By Philip Ford, Andrew Taylor
The essays during this assortment all illustrate the energy of Neo-Latin drama in early smooth Europe, coming up from its effective mixture of classical types with deep-rooted vernacular traditions. whereas the performs have been frequently composed within the context of a college or college atmosphere, the dramatists seldom overlooked the necessity to attract a large viewers, together with non-Latinists. but using Latin, and the paradox of a plurivocal literary shape, allowed the authors of those performs to introduce messages and ideas which may be subversive of the present political and non secular professionals. even as, humanist faculties and their Jesuit successors have been fast to determine the tutorial benefits to be derived from staging performs played via scholars, which had the benefit of appearing as strong ads for the colleges. Neo-Latin drama in all its kinds provided a freedom of expression and shape infrequent in different Renaissance literary genres.
Contributors: J. Pascual Barea, Universidad de Cádiz; J. Bloemendal, Huygens Institute, KNAW, The Hague; E. Borza, Université catholique de Louvain; J. De Landtsheer, KU Leuven–University of Leuven; A. Eyffinger, Huygens Institute, KNAW, The Hague; C. Ferradou, Université de Provence; S. Knight, college of Leicester; J. Loach, Cardiff collage; H. B. Norland, collage of Nebraska, Lincoln; V. Coroleu Oberparleiter, collage of Salzburg; O. Pédeflous, Paris IV and Institut Thiers; C. Ryan, Merton collage, Oxford; M. Verweij, Royal Library of Belgium
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Mactare natos quae parentes lex iubet? Quae uota iussit nuncupata reddere. Fasne est uouere quod nefas est reddere? Quin immo summum est uota non soluere nefas. Quid si cremare iura uouisses patrum? Nemo ista sanus uota nuncupauerit. Cur? Nonne sacris quod repugnent legibus? Sic est. Quid ergo qui trucidat liberos? Non tam quid agitur interest quam cur agas. Parere iussis tibi uidetur numinis? (PRIEST. […] Our God is not offered gory victims or the blood of cattle; but hearts defiled by no pollution, a mind refined by ingenuous truth, and a chaste conscience are to be offered to him.
Thanks to Textor’s books, they can also develop a feeling for the flow of everyday Latin conversation and apply it to their own speaking and writing in the numerous official vocations in which Latin was still in daily use. The question of vocabulary, so prominent in the grammatical tradition, as Valla’s (and Agostino Dati’s) Elegantiae and Perotti’s Cornucopiae make abundantly clear,45 is a matter of great interest in Textor’s plays. Textor’s dialogi exemplify how one can reinvest valuable excerpts taken from Latin writers (Classical, Late, Medieval and Renaissance ones).
Valla’, Res Publica Litterarum, 24 (2001), 94–105. 46 On this play, see Massebieau, De Ravisii Textoris comoediis, pp. 43–5 and Vodoz, Le Théâtre latin, pp. 52–3. For the variegated style, see P. Galand-Hallyn, Le Reflet des fleurs: Description et métalangage poétique d’Homère à la Renaissance (Genève: Droz, 1994). 47 Ravisius Textor, Dialogi, 1, Terra, Aetas, Homo et alii plerique, ff. Air–Biiv (f. Aiiiir). 30 Olivier Pédeflous Milia primorum ueteres habuisse dierum Ascrei referunt monumenta diserta poetae?