Leisure and the Muses in Sidonius Apollinaris Henriette Harich-Schwarzbauer and Judith Hindermann The works of Sidonius Apollinaris long have been the subject of interest in historical and theological studies, for he documents the life of the Gallo-Roman elite in a time of social and political upheaval.1 However, his role as a Latin-writing author of poems and letters, who follows and transforms the Roman literary tradition, has only recently been appreciated. The aim of the conference "Muse und Muße bei Sidonius Apollinaris,"2 which was held 12–13 January 2018 at the University of Basel, Switzerland, thus was to focus on the "literary" Sidonius. Revised versions of eight of the papers presented at the conference are collected in this special issue. In the following pages we introduce the issue's theme and then offer an overview of its individual contributions. The two terms Muße (leisure) and Muse (Muse), near homonyms in German, open up a field of interpretation that covers the themes of inspiration, production, and reception of literature in Late Antiquity. In Sidonius's letters and poems, leisure and the Muses are closely connected; each promotes the other, manifesting themselves as part of the Greco-Roman and Christian traditions. Writing in Gaul in a time of political tensions, Sidonius faced the question of whether he needed undisturbed leisure to write his poems, encomia and letters like his predecessors and what role the Muses would play in his various writings of different literary genres. In his time otium was a privilege of the elite, who represented themselves as being unaffected by prevailing uncertainty and instability while they enjoyed an undisturbed otium in the [End Page 2] timeless setting of their suburban estates.3 Using literary motifs and narratives appears to be a way of reassurance of Sidonius's values and his self-portrayal as a poet.4 The Muse(s) thereby play an important role for him as they symbolize creativity and at the same time the long literary tradition to which he was committed. After the beginning of Greek literature in the eighth-seventh centuries bce,5 the Muses were still being invoked in late antique literature more than a thousand years later. Although Christian authors such as Pauli-nus of Nola, Lactantius, Augustine and Boethius rejected the Muses as deities and replaced them with other instances of inspiration, the Muses continued to exist as synonyms for poetry and often were integrated into Christian contexts by allegorization.6 In his letters and poems Sidonius invokes the Muse(s) many times in various ways, jesting, asking them for help, and even rejecting them. In one letter his patron Caecina Basilius7 casually (heia!) asks Sidonius to show his old muse again by composing a panegyric for Anthemius, who is about to start his second consulate: "Hey, Sidonius, my dear friend … I want you to reveal (exseras) your old Muse to indulge a new consul."8 The verb exserere, which not only means "to get out," "to show," and "to let hear," but also "to undress," forms a double entendre in relation to a Muse as a female figure.9 This fits the subsequent image of the poem as a play (hoc ludo), which, according to the patron, could also be helpful in serious matters. With the vetus Musa Basilius alludes in particular to Sidonius's previous poetic compositions, including imperial panegyrics for Avitus and Majorian which Sidonius delivered in the years 456 and 458.10 Sidonius responds to Basilius's request and composes another panegyricus (Carmen 2) for which he subsequently was rewarded with the office of praefectus urbi. In Carmen 12 though Sidonius lets his Musa iocata, his "joking muse" (lines 20–21), remain silent in the face of the invasion of Lyon by the Burgundians, and instead of a cheerful epithalamium he laments satirically about barbarians who smell of butter and garlic. The Muse here is not only an inspiring divine figure, but also Sidonius's energetic ally in the fight against illiteracy and barbarism. [End Page 3] At the beginning of his poem addressed to bishop Faustus (Carm. 16.1–6), however, the author turns away from Apollo and the Muses and...
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