Mythanalysis of ancient Rome.
Beautiful Letters| N° d'inventaire | 19667 |
| Format | 15 x 21.5 |
| Détails | 288 p., paperback |
| Publication | Paris, 2015 |
| Etat | Nine |
| ISBN | |
Let us reread Virgil and Ovid here: the Aeneid as an initiatory epic of the origins of Rome, and the mythological poem of the Metamorphoses. Beyond Roman man, Virgil and Ovid speak to each of us: mythology is the native land of all symbolic forms. Across twenty-two centuries, we feel a fraternity with the fears, joys, and desires expressed there. Aeneas, confronted with the uncertainty of risk and the certainty of love, is the archetype of each of us trying to construct our personal space. As homo viator, he is at once warrior, ferryman, and exile; and as a founding hero, he puts the world in order, as he progresses in the organization of his psyche. As Paul Veyne says in his preface to this book, we find there the "profound truth of these "privileged structures of the human imagination." Beyond these flashes of brilliance, it is this echo that Joël Thomas tries to identify more generally in the imagination of the Latins, both during the Augustan period and in its influences, particularly in the construction of Europe. For, in a form of feedback, the Aeneid is both the matrix and the reflection of Romanity; and the beacon of Romanity has not been extinguished with its material forms. The Aeneid inspiring The Divine Comedy, or reread by Magda Szabo's Creusides, Ovid revisited by David Malouf, or Catullus as a possible model for Rimbaud's The Drunken Boat: even when its transitory forms are no more, Roma Aeterna remains, and "what remains, the poets found" (R.-M. Rilke).
Let us reread Virgil and Ovid here: the Aeneid as an initiatory epic of the origins of Rome, and the mythological poem of the Metamorphoses. Beyond Roman man, Virgil and Ovid speak to each of us: mythology is the native land of all symbolic forms. Across twenty-two centuries, we feel a fraternity with the fears, joys, and desires expressed there. Aeneas, confronted with the uncertainty of risk and the certainty of love, is the archetype of each of us trying to construct our personal space. As homo viator, he is at once warrior, ferryman, and exile; and as a founding hero, he puts the world in order, as he progresses in the organization of his psyche. As Paul Veyne says in his preface to this book, we find there the "profound truth of these "privileged structures of the human imagination." Beyond these flashes of brilliance, it is this echo that Joël Thomas tries to identify more generally in the imagination of the Latins, both during the Augustan period and in its influences, particularly in the construction of Europe. For, in a form of feedback, the Aeneid is both the matrix and the reflection of Romanity; and the beacon of Romanity has not been extinguished with its material forms. The Aeneid inspiring The Divine Comedy, or reread by Magda Szabo's Creusides, Ovid revisited by David Malouf, or Catullus as a possible model for Rimbaud's The Drunken Boat: even when its transitory forms are no more, Roma Aeterna remains, and "what remains, the poets found" (R.-M. Rilke).