In Flavian epic and occasional poetry, Domitian is represented as a (former) practitioner, promoter and guarantor of poetic otium. This article reflects on how Statius shapes his relationship with the emperor – as an author, advocate, object and addressee of poetry – in the Thebaid’s envoi, the Achilleid’s proem, and Silvae 4. 2 and 4. 4, in dialogue with the Augustan models (Virgil, Horace, and Ovid). Statius sponsors himself as a new Virgil for a new Augustus, who deigns to read his mythological poem (Theb. 12), and shows himself to be a heir to Virgil’s otium at Parthenope, a poet able to elevate his song, but reluctant to undertake an imperial epic (silv. 4. 4); in the ‘alternative’ encomiastic form of the Silvae, he offers himself as a eulogist of the prince’s convivial otium, which, however, amounts to celebrating in minor poetry, once again, the military glory of a never relaxing, inaccessibly distant general (silv. 4. 2); while, in the Achilleid, he instrumentally suggests his embarrassment at confronting the poet-prince on his own literary terrain. Flavian poets are pleased to share Domitian’s passion for poetry; however, celebrating the exploits of the Flavians in a sublime epic is a task they willingly leave to Domitian’s (long lost) poetic otium.
'Deus nobis haec otia fecit'. Modelli di otium per i Flavi: Stazio e Domiziano
Federica Bessone
In corso di stampa
Abstract
In Flavian epic and occasional poetry, Domitian is represented as a (former) practitioner, promoter and guarantor of poetic otium. This article reflects on how Statius shapes his relationship with the emperor – as an author, advocate, object and addressee of poetry – in the Thebaid’s envoi, the Achilleid’s proem, and Silvae 4. 2 and 4. 4, in dialogue with the Augustan models (Virgil, Horace, and Ovid). Statius sponsors himself as a new Virgil for a new Augustus, who deigns to read his mythological poem (Theb. 12), and shows himself to be a heir to Virgil’s otium at Parthenope, a poet able to elevate his song, but reluctant to undertake an imperial epic (silv. 4. 4); in the ‘alternative’ encomiastic form of the Silvae, he offers himself as a eulogist of the prince’s convivial otium, which, however, amounts to celebrating in minor poetry, once again, the military glory of a never relaxing, inaccessibly distant general (silv. 4. 2); while, in the Achilleid, he instrumentally suggests his embarrassment at confronting the poet-prince on his own literary terrain. Flavian poets are pleased to share Domitian’s passion for poetry; however, celebrating the exploits of the Flavians in a sublime epic is a task they willingly leave to Domitian’s (long lost) poetic otium.
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