"»ἀρφ νῷ hone 4 pr ae ae oe ke σ oe roe eae ok game Bama Red - : re orwe eer et Se νον νον ιν νιύίων σον.“ ὐσύνοον ἐσ σὴν here eT Tere eT Smith College Studies in Modern Languages EDITORS CAROLINE B. BOURLAND HOWARD R. PATCH ERNST H. MENSEL MARGARET ROOKE ALBERT SCHINZ THE TRADITION OF THE GODDESS FORTUNA IN RomAN LITERATURE AND IN THE TRANSITIONAL PERIOD BY : HOWARD ROLLIN PATCH Associate Professor of English, Smith College NORTHAMPTON, MASS. PARIS SMITH COLLEGE LIBRAIRIE E, CHAMPION Published Quarterly by the Departments of Modern Languages of Smith College PRINTED AND GOUND BY GEORGE BANTA PUBLISHING CO, MANUFACTURING FUBLISHERS MENASHA, WISCONSIN THE TRADITION OF THE GODDESS FORTUNA In Roman Literature and in the Transitional Period BY HOWARD ROLLIN PATCH Associate Professor of English, Smith College ay ver i inns : ee ¥ ry, ν μὰ i Qe ἐν id aD range ian : ne aye 7 it ᾿ 7 ᾿ ᾿ ΤῊ ν᾿ ae a Mi ἣν ὑ ιὟ ΠΡ ᾿ ] ᾿ , ᾿ " os on oi } Wi a Γ ya ats ou ae 5' We Ne 7 τ ; " ᾿ ae . 7 te ἢ ve ἥν ᾽ν re ᾿ a Yi = ἊΝ , ie 7 rie vol ᾿ ay oY : 4 ἜΝ ᾿ Ἢ ΓΝ Ἢ 7 Ora. ἢ ‘| si" Wan | he bye) ie ἮΝ ae Τὰ δον ΠῚ ᾿ 7 i Ὶ εν it = ae ’ ae i ‘is Bh Ὧν ΠΤ et ᾽ν Ὺ i ᾿ ΩΣ Π" i ha τ ᾿ ἐγ ΙΝ ai, ia Ἢ oe eke Ἐν ΠΝ ᾿ ἫΝ “π᾿ ᾿ ἢ ᾿ Ἷ ἤτον a) Ἢ i ᾿ τὰ re on ᾿ ΓΝ ies 7 i ay Ν᾿ Css Age ΩΝ an oy Aly? 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For this picture I am indebted to the kindness of Miss Lizette A. Fisher, who procured it for me in Rome. The combina- tion of Roman and Medieval motifs makes it strikingly interesting and appropriate for this study. In the case of Fortuna herself, the ball, the cornucopia, the sail, and the prow, are Roman. The mountain, surrounded by the sea, and beset by many dangers for him who would climb it, is essentially Medieval. HOWARD R. PATCH Northampton, Massachusetts. The Tradition of the Goddess Fortuna In RomMAN LITERATURE AND IN THE TRANSITIONAL PERIOD INTRODUCTION The purpose of this essay is to study the nature and functions of the Goddess of Fortune in Roman literature and the literature of the transitional period.!. The frequent appearance of this figure in documents of the Middle Ages is well-known, although, perhaps, not adequately appreciated. It is well-known, too, that the goddess existed in earlier days in Rome, and was actually wor- shipped as a prominent member of the pantheon. She is important, therefore, as a deity who was taken over after the transition from a polytheistic to a monotheistic religion, and her interest thus becomes twofold. Traits of the goddess in Rome, which were reflected in the literature, would naturally survive in the literary treatment of later ages. This fact would suggest the possibility that some of the old religious feeling might be retained in the Christian period. Are the references to Fortuna in the Middle Ages simply orna- mental and perfunctory, or has she inspired fresh imaginative endeavor? Does she appear in only one sort of literature: for example, as a Jay figure in a Classical background? Or is she a vital element in every variety of plot? Where precisely does the change from religion to allegory occur, or indeed does it really occur at all? And this brings up the question of allegory, which is, after all, only faded religion. The author of any kind of symbolical writing has something more in his conception than the mere out- ward signs, the painted surface of symbolism (or, as Dante calls it, the veil), however pleasing that may be aesthetically. The purpose of allegory is to reveal certain thoughts; and, in so doing, 1 This paper is composed of a section of the Introduction and two chapters from my doctoral dissertation on The Goddess Fortuna in Medieval Literature, presented at Harvard University in 1915. Some slight alterations have been made in the present copy, but substantially the material is the same. 191 1:32 TRADITION OF THE GODDESS FORTUNA it employs terms which represent but do not necessarily reproduce the original ideas. The symbol need not actually imitate the idea, nor does it ordinarily replace it by a mere arbitrary formula. This type of art, accordingly, affords us pleasure that is quite distinct from that of the mere exercise of unriddling.? It gives us the meaning in the author’s mind clearly and felicitously, in a man- ner which, at its best, may be more direct than that of pure imita- tion. The symbol, however, may closely approach its original, and on their proximity depends how literally we may read its meaning. If the ideas are “religious,’’ we may be coming close to some knowledge of the author’s religion. Allegory and religion are frequently intermingled, and what one man takes literally as a deity another takes as a “force.”