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Les termes interrogatifs en poésie didactique latine. Un trait de différenciation inter- ou intragénérique ?

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This paper will investigate on interrogative markers, especially those of cause and manner, in Latin didactic poetry, in order to see if their distribution is more or less the same in all the texts considered and thus distinguishes this genre of literature among other ones, or else if there are differences between the several poems reflecting various aims pursued by the authors If the latter were the case, this linguistic study might contribute to the typology of Latin didactic poetry afforded by other scholars from a literary point of view.Cicero did not write poetics but when explaining, in the De Oratore as in the Oraror, how ornatus is produced, he puts the emphasis on poetic language because poets are given more freedom in using and creating words and metaphors. Is that enough to characterise poetical procedures? Yes, as will be shown here, because such poetics focused on words as lumina allows a clear perspective on Cicero’s choices as a poet inasmuch as it echoes Lucretius’ programmatic stance.

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Poétique des ténèbres. De l’indo-européen au latin

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Latins have lost the oral epic tradition, as kept by Homer and Mahābhārata. The present paper tries to trace out latin formulas which could belong to such a tradition : Indo-European poetry conceived the succession of days and nights as two veils, one being bright, the other dark, which were drawn alternatively over the earth. Latin poetry uses noctem/ tenebras/ auroram (in/ob)-tendere or (in/ob)ducere, but it is not easy to distinguish inherited formulas and borrowings from Greek epic poetry. More surprising is the use of ruere (nox ruit, sol ruit) ; in such a phraseology; ruere could represent an i.-e. root *Hrew- “is red” (hitt. harwanaizzi “the first light of dawn appears”), further confused with ruere “to rush”.

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Langue poétique, hyperdialectalismes et langue de chancellerie. Le cas des textes thessaliens et l’origine de ενεκα

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The attestation in Thessalian dialect inscriptions (3rd/2nd Cent.) of forms which are unexpected from the etymological point of view may be explained as due to the confluence of two factors: the influence of the literary (Attic and Ionic) prose and, at the same time, the tendence to give them a Thessalian colour. This is visible even in the case of three forms which show unexpected geminates. In enneka, the geminate reflects the thessalisation of Hom. Ion. Att. ei{neka, which goes back to the Homeric metrical lenghtening of PGr *eneka (: Myc. e-ne-ka /(h)eneka/): a new etymology of the form is proposed in support of this view. The same explanation applies for the theonym Ennodia (as against neut. pl. enodia ‘paths’ in the same inscription), which reflects Eijnodivh/a (Hsd.+), Hom. eijnovdio~. For its part, the place name Govnnoi (Govnno~) reflects Hom. Gouneuv~, gounov~ ‘hill’, which show the phonetic outcome of *ĝon-ó-. The irregular spellings <enn>, <onn> turn out to reflect an artificial thessalisation of Ion.Hom. <ein>, <oun>, whatever their origin could be, at a time when Thessalians write stubbornly in dialect, as a manifestation of their identity.

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Allitérations et assonances associées à l'emploi des impressifs de sonorité dans la langue homérique

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This paper aims to show the conditions under which alliterations and assonances appear in the Homeric epos. One has intentionally restricted the corpus to the close context of impressive verbs denoting a noise, in order to determine by what the presence of such sound effects could have been conditionned : contrary to the expectations, the associations of such verbs and such sound effects are absolutely not systematic, but they are concentrating only when the dramatic tension in the narration reaches a peak, as if the drama of the situation had to be heightened by the accumulation of expressive devices involving the signifier. Along the same lines it has been observed that the expressive hapax crovmado" appears to be brought about by an alliterative context.

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La paréchèse et les jeux sur les mots chez Homère

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In a number of cases Homer’s epics provide us with single forms which—though metrical and unequivocally transmitted—are morphologically aberrant or altogether ungrammatical. Textual criticism has frequently attributed such forms to a faulty transmission, and consequently has tried to emend them out of existence.
There are, however, other mechanisms for generating, and other ways to explain, deviant or aberrant forms. Thus there are many instances of word games in Homer, in which the poet chooses to reshape forms so as to yield pairings of rhyming words.
The present article treats six such instances of aberrant forms: έδήδοται Od. 22.56; έληλέδατʹ(ο) Od. 7.86; εστασαν Il. 12.56, Od. 3.182; λέκτο Od. 4.451; ωνατο Il. 17.25; προθέουσιν Il. 1.291. All of these have been subject to emendation (from antiquity to modern times) but can now be vindicated as authentic Homeric forms once they are recognized as constituents of artful word games.

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