Classical Musical Imagery in Eugenius Vulgarius' Carmina figurata

For the first time, the article sheds light on the carmina figurata of the Middle Ages - in particular on the poetry of Vulgarius -, explains the tradition of Boethius' musical thought in the 9th-10th centuries in monastic and church circles between Rome, Naples and southern Italy and it is addressed also to the scientific community that studies the reception of the ancient tradition in medieval poetry by offering a musicological perspective. At the beginning of the 10th century, Vulgarius wrote some poems for Pope Sergius III. One of these is set out in the shape of a psaltery and is followed by a short explanatory essay. Starting from the latest studies on Vulgarius' poetry and conducting the investigation directly on manuscript sources, this article reconstructs the cultural context of this pattern poem and sheds light on the presence and significance of music in this text. First I'll address the visual appearance of this poem, since the shape of the text imitates as a musical instrument. Secondly, I'll examine the textual content of the poem, which sings the praises of the Pope and ultimately reveals the true meaning hidden in the name "Sergius". Subsequently I'll examine the content of the explanatory essay, which clarifies the Boethian musical proportions on which the entire construction of the pattern poem is based. Finally, I'll address the political 'double meaning' of this poem, which seems to hide an invective against the Pope.