Jerome’s persona satirica and the Reception of Terence’s Comedy
This paper discusses the traditional label of satiricus that has been applied to Jerome’s literary persona through the centuries because of his inquisitive and moralizing posture through laughter in many texts. We propose an alternative interpretation that suggests that his well-humoured criticisms,...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
2023
|
| In: |
Vulgata in dialogue
Year: 2023, Volume: 7, Pages: 29-42 |
| Standardized Subjects / Keyword chains: | B
Hieronymus, Sophronius Eusebius 345-420
/ Comedian
/ Reception
/ Satiricist
|
| IxTheo Classification: | KAB Church history 30-500; early Christianity |
| Online Access: |
Volltext (kostenfrei) |
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| 520 | |a This paper discusses the traditional label of satiricus that has been applied to Jerome’s literary persona through the centuries because of his inquisitive and moralizing posture through laughter in many texts. We propose an alternative interpretation that suggests that his well-humoured criticisms, intended to moralize society, often reflect another literary genre: that of comedy. Through the analysis of three cases of Jerome’s reception of, and intertextuality with, Terence, we show that being compared to a comic writer and to the specific model of Terence can be supported by Jeromian texts. Terence, in fact, ranks as a moralizer and one of the four greatest poets from Antiquity. Indeed, according to its reception in Jerome’s texts, the specific “Terentian way of writing” seems more elevated and softer for correcting society than the approach of a satirist who might be excessive and hurtful. So, the theatrum mundi commonplace is present in many works of our writer: the world is pictured as like a vicious comic stage that must be morally fixed by an author who, despite being a Christian, recreates the ludic comic mechanism to defend his opinion and provoke his readers to avoid being as ridiculous as comic characters. | ||
| 520 | |a In diesem Beitrag wird die traditionelle Bezeichnung satiricus erörtert, die der literarischen persona des Hieronymus im Laufe der Jahrhunderte aufgrund seiner neugierigen und moralisierenden Haltung, die er in vielen Texten durch Lachen zum Ausdruck bringt, verliehen wurde. Wir schlagen eine alternative Interpretation vor, die besagt, dass seine gutgelaunten Kritiken, die die Gesellschaft moralisieren sollen, oft ein anderes literarisches Genre widerspiegeln: das der Komödie. Durch die Analyse dreier Fälle von Hieronymus’ Rezeption von und Intertextualität mit Terenz zeigen wir, dass der Vergleich mit einem komischen Autor und mit dem spezifischen Modell von Terenz durch Texte des Hieronymus gestützt werden kann. Terenz gilt nämlich als Moralapostel und einer der vier größten Dichter der Antike. Nach der Rezeption in anderen christlichen Texten scheint die spezifische „terenzianische Schreibweise“ in der Tat erhabener und sanfter zu sein, um die Gesellschaft zu korrigieren, als der Ansatz eines Satirikers, der übertrieben und verletzend sein könnte. Der Gemeinplatz des theatrum mundi ist in vielen Texten des Hieronymus präsent: Die Welt wird als eine bösartige komische Bühne dargestellt, die von einem Autor moralisch korrigiert werden muss, der, obwohl er Christ ist, den Mechanismus der lächerlichen Komik nachstellt, um seine Meinung zu verteidigen und seine Leser zu provozieren, damit sie nicht so lächerlich werden wie die komischen Figuren. | ||
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