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Zonaras abréviateur de Cassius Dion. À la recherche de la préface perdue de l’Histoire romaine
Abstract
The Byzantine writer Johannes Zonaras is the author of a universal history, the title of which is Epitome. One of its main sources is Cassius Dio's Roman History. This paper focuses on some hitherto neglected passages in the preface of the Epitome having possibly been excerpted by Zonaras from the lost preface of the Roman History.
Pomimo ogromnego znaczenia jako świadectwa niezachowanych partii Historii rzymskiej Kasjusza Diona, Epitome Ksyfi linosa to jedno z najmniej rozpoznanych źródeł bizantyńskich. Postrzegane było dotychczas jako wytwór nieoryginalny, którego autor był jedynie pasywnym i czasem niekompetentnym kopistą. Dla badaczy starożytnego Rzymu Ksyfi linos stanowił jedynie substytut Diona, a dla bizantynistów był autorem nieinteresującym. Analiza Epitome – na przykładzie jego pierwszego rozdziału poświęconego Pompejuszowi, zastosowanej w nim struktury narracyjnej i metod pracy Ksyfi linosa – pokazuje, że autor aktywnie kształtował swe dzieło, zgodnie z własnymi upodobaniami literackimi i z poszanowaniem konwencji funkcjonujących w XI-wiecznej historiografii bizantyńskiej. Epitome, dzieło o charakterze dydaktycznym, dedykowane cesarzowi Michałowi VII Doukasowi, było intelektualnym produktem epoki, w której antyczne korzenie Bizancjum zaczęły odgrywać coraz większą rolę w bieżącym dyskursie politycznym. Było też pierwszym dziełem historiografii bizantyńskiej, które tak wiele miejsca poświęciło historii Rzymu przed ustanowieniem cesarstwa.
Xiphilinos’ Epitome constitutes one of the most understudied Byzantine sources despite its great importance and role as a transmitter of the unpreserved parts of Cassius Dio’s Roman History. Until recently it was mainly perceived as an unoriginal product whose author was only a passive and often incompetent copyist. For scholars of Ancient Rome Epitome was seen only as a substitute for Dio, while Byzantinists deemed Xiphilinos as an uninteresting author. Analysis of Epitome’s first chapter devoted to Pompey shows that in fact, he was an author who actively shaped his work according to his own literary tastes and trends functioning in eleventh-century Byzantine historiography. Epitome, a didactic work dedicated to the emperor Michael VII Doukas, was an intellectual product of an era where the ancient roots of Byzantium started to play an increasingly important role in contemporary political discourse. It was also the first work of Byzantine historiography which devoted as much space to Roman history before the establishment of imperial monarchy.
Este trabajo, partiendo de los datos suministrados por el TLG, quiere ofrecer todas las apariciones en la literatura griega de los términos Indíbil, Mandonio, Lérida, ilerdita, ilergetes y Segre, acompañadas de la traducción al español y las explicaciones filológicas pertinentes, con el propósito de serles de alguna utilidad a filólogos, geógrafos, historiadores, arqueólogos y otros estudiosos de la Antigüedad clásica, así como al lector general interesado por alguno de esos vocablos.
The question of Cassius Dio’s time of writing is characterised by scant evidence and a lack of consensus. This article will present a highly significant correction to our understanding of the most important passage for this question, as well as two passages that have not generally been taken into consideration. The article will argue that Dio finished his main work in the late 210s and thereby support a so-called ‘early dating’. This is central for the current re-evaluation of Dio since it gives a clearer picture of the background against which Dio conceived his work and his many sophisticated interpretations.
In the Imperial books of his Roman History , Cassius Dio focuses on individual emperors and imperial institutions to promote a political framework for the ideal monarchy, and to theorise autocracy’s typical problems and their solutions. The distinctive narrative structure of Dio’s work creates a unique sense of the past and allows us to see Roman history through a specific lens: that of a man who witnessed the Principate from the Antonines to the Severans. When Dio was writing, the Principate was a full-fledged historical fact, having experienced more than two hundred years of history, good and bad emperors, and three major civil wars. This collection of seven essays sets out to address these issues, and to see Dio not as an ‘adherent’ to or ‘advocate’ of monarchy, but rather as a theorist of its development and execution.
In the Imperial books of his Roman History , Cassius Dio focuses on individual emperors and imperial institutions to promote a political framework for the ideal monarchy, and to theorise autocracy’s typical problems and their solutions. The distinctive narrative structure of Dio’s work creates a unique sense of the past and allows us to see Roman history through a specific lens: that of a man who witnessed the Principate from the Antonines to the Severans. When Dio was writing, the Principate was a full-fledged historical fact, having experienced more than two hundred years of history, good and bad emperors, and three major civil wars. This collection of seven essays sets out to address these issues, and to see Dio not as an ‘adherent’ to or ‘advocate’ of monarchy, but rather as a theorist of its development and execution.
L’étude est consacrée au registre du thauma, qui traduisait depuis Homère la faculté intellectuelle de l’étonnement, de la curiosité, de l’enquête, mais aussi celle de la fantaisie et de l’hypertrophie romanesque. Pourquoi Cassius Dion, cet historien des institutions romaines et de l’expansion de l’Empire, a-t-il adopté cette notion polymorphe et comment l’a-t-il adaptée à son projet historique ? L’étude cherche à mettre en lumière sa position personnelle, entre fidélité au modèle ancien du thauma, recours à une écriture économe des effets faciles et attachement à une histoire «exemplaire » .
This article focuses on the presence of material from Plutarch's Lives in Byzantine chronicles, particularly that of John Zonaras, the only chronicler to draw heavily on Plutarch's biographies. Zonaras’ strong appreciation of Plutarch is evident when he repeatedly digresses from the main narrative to incorporate Plutarchean material related to secondary topics. His method of selection from Plutarch's Roman Lives is governed by particular principles: Zonaras’ individual literary tastes, as well as those of his contemporary audience, and the adaptation of Plutarch's material to the Byzantine social and cultural context. These considerations reveal Zonaras to be not merely a copyist of earlier writings, but instead a compiler with his own authorial agenda.
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