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Previous scholarship on classical pseudepigrapha has generally
aimed at proving issues of attribution and dating of individual
works, with little or no attention paid to the texts as literary
artefacts. Instead, this book looks at Latin fakes as sophisticated
products of a literary culture in which collaborative practices of
supplementation, recasting and role-play were the absolute
cornerstones of rhetorical education and literary practice. Texts
such as the Catalepton, the Consolatio ad Liviam and the
Panegyricus Messallae thus illuminate the strategies whereby
Imperial audiences received and interrogated canonical texts and
are here explored as key moments in the Imperial reception of
Augustan authors such as Virgil, Ovid and Tibullus. The study of
the rhetoric of these creative supplements irreverently mingling
truth and fiction reveals much not only about the neighbouring
concepts of fiction, authenticity, and reality, but also about the
tacit assumptions by which the latter are employed in literary
criticism.
The papers in this volume are based on a 2018 conference in the
Department of the Classics at Harvard University in honor of
Richard Tarrant, Pope Professor of the Latin Language and
Literature, on the occasion of his retirement. The breadth of
authors, genres, periods, and topics addressed in The Lives of
Latin Texts is testament to Richard Tarrant's wide-ranging
influence on the fields of Latin literary studies and textual
criticism. Contributions on stylistic, dramatic, metapoetic, and
philosophical issues in Latin literature (including authors from
Virgil, Horace, and Seneca to Ovid, Terence, Statius, Caesar, and
Martial) sit alongside contributions on the history of textual
transmission and textual editing. Other chapters treat the musical
reception of Latin literature. Taken together, the volume reflects
on the impact of Richard Tarrant's scholarship by addressing the
expressive scope and the long history of the Latin language.
Previous studies on the relationship between rhetorical theory and
Roman poetry have generally taken the form of lists enumerating
elements of style and arrangement that poets are said to have
'borrowed' from rhetorical critics. This book examines, and
ultimately questions, this entrenched theoretical model and the
very notion of rhetorical influence on which this paradigm is
built. Tracing key moments in the poetic and the rhetorical
traditions, in the context of which the problematic relationship of
difference and similarity between rhetorical and poetic discourse
is discussed, the book focuses on the cultural relevance of this
intellectual divide in Roman literary culture. The study of
rhetorical sources, such as Cicero, Seneca the Elder and
Quintilian, and of select responses in Roman poetry, sheds light on
long-standing scholarly assumptions about classical poetry as
artless language and about the role of rhetoric in the construction
of the decline of post-classical cultures.
Previous scholarship on classical pseudepigrapha has generally
aimed at proving issues of attribution and dating of individual
works, with little or no attention paid to the texts as literary
artefacts. Instead, this book looks at Latin fakes as sophisticated
products of a literary culture in which collaborative practices of
supplementation, recasting and role-play were the absolute
cornerstones of rhetorical education and literary practice. Texts
such as the Catalepton, the Consolatio ad Liviam and the
Panegyricus Messallae thus illuminate the strategies whereby
Imperial audiences received and interrogated canonical texts and
are here explored as key moments in the Imperial reception of
Augustan authors such as Virgil, Ovid and Tibullus. The study of
the rhetoric of these creative supplements irreverently mingling
truth and fiction reveals much not only about the neighbouring
concepts of fiction, authenticity and reality, but also about the
tacit assumptions by which the latter are employed in literary
criticism.
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