The Codex Palatinus latinus 1447, located in the Vatican Apostolic Library, preserves three fragments of Old Saxon poetry, vestiges of a lost poem that engaged with stories from Genesis. These fragments deal with Adam’s sorrow after the Fall, the catastrophic obliteration of Sodom, and the fratricide of Abel by his own brother, Cain. This study aims to analyse the stylistic and lexical techniques employed by the anonymous Saxon poet to convey the cataclysmic event encircling Sodom and its residents to an audience freshly converted, through the medium of the vernacular language. At the core of our analysis lies the pivotal role of lexical co-occurrences, referred to as collocations, within this fragment. These collocations serve a twofold purpose: they forge a robust structural foundation for this specific segment of verses and also illuminate the message the poet meant to convey to their audience. Running parallel to established lexical pairings, also evident in other works like Heliand and the Old English Genesis (A and B), the poet introduces variations of familiar couplings while simultaneously forging inventive collocations. These patterns and their arrangement bear witness to a meticulous artistry and unveil a creative process characterized by the extensive use of figura etymologica and paronomasia – rhetorical devices deeply ingrained in the tapestry of both ancient and medieval poetic traditions. Their application within the fragment distinctly signifies a shift, wherein components and attributes of oral composition progressively relinquish their prominence to the rhetorical prowess of the written tradition.
Il Codex Palatinus latinus 1447 (Biblioteca Apostolica Vaticana) conserva tre frammenti di poesia antico-sassone, vestigia di un poema perduto che trattava le storie della Genesi. Questi frammenti trattano del dolore di Adamo dopo la caduta, della distruzione di Sodoma e del fratricidio di Abele da parte del fratello Caino. Questo studio si propone di analizzare le tecniche stilistiche e lessicali impiegate dal poeta sassone anonimo per trasmettere l'evento cataclismatico che ha interessato Sodoma e i suoi abitanti a un pubblico di recente conversione. Al centro della nostra analisi sono le co-occorrenze lessicali, chiamate collocazioni, che, all'interno di questo frammento, hanno un duplice scopo: creano una solida base strutturale per questo specifico segmento di versi e illuminano il messaggio che il poeta intendeva trasmettere al suo pubblico. Parallelamente alle combinazioni lessicali consolidate, evidenti anche in altre opere come Heliand e la Genesi inglese antica (Genesi A e B), il poeta introduce variazioni di accoppiamenti familiari, dando così vita a collocazioni innovative. Queste associazioni lessicali e la loro disposizione mettono in luce un processo creativo caratterizzato dall'uso estensivo della figura etimologica e della paronomasia, mezzi retorici profondamente radicati nelle tradizioni poetiche antiche e medievali.
Rileggere il frammento di Sodoma nella Genesi Vaticana (vv. 151-337): un’analisi in chiave stilistica e specialmente collocativa
Veronka Szoke
2023-01-01
Abstract
The Codex Palatinus latinus 1447, located in the Vatican Apostolic Library, preserves three fragments of Old Saxon poetry, vestiges of a lost poem that engaged with stories from Genesis. These fragments deal with Adam’s sorrow after the Fall, the catastrophic obliteration of Sodom, and the fratricide of Abel by his own brother, Cain. This study aims to analyse the stylistic and lexical techniques employed by the anonymous Saxon poet to convey the cataclysmic event encircling Sodom and its residents to an audience freshly converted, through the medium of the vernacular language. At the core of our analysis lies the pivotal role of lexical co-occurrences, referred to as collocations, within this fragment. These collocations serve a twofold purpose: they forge a robust structural foundation for this specific segment of verses and also illuminate the message the poet meant to convey to their audience. Running parallel to established lexical pairings, also evident in other works like Heliand and the Old English Genesis (A and B), the poet introduces variations of familiar couplings while simultaneously forging inventive collocations. These patterns and their arrangement bear witness to a meticulous artistry and unveil a creative process characterized by the extensive use of figura etymologica and paronomasia – rhetorical devices deeply ingrained in the tapestry of both ancient and medieval poetic traditions. Their application within the fragment distinctly signifies a shift, wherein components and attributes of oral composition progressively relinquish their prominence to the rhetorical prowess of the written tradition.
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