a la creación del hombre divino semine y a partir de semina caeli, aspecto que se estudia en el primer capítulo de la primera parte y se retoma en el análisis de cada apoteosis.
La conclusión del trabajo es que el motivo de la apoteosis sólo puede inteligirse a la luz del final, en el que se representa la apoteosis del poeta. Al margen de la mitologización que opera en las historias con valor histórico y augusteo, Ovidio se ha preocupado por mantener, aunque sólo sea en forma referencial, el sentido de las apoteosis con el fin de desplegar toda su significación en la apoteosis final. Inversamente, el valor completo del motivo en el cierre de la obra exige aceptar su significación a lo largo de la obra. En el final, el poeta, un poeta Romanus en la medida en que su obra será leída donde se extienda la Romana potentia, se revela como el auténtico sanctius animal referido en la creación.
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The Classical Review 72(1), 2022
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