L'esthétique de Stace : la peinture des correspondances
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Abstract EN:
Through all his works, statius conforms to the traditional principles of the literary antique creation established on the imitatio and the aemulatio. His imitation implies together the combination and the respect of the hierarchy in the utilization of his sources and of his models : he steadily prefers vergil, ovid and seneca among the latin poets, the tragics and homer among the greek. His desire to rival with his predecessors chiefly shows himself by inserting, enlarging, multiplying and sometimes even combining different kinds of imagines who strengthen the connexions in the space (echoes, reflections, silences and shadows; effects of likeness and similes) and in the time (scenes who portend the future, who recall the past, and who settle leit-motive in the principal action) in order to improve the prevailing tonalities of each work : violence, horror and distress in the thebaid, joy and peace sometimes disturbed by anxiety and violence in the achilleid, peace, joy and concord rarely disturbed by sadness in the silvae. So, the flavian poet demonstrates the wealth and the coherence of his doctrina, of his ingenium and of his ars and connects himself to an aesthetic which mingles classic and baroque tendencies.
Abstract FR:
A travers toute son oeuvre, Stace se conforme aux principes traditionnels de la creation litteraire antique fondes sur l'imitatio et l'aemulatio. Son imitation implique a la fois la combinaison et le respect de la hierarchie dans l'utilisation de ses sources et de ses modeles : il privilegie constamment en ce sens virgile, ovide et seneque chez les poetes latins, les tragiques et homere chez les grecs. Son desir de rivaliser avec ses predecesseurs se manifeste surtout par l'introduction, l'amplification, la multiplication, et parfois meme la combinaison de differentes sortes d'imagines qui renforcent les correspondances dans l'espace (echos et reflets, silences et ombres, differents effets de ressemblance, et comparaisons) et dans le temps (scenes qui prefigurent l'avenir, qui rappellent le passe, et qui constituent des leit-motive dans l'action principale) pour mettre en valeur les tonalites dominantes de chaque oeuvre : violence, horreur et desolation dans la thebaide, joie et paix parfois troublees par l'inquietude et la violence dans l'achilleide, paix, joie et harmonie rarement perturbees par la tristesse dans les silves. Le poete flavien demontre ainsi la richesse et la coherence de sa doctrina, de son ingenium et de son ars et se rattache a une esthetique qui mele des tendances classiques et baroques.