Il volume propone un’analisi approfondita (condotta sotto l’aspetto filologico, letterario, linguistico, contenutistico) dei vv. 603-645 dell’Aetna, il componimento anonimo più esteso tra quelli tràditi nell’Appendix Vergiliana. Si tratta dei versi finali del carme, in cui viene narrata la miranda fabula dei pii fratres catanesi: costoro, mentre lava e fiamme distruggono ogni cosa, non pensano a mettere in salvo beni materiali, ma si preoccupano unicamente (come il pius Aeneas) di portare via con sé gli anziani genitori. Il racconto di questo noto esempio di pietas filiale non appare affatto in contraddizione (come pure si è pensato) con i numerosi luoghi dell’Aetna in cui esplicito è il disprezzo verso i mendacia narrati dai poeti e viene esaltata la conoscenza scientifica: al contrario, esso è del tutto coerente con l’intento didascalico che anima l’autore. Il vero disaskalos - questo sembra essere il messaggio che conclude il poemetto - deve saper coniugare insegnamenti scientifici e ammaestramenti d’ordine morale: per questo, dopo aver insegnato il perché dei fenomeni vulcanici, egli ammaestra anche su come comportarsi quando la natura è portatrice di morte e distruzione. E mentre il vulcano appare quasi una metafora di quanto di meraviglioso e al tempo stesso terrificante circonda la vita degli uomini, il poeta ricorda che solo l’amore verso i più deboli, l’attenzione alle altrui sofferenze può salvare: come i pii fratres che, incolumi insieme ai genitori, attraversano quelle stesse fiamme che, intorno, distruggono e uccidono.

Esegesi della miranda fabula dei pii fratres catanesi: il racconto di questo notissimo mito consente all'autore di proclamare il valore assoluto della pietas

L’épithalame composé par Sidoine Apollianaire pour le noces de Ruricius et Hiberia - un carmen très recherchè pour la richesse de son style et son inspiration mythologique - démontre que l’auteur s’inspire et demeure fidèle à la tradition (illustrée ici surtout par les carmes nuptiales de Statius et de Claudianus) tout en étant capable de l’adapter aux normes de son temps. En effet, cette composition témoigne, une fois de plus, combien Sidoine s’emploie à appliquer une stratégie de survie comme l’aristocratie galloromaine, qui y avait recours afin de préserver son pouvoir et ses privilèges malgré d’une situation dramatique et précaire.

Sidonius’ the laus of Narbonne (carm. 23,37-96) is divided in three different thematic sections: the first and the third sections contain the praise of everything makes the city beautiful and rich, and the mention of its distinguished ‘children’. These are ‘topical’ sections of the laudes about towns and places, where it is possible to identify some similarities with Ausonio and Virgil. The central section is not only the most complex, but also the least conventional: Sidonius seems to contraddict even the convention which prescribed that in this type of composition there should be described only the bona of the celebrated place. In these central lines the poet reminds the value shown by Narbonne during the siege of Theodoric I - XIII - referring it to the visible ruins in the town. They should be praised and not blamed, as they are a tangible sign of the town’s courage and ability to face difficult challenges. In the central lines are studied the great praises Sidonius addresses to Theodoric II. The laus of Narbonne is a precious evidence of the Gallo-Roman poet’s ability of taking from the heritage of the literary tradition and give birth to an ‘original’ work of art: the city described by him is courageous and reliable as a veteran, open to a new future. Once again, his lines are not simply a lusus ‘neoalexandrine’, but they can represent a way of ‘to do’ polics.

Ausonius describes his wife Sabina with the traditional virtues of femina proba (she is pia, casta, frugi, lanifica). She seems also charming and docta as an elegiac domina is.was she also docta to texere carmina, and not only licia? Certainly, the relationship between the poet and his wife seems to be inspired both by the ideal of mutuus amor and both by the reflections of Christian authors of iV century about woman’s role in the marriage.

the evolution in late antiquity of important aspects of women’s lives (for example: marriage, virginity, maternity, attention to one’s own body) seems to testify a ‘stiffening’ in Christian writers not only with respect to the mentality of the Greek and Roman world, but also in comparison with the requirements of the apostle Paul (who is, in turn, often ambiguous). the ideal female as recognized in the classical era – virtuous spouse/prolific mother/widow – is replaced by a new order of values: virgin/widow/mother. however, in addition to attitudes, sometimes violently misogynist, texts also show entirely positive reflections on female virtues: attitude towards the female universe in late antiquity is, therefore, extremely complex and varied. also from this point of view, this period is crucial for the transformation of the mentality and the definition of models, which will be a reference for later periods.

The aim of this contribution is to re-trace the figure of Polla Argentaria on the basis of the very little evidence in our possession. After having described the elements that undoubtely outline some of this character's qualities, we are attempting to complete her portrait hypothesizing that she remained univira after Lucano's death. Moreover, it is possible that the doctrine that was recognized on her behalf also comprised her capability of composing verses.

Verses 101-66 of carm. 23 show how Sidonius Apollinaris was partaking in the (presumably heated) debate on education and upbringing of the youngsters. These verses, far from being merely a list of Greek and Latin authors, seem to reflect a ‘paideutic proposal’ indeed: a ‘cycle’ of subjects, firstly philosophy, meant as an ideal of wisdom and equilibrium (vv. 101-44); then a selection of Latin authors (vv. 145-66), which seems to mirror the scholastic canon still employed between the IVth and the Vthcentury.

Il presente volume presenta la prima traduzione italiana e il primo commento commento al carme 16 di Sidonio Apollinare. Si tratta di un carme estremamente significativo poiché mostra come la tradizione classico-pagana possa fondersi perfettamente con la tradizione scritturistica, patristica e in generale cristiana, in nome di un ideale di Romanicas, da contrapporre al dilagante mondo dei barbari.