Introduction
In the sixteenth-century revival of Christian epics, Girolamo Vida’s Christiad stands out as a remarkable work. Commissioned by Pope Leo X and published in 1535, Vida’s Christiad retells the contents of the Gospels in the style of ancient epic poetry. What sets Vida’s poetry apart is his fidelity to classical authors, particularly his admiration for the renowned poet Vergil, earning him the label of “Maronolatry.” While scholars have acknowledged the influence of Vergil’s Aeneid in the Christiad, Vida’s debt to other poems, especially Lucretius’ De Rerum Natura, has not been extensively studied.
Lucretius and Christianity
Despite the stark contrast between the Epicurean doctrine of Lucretius and Christianity, it is not surprising that a Christian poet in Italy during the sixteenth century would utilize Lucretius’ De Rerum Natura. While it was considered lascivious and impious by the Florentine provincial council in 1517, Lucretius’ poem was not officially prohibited by the Catholic Church. In fact, it was even deemed an acceptable reading for members of the clergy. The acceptance of Lucretius by Catholics can be attributed to a “dissimilatory code” employed by his admirers, where they discreetly expressed their sympathy for the poet. Intellectuals like Johannes Baptista Pius and Aldus Manutius employed various strategies to promote Lucretius in a Catholic environment, presenting him as a virtuous and eloquent philosopher while emphasizing his influence on later authors.
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Lucretius’ influence extended beyond the Renaissance era, with his expressions and images appearing in overtly Christian texts. Late antique Christian compositions also engaged with Lucretius through corrective imitation. Renaissance authors influenced by Lucretius, while not necessarily aligned with Epicurean beliefs, incorporated his ideas into their works. Lucretius’ presence in the Neo-Latin literary production of fifteenth and sixteenth-century Italy is evident, particularly in poems that assimilate or polemically imitate his philosophy.
Vida’s Use of Lucretius in the Christiad
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In the Christiad, Vida skillfully incorporates Lucretian material into an epic poem that adheres to orthodox Catholicism. Vida’s dialogue with Lucretius entails adapting the source material to propose similar concepts or directly inverting them. For instance, Peter’s wallowing in pain for his denial of Jesus mirrors Nature’s reproach to those who indulge in self-pity for their own death in Lucretius’ De Rerum Natura. Both Peter and those who refuse to accept their death are rebuked, but from different perspectives. Another example is the accusation made by Anna, one of the priests in Jerusalem, against Jesus. Anna predicts that Jesus will restrain the sun and remove the stars, paralleling the Giants’ attempt to extinguish the sun’s light in Lucretius’ poem.
Vida’s intertextual technique serves to highlight his polemical use of Lucretian material within a didactic context. While the Christiad aims to transmit revealed knowledge, it remains an epic poem rather than a purely didactic one. This parallels the approach of other writers, such as Dante, Sannazaro, and Milton, who crafted Christian “epics of knowledge.”
In conclusion, Vida’s Christiad showcases his deep engagement with Lucretius’ De Rerum Natura. By adopting Lucretian material and subverting it within an orthodox Catholic framework, Vida challenges Epicurean philosophy and affirms his Christian beliefs. The incorporation of Lucretius’ ideas into the Christiad illustrates the complexity and richness of Renaissance literature’s interaction with classical texts.
Comments and Examples
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Vida’s incorporation of Lucretian material in the Christiad serves to enhance the polemical nature of the poem. By juxtaposing contrasting perspectives and ideas, Vida effectively demonstrates his philosophical and theological stance. For example, in the dialogue between Peter and Nature, Vida highlights the difference between lamenting one’s own actions, as Peter does, and lamenting one’s own death, as criticized by Nature in Lucretius’ poem. This serves as a powerful lesson on accepting responsibility and avoiding self-pity.
Another example of Vida’s skillful adaptation of Lucretian material is found in the confrontation between Anna and Jesus. By attributing false actions and intentions to Jesus, Anna mirrors Lucretius’ critique of belief in the divine nature of the world as mere superstition. This highlights Vida’s intention to refute Epicurean beliefs and establish the supremacy of Christianity.
Overall, Vida’s intertextual technique effectively engages with Lucretius, enriching the Christiad with philosophical depth and theological reflection. His innovative approach to incorporating classical sources demonstrates the versatility and creativity of Renaissance literature.
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