Desiring Bodies: Ovidian Romance and the Cult of Form

Notes

297 Notes Polemical Preface 1. Marx, Grundrisse, 6. 2. Man, for Marx, exists only as a form of the collective; he is “nicht nur ein geselliges Tier, sondern ein Tier, das nur in der Gesellschaft sich vereinzeln kann” (ibid.). 3. With bitter relevance, Syme’s classic Roman Revolution (1939), written during the dark years of the war against fascism and national socialism, observes the Faustian bargain of Augustan rule: the choice between liberty and stable government. 4. Montrose, “Professing the Renaissance,” 17−18. 5. Patterson, Negotiating the Past, ix−x. 6. Jauss, Toward an Aesthetic of Reception, 9. 7. Huizinga, Men and Ideas, 41, 49. 8. T. Greene, Light in Troy, 45−47. 9. Radford, Progress of Romance, 9. 10. Simmel, On Individuality, 3. Introduction In the chapter epigraph and throughout the book, translations of the Metamorphoses are from Miller and Goold’s ed. 1. Ovid De vetula 2.495−97 (Pseudo-Ovidius De vetula [Klopsch ed.]). 2. Pseudo-Ovidius De vetula (Klopsch ed.), 281. 3. Pseudo-Plato Axiochus 371c–d (Hershbell ed.). 4. Marrou, History of Education, 100–102. 5. Bynum, “Why All the Fuss?” 1. 6. Corrigan, Social Forms/Human Capacities, 186. 7. In Barthes’s work, see in general Mythologies, or, for specific mention of the problem of the body, Pleasure of the Text, 16–17. In Bynum’s work, see especially Resurrection of the Body and Metamorphosis and Identity. 8. Yeats, On the Boiler, 27. 9. Fraser, Language of Adam, 194. 10. “Daß man, um jenes politische Problem in der Erfahrung zu lösen, durch das ästhetische den Weg nehmen muß.” Schiller, On the Aesthetic Education , 8. 11. Huizinga, Men and Ideas, 32. 12. “Hier liegt in der Tat eine Art Wechselwirkung vor: die körperliche Erscheinung läßt vermöge ihrer künstlerischen Vereinlichkeit im Beschauer die Vorstellung eine Seele anklingen und diese wirkt zurück und gibt der Erscheinung gesteigerte Einheit, Halt, gegenseitige Rechtfertigung der Züge.” Simmel, Zur Philosophie der Kunst, 102–3. 13. Cook and Herzman, Medieval World View, 32–33. 14. Cannon, Grounds of English Literature, 5. 15. Burnyeat, “Map of Metaphysics Z” (1994). The relevant discussion occurs in Metaphysics Z 3, esp. 1029a30. 16. Heng, Empire of Magic, 3. 17. Jameson, Marxism and Form, 4–5. 18. Cicero Pro Caecina 1 (in The Speeches: Pro lege Manilia; Pro Caecina; Pro Cluentio; Pro Rabirio perduellionis [Hodge ed.]). 19. Here and throughout the book, translations from the Ars amatoria are from The Art of Love and Other Poems (Mozley and Goold ed.). 20. Statius Silvae 1.3.108–9. 21. Aristotle Politics 7.12–15. 22. Servius In Vergilii carmina commentarii, intro. 62−68 (Servii Grammatici qui feruntur in Vergilii carmina commentarii [Thilo and Hagen ed.]), vol. 1. 23. Aristotle Physics 2.3.27–29. 24. B.N. MS. Lat. 16089, f. 146r, quoted and translated in J. Allen, Ethical Poetic,118. 25. See the discussion of Storey, Transcription and Visual Poetics, 5 ff. 26. Petrarch, Petrarch’s Lyric Poems (Durling ed.). 27. Ovid Ars amatoria 3.341. Ovid uses the word cultus in this stylistic sense of Tibullus in the Ars amatoria 1.15, 28, and 3.9, 66. Martial employs the term similarly in his Epigrams 1.25.1 ff., while Quintilian recommends the ornate style with the word in Institutio oratoria 8.3.61. 28. Comus 111−12, in Works of John Milton (Patterson and Rodgers ed.). 29. Tempora is the plural of L. tempus, meaning both “time” and “temple of the head.” Although etymologically unrelated to L. templum, “temple of worship,” there was undoubtedly some connotative overlap, resulting in the 298 Notes to Pages 5–17 late Latin tempula, whence the English anatomical “temple.” Ovid’s “ad mea tempora” thus could mean also something like “to my way of thinking” or “to my mind,” with a homophonic pun on religious temples. 30. Frye, Anatomy of Criticism, esp. 318; Bakhtin, Dialogic Imagination, 84–258; Parker, Inescapable Romance. 31. Aristotle Poetics 1451a (ET Aristotle’s Poetics [Halliwell ed.]). Aristotle offers the example of timing with an hourglass as an inferior solution to the time constraints of presenting numerous plays during a contest. 32. Cicero Orator 21.70–71 (in Brutus; Orator [Hendrickson and Hubbell ed.]). 33. Hanning, “Courtly Contexts,” 36. 34. Here and throughout the book, translations of the Amores are from Heroides; Amores (Showerman and Goold ed.). 35. See Peter Green’s note to his translation of...