The Primacy of Vision in Virgil's Aeneid

Notes

Notes n 1. prophaenomena ad vergilium 1. John Keats, ‘‘On First Looking into Chapman’s Homer.’’ This and all subsequent quotations of John Keats’ poetry come from The Poems of John Keats, ed. Jack Stillinger (Cambridge, MA, 1978). 2. See Richard Heinze, Virgils Epische Technik (Stuttgart, 1972; rpt. of 1915), ch. 4, 169–170; for the contributions of Heinze, Otis, and Anderson, see below, p. 6. 3. William S. Anderson, The Art of the Aeneid (Englewood Cliffs, NJ, 1969), 25–26. 4. Brooks Otis, Virgil: A Study in Civilized Poetry (Oxford, 1963), 41–96. 5. Otis, Virgil, 49. 6. Don Fowler, ‘‘Narrate and Describe: The Problem of Ekphrasis,’’ JRS 81 (1991): 25–35; Don Fowler, ‘‘Deviant Focalization in Vergil’s Aeneid,’’ Proceedings of the Cambridge Philological Society 216 (1990): 42–63. Both are reprinted in Fowler’s Roman Constructions: Readings in Postmodern Latin (Oxford, 2000). 7. Gérard Genette, Narrative Discourse: An Essay in Method, trans. Jane E. Lewin (Ithaca, 1980); translation of Figures III: Discours du récit (Paris, 1972). 8. J. Davidson, ‘‘The Gaze in Polybius’ Histories,’’ JRS 81 (1991): 10–24. 9. A thorough study is that of Matthew Leigh, Lucan: Spectacle and Engagement (Oxford, 1997). 10. Mary Jaeger, Livy’s Written Rome (Ann Arbor, 1997), esp. 24–27; Andrew Feldherr, Spectacle and Society in Livy’s History (Berkeley, 1998). 11. R. A. Smith, Poetic Allusion and Poetic Embrace in Ovid and Virgil (Ann Arbor, 1997), esp. 141–159. 12. Michael C. J. Putnam, ‘‘Pius Aeneas and the Metamorphosis of Lausus ,’’ in Putnam, Virgil’s Aeneid: Interpretation and Influence (Chapel Hill, 1995), 134–151. 13. That speech in general is important to the Aeneid’s telos is clear 183 Notes to Pages 3–4 from Jupiter’s pronouncements about the Fates in Book 1. See Denis Feeney, The Gods in Epic (Oxford, 1991), 139–140. 14. Generally on rhetoric’s ineffectiveness, see Gilbert Highet, The Speeches inVergil’s Aeneid (Princeton, 1972), 285–289; Denis C. Feeney, ‘‘The Taciturnity of Aeneas,’’ CQ n.s. 33 (1983): 204–219. 15. Two well-known works describe each kind of power, namely, Paul Zanker, The Power of Images in the Age of Augustus (Ann Arbor, 1988), and George Kennedy, The Art of Rhetoric in the Roman World 300 bc–ad 300 (Princeton, 1972). 16. Zanker, Power of Images, 4. 17. Karl Galinsky, Augustan Culture: An Interpretive Introduction (Princeton, 1996), 148. For an overview of Galinsky’s study, see my review in BMCR 97.2.24. 18. Galinsky, Augustan Culture, 200. 19. David Castriota, The Ara Pacis Augustae and the Imagery of Abundance in Later Greek and Early Roman Imperial Art (Princeton, 1995), 124– 144. 20. Philip Hardie, Virgil’s Aeneid: Cosmos and Imperium (Oxford, 1986), 336–375 (on the ecphrasis of the shield of Aeneas in Aen. 8); see also his ‘‘Ut pictura poesis? Horace and the Visual Arts,’’ in Horace 2000: A Celebration: Essays for the Bimillenium, ed. Niall Rudd (Ann Arbor, 1993), 120–139; also discussed vis-à-vis Augustan poetry by Peter White, Promised Verse: Poets in the Society of Augustan Rome (Cambridge, MA, 1993). 21. Galinsky, Augustan Culture, 260–261; Michael C. J. Putnam, Arti fices of Eternity: Horace’s Fourth Book of Odes (Ithaca, 1986), 327–339; R. O. A. M. Lyne, Horace: Behind the Public Poetry (New Haven, 1995). 22. Michael C. J. Putnam, Tibullus: A Commentary (Norman, OK, 1973), 43–46, 182–195. 23. Barbara Kellum, ‘‘Sculptural Programs and Propaganda in Augustan Rome: The Temple of Apollo on the Palatine,’’ in The Age of Augustus: An Interdisciplinary Conference Held at Brown University April 30–May 2, 1982, ed. R.Winkes (Louvain, 1985), 169–176. Also Eckard Lefèvre, ‘‘Das BildProgramm des Apollo-Tempels auf dem Palatin,’’ Gymnasium 98 (1991): 84– 85. 24. Hardie, Cosmos and Imperium, 379. 25. Other characters, too, have traits of the voyant-visible; while I will comment on these characters as such from time to time, Aeneas will be the primary focus of this study. 26. Roman Ingarden, Cognition of the Literary Work of Art, trans. Ruth A. Crowley and Kenneth R. Olsen (Evanston, IL, 1974); Hans-George Gadamer, Truth and Method, ed. Joel C. Weinsheimer and Donald G. Marshall (New York, 1993). 27. Gotthold Ephraim Lessing, Laocoon: An Essay on the Limits of Painting and Poetry, trans. Edward A. McCormick (Baltimore, 1990); see Ingarden, Cognition. 28. For examples of this type of analysis on medieval and Renaissance literature, one might consider Michèle Gally and Michel Jourde...