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II.
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INTRODUCTION
CHAPTER Mary Generating CHAPTER
Epigram
CHAPTER
Enacted CHAPTER
Formulas,
CHAPTER Herodotus's
CHAPTER
From CHAPTER Theocritus
CHAPTER
Lycophron's
Joseph
Mary
Katalogos,
Genre Depew
Stephanie
Aristophanes
ONE
TWO
and
THREE
and FOUR
FIVE
SIX
SEVEN
EIGHT
Voice,
Depew
Genres:
W.
and Transformation
and
Genre(s) Represented
Reader:
Alexandra:
Day
and
West
the
Dirk
and
......
The
the ......
"Demythologizing" to
Generic
Death ......
Obbink.
Menander?
Odysseian
Idea
Deborah
"Hindsight
Dedications:
in
in
ofthe
Force
Ehoie-Poetry,
Greek
......
CONTENTS
Boedeker
Nekuia
Tragic
as
as
Comedy
(Re-
Genre
Foresight
of
)Activation Poetry
......
Glenn
Ian
the
and
Rutherford
Hesiodic
Eric Makes
Greek
W.
Marco
Csapo
Most
of
No
Hymn
Ritual
Gunaikon
Fantuzzi
.
Sense"?
......
......
......
. . . .
....
•
115
135
153 15
37
59
81 97
1 CHAPTER NINE Rituals in Ink: Horace on the Greek Lyric Tradition AlessandrCJBarchiesi ...... 167
CHAPTERTEN The Dialectics of Genre: Some Aspects of Secondary Literature and Genre in Antiquity Ineke Sluiter ...... 183
CHAPTERELEVEN The Didactic Plot Don Fowler ...... 205
CHAPTERTWELVF Essential Epic: Genre and Gender from Macer to Statius Stephen H:nds ...... • ...... 221
NOTES .•..• . 247
BIBLIOGRAPHY. . 305
CONTRIBUTORS . 340
INDEX . . . • . - • • • . • • • • • • • • • . • • • • • . • • . . • • . • • • . • • 343
In Memoriam Don Fowler .
Broadly broadly cism
schematic
tions, test with
fore,
cussion. narrative
plication brid
in
to nology embraces sary Heinze").
that phoses
Wilhelm
genre
case
(
(2)
of Callimachus's the
Richard
"unepic"
1) to
the
existing in
The
The speaking,
speaking,
classical
has
of invention
as Genre
either
hexameter
styles
doxog~;aphy,
A largely elements
any
a
Kroll's
essential
imposed
poem's third
useful
Heinze's
elements
genre-based
genres
(a)
in
Latin
unepic each
three variant
and
Preface:
of
enduring
that Ovid Aetia
interpretative
of
impurity
Metamorphoses
a
purity
its
1919
(that
(a),
approach new consider
poems
approaches
it
played
establishes
Gender
is
limitations
Alexandrianism
(c) is
(b),
genre
CHAPTER
comparison
to still
is,
reading
of Essential
Heinze,
1924
STEPHEN
might
as
be
as
considered
the
and
down
the
an
regularly
an has
defined
or
tool
formulation)
Metamorphoses
epic
have
(c), hold
outcome poem
genre
a of
of
from
arisen
even
"counter-genre"
and
(so
Rome's Kroll
Ovid.
emphasizing
TWELVE
has
and
been
HINDS that
as
Galinsky
label
Epic: invoked
that and
problematic
their
on
in
a
been
contrast
Macer
of
the and post-Hellenistic
taken
reaction
those
highly
is
applying
(compare
1
"Die
importance
or
often
Metamorphoses
counterasserted,
as
Beyond
as 1975.viii
(b)
in
Kreuzung the
who
an
ofhexametric
formalized
a
of
twentieth-century
regarded
to to that
as
starting
epic
Ross's
roots
aetiology).
the
its
to
have
Statius
it
"the
minimized;
predecessor.
has
idea
generic
crossbreed resists
of
der
influential
disagreed
as
point
been
renders
generic
literary
the
in
with
the
Gattungen,"
and
Klein any
Knox
Metamor
category;
asserted,
extreme
for
the
elegiac
appeal
there termi
neces or
tradi
criti
For
197 with
1986
view
dis
im
hy
a
4 222
(1975:37) genre unified
ant witnesses dynamic
gression pressed
proach approach mixed, cerned.4
account
sions reads cally
encompassing dis,
that Roman bridized
sions This matter will
dent reference practitioners
Remedia ever accommodation
commonsensical (grounded poses prescription essence in
elements,
(3)
to
What a
need
an to
Some into (say)
generic changing
classical
measure
The the tradition
for
philological (2) Stephen and
coopt by ofthe
appeal of process poetic An
to
of
(3) (2a);
otht:r 372ff., no
in epic to aul'lor
approaches accepts
the
the its epic
the
negotiated
mQderns
especially
be instead earlier
in insists
the longer
t,nd Roman
t-ssence
very expected
and Ovidian worldview;
who Roman as ambition totalizing thinking: irrelevance
their attracted to to
a identity Hinds genres of
comprehending
to
sets
the
study and subsume
adapt
some underlies
generic
practice,
approach self-definition:
readiness
be
on
Augustan ofbeing
and count do
distance
of
have
"default
may
critical
readers discussed important
(2a)
poem.
not
a (transgression)
Herois
bounds
not
stereotyped of to essence of
ambition continuing of
as
bibliographical in
5
poikilia of for be changes sought
such just
the the
all and the
which the
the
(say)
practice
played
is
genre to
The
explained
(3a); not
much." alike, and
setting" other
poetic
Metamorphoses
"kinds" Metamorphoses. in
rendered
pure of
formation an (3)
narrow
later). or
a
and much as
its the remarkable epic is
to
of as
account
metapoetic in or
substratum (as
variety
have down
"staged"
an and rules so generic
formfrom observance
2 define
(in what a
poetic
poem's genealogy:
as well-theorized
but by from
(3a,
fundamental elegy given
of
of simply and
active
in the one
inadequate
traditions
Galinsky), (as that
English as Alastair of
Hinds can of they
common
generic
systems practice; which
that to nucleus within
by an genre way
generic an
thing
metrical forms
is
dialectic
also
discussion-whether with of
negotiate
which Heinze) elegy
preach enlarged, but
reasserted; threatens
"the
or 1987:99-134).'
a
literature).
Fowler's
experiments
(3b, be
about essence the given
to are
of to
reference to another) also
into
this version with self-consciousness and
that
applied,
the crossbred discovery
its
categories
the
text taxonomy-even between embraced
1994:
or (for
emphasis in
away
whose
genre own genres
seeks
the
construction totalized (1) cross-border
of
present
1982 but
as its of
6 of example,
115-125),
being
appeals a is to
mutatis a
the However,
narrow creative
the
programmati fait now
and is (3)
a
orbit
moving the
book forms meter Whereas
of means
attract
strong as
inscribed
poem
on
gap
paper's
genre treated
accompli,
is
genres
a transgres part
discrep
defined
to historical
all
Conte's
on mutan but
single
Ovid
trans-
between or are
incur of which
is
generic that in such target, con sense
other of
(3b). genre ex ap from
genre with
all
as
pur hy
so
an
a
in
at
in
a
'
practice. terms epics, ~understood each and markable epic treated sider surprise love-and tute genre, actual essential ics clockwork sively theoretical characterized epistemological. tice; conversations paper less its We proelia are posed the etic tialized, tristia
own does
change A good
all in more also interesting In it-hence
new
practice,
and how
continue of
characterized
but
will epics
the bella this to as
know
become
(kings
most
approaches "Unepic" of by
and element
Roman
threatening as
treat:
it Roman a
and Greek
women
involvement
have respect, within status
Augustan way case
now (exploits
tension
never Essential
is
is
unchanging what,
as
representative
still
the
my
its why and to
a to
arma so
the further defining can to
or familiar writer
of
question
be
poets as ultimate critics
the
too elements, becomes more specific canonized: in look of
programmatically Latin as battles,
some
the
between be
(1),
an regarded
of
love-can
course, the Epic:
genre
virumque and often
adulterating
made
reasserts kings of mix, genre,
afresh
ambusher
of (2a),
persistendy
it,
with essence canon.
Arms
conceptions
of
the female
theme.
post-Augustan
incompatibility Genre worth
gender
is Virgil,
carried purpose canonized (for
features
no
blur, epic's
Roman Roman that
and
a
woman or
as
but
the at
question
have
matter (arms and which
a
unepic;
(3)-is
of Roman
surprise
generals
and stereotype and I
woman probing paradox of
than Eel. the
most
on
want the
epic's
of involves
generic a
they
the
the
in
and
never
of hybridize
in Gender
genre, he and within place
6.3
how genre bringing
they
the actual
that their as
generic recurrent the isolation
at to purity himself
[Wolman
); prescriptively, and does poets tend enduring
with
(just
the in if
the becomes
focus
frequendy in
of res
are theory genre exposes
without
particular oblivious rather
persistence
stereotyped
terms
grim from
epic.
epic man,
achieve role
to
gestae generic
the rehearsed to of at
poetics,
together
may
on from
plots
appeal
in features critics
the epic.
of whose
and wars, Macer than failure
The actual
theorized Virgil, the formal,
ever the
their
be
the
regumque
to they a
fact one
exclusions
categories
of
Roman a
well-known
then, role How in kind as
continually in
Horace, of two elements
female
descriptions
to Roman really
endurance in
to
plot to epic poetological
are helping part
another.
that Aen. the
feature
genre;
my theorize of ideological, unmixed, Statius
methodological of
will
the
into
systematically
face
can of
the
responsible), generic coming
essentialized in women ducumque Preface)
1.1);
A.P.
epic
in
that
regular-as any be
so
of
epic actual
to
female in be of
but their
affected is
some to that vitality
consti 73).
poetic
reges actual
actual is obses are of
as
essen
policy
as prac-
to con
223
little
sup and
and
that ep
re the po
my
We an
no
be in
of
et et 224
statements. tween Here epic
How
offer
etry and Ovid how
deliciae treated just
epistolary neric
To
their by
If
there (fortia (the love, potest)? Callimachus;
379-382)
As in
has a fundamentalist
theory offer (in the arma can
propter to
you Take
on Mars knows sadness.
self-aw~.reness: few
Stephen
the
our Ovidian
in Metamorphoses)
into whatever read keep
grown my subsequent
Ovid be
In et
simque . have
years a
cap!, Callimachus's
up elegy Remedia put
understanding ... ..
and genre-enhanced
account preme
Ovid
in
full me epic.
the to
bella) arma,
harried
of
Let sense,
Hinds
Aeacide, this more context earlier,
for her practice mota
well Cydippe
ego
previous cause) all
(on
And
turbatos
seductive
77
Amoris let playful rejoice
Aeacides-yet
poses medium
course poets,
tristitiae causa
how
est, sophisticated, whom
match warriors
couplets-and
it
Ovid of
(a
sed
and
end: elegiac this amounts
propter
is
course
of
to paraphrase
by
Marte history to
the wrong caprices. is
me
of
paraphrase
Rome's himself I doctrinaire the Elegy each let import
Augustan for the be shall
to
my
tamen poster
me meter.
generic
me related rout! he favente
soon-to-be erotic to
take theme for
discussion):
sing of continue
be modusque
recent
knows desinat most
Achilles had something
deliciae
had
ante
the whose both epic
On boy
In
me
of
of
poets
credo viros! in airs rules
imported
the voice to done
my epic
recepta,
quivered of Briseis's back critics cause
as Homeric
full
ira,
to its
tendentiousness into is
third
account ( Augustan
author
tuae a of
deliciis ever
elegy of
focus
so of no "Fulfil
well proper
of
first-and
history
and
engagement
generic
Homer. epic have not
theme
a
of
the
ventriloquized
more
Amores,
(the methodological how
conclusion for feet:
of
your
his by
illic
your
and
hero
found
meter.
of generic
Rome's a
accident
Fash}: own purity?
for
Achilles
irritating. what while) (Rem.
wrath quis with
the
(just
martial of
and,
the
(Her.
should in
such
Heroides,
Bold
the
importation
of place
locus
the hybridization,
most Augustan 372-374, as was this meter
but
light
your can
words
Iliad
3.87-90)
important)
essentialist
favor
epic
Of wars
stirred, scandal.
gulf
be
in can esse
elegiac
fairly
grim
of in
into course
full in
justified
project,
here be of
fact, po
ge
be
an of
in
Achilles, our programmatic of way) hortation of real .an envisaged.) Patroclus h1s s~urce ing gustan ing definition: often coopted in as the precedent to and of over tinual acterizations nomic a the topos, immediate or sphere sented beloved.
the
recurrent the the Heroides the
eroticized
wrath
about temporary better the Iliad strength To
same
Perhaps post-Iliadic
women; as
epic
explicit
catalyst
female of
poetic knowledge remarginalization
return an bias
epic a
in
as but
to
to
epic has tale in
juxtaposition, such the Both left
epic tradition,
favor
a deliciis
the the
of take vicinity 3
Heroides genre Essential
in
but topos the renunciation characterize not
female,
practice,
of of can is easy exclusion to to ira
of fLilvtv
Alexandrian
elegiac
Aeneid; a project arma
this
structurally
tendentiously
of
epic care the erotic first someone in epic conflict. A normative
yet
I
remind illic
as
closure granted men
the
the
within appropriative
of is Remedia
gone
stereotype rather of and 3 the ... are
might build Epic:
quis estrangement."
also is
and is is demands is elegiac Romans' essentialized
erotics
programmatic of not
awaits commonly the genre most
of
most
the out
us,
II71A71taSEw
that else; locus
of interpretable
Propertian the
and Genre by than commonsense anything theorization
and the
in
idea
passage
genre no
warfare to
suppressed
separation
fact first! often
Ovid telling itself
of Briseis,
the Achilles
Roman is
esse female own
die;
of just
actual ideologically,
that
argument, without arma
on and
is
amor love as,
Lay
8 potest?
the envisaged characterizations
offered
offering that characterizations
to 7 and unbeknownst
female terms accumulated
the
and
In
and in
Gender
the 'AxtAijo~-as
allusions and
Greek criticism
your
or programmatic in
poet's Briseis. (on
of
essence, (or in other or its and
Iliad,
Fowlerian the its
As female other bella,
the
Ovidian
most the in
skewed. definition a
(as
even wrath
Amor)
an or
female
female-gendered Ovid's elegiac reunion. or near
which
as
the choice
genre,
from although words,
erotic
9 in
interlude
(At
erotic to
means
Roman
being epics, concerns but
one
as
and
the
presentation weight
future-which to to the
and
Macer we the elegy. and
characterization to
rather in being rest-i.e.lay of of Briseis, of are
of
of underlying
Remedia insistence elegiac
composition We
from
abandoned, from
make
that
register the
of war
elegy the time elegy. epic, epic erotic epic,
as in
of
should
of In
the
to
light coterminous
"take" the conflict, essentialized foundational follows: the
between
literary
a sense that
capable
the what the this reader, Statius
of over
second, "reading;• And (mostly)
elements,
passage)
the persistent
of
Iliad
on
of
her essential
Briseis's
will to public,
stereotyped register on
well-known
of the
epic
postponed, is actual limitation stereotyp
generating
of
The functions rest
historical
onwards,
of has
men interest this of the writing,
deny
greater epic
elegist's
Iliadic
female is
being your in with
any char from taxo 225
here Iliad text con male
Au
ex and the
pre role
and
the are
to 226 typical
and erotic elegy, a
instance,
in
and was
foot
What
structure violenta appearances out designated
programmatic
epic erotic
Propertius
the
Ponticus, while nal I, against
Let
my
set Arms, at
planned, the
from by 1.1.1-4)
then,
and "And girl
Not
as
and
concerns
is
female
the warfare,
Stephen from youth girl
the
to
first-but
arma the is
with
the bella.
only
the
elegy
those
yet the
embark
beginning
a my
has and
netd
as
materia hard-hearted
female theorizations 2.1
in with
sing
combed from
I second
are
topos
suitable
wont,
does
been
competing
have Any
in
stereotype the
help violent 0,
Hinds
arma
for
opposed
of Cupid,
these
you matter
on
the
divine
the written might
no
of a suitable
mention
loves,
get
to
of
of
long clean
and an
tell
for
stereotypable contrasting
matter
common make
wars, a terms
Ovid's
on
they
mistress suited
epic
pair
for
of
of machinery elegy:
and be
of locks." to
bella
(bella
rhetorical with
epic,
for Cadmean
primacy
to amor epic
sense
say, of
suited
in of
has
when
age
Amores,
to actual
writing
in
hexameters:
the Augustan my weighty
canam, (
but (1-3, with
as the 1.1.19-20) sing
the
poetic actual
as
of
concerns
to
Cupid
"all
amores,
erotic
of
epic also (so
and inevitable
blank epic meter.
Thebes
a
lighter of
5-6)
with epic (say)
laugh
quando
war,
help
conflicts:
projects epics,
measure:
(to to
ideological
plots.
habit
sabotaged
tensions
exclusions in
elegy
The in
its of the
move measures-neither
all
me)
and
stole
Ovid's
quest epic-however
any
scripta
formalist
effect
Again male,
of Argonautica
second
has
with the
in I
away
on contrasting
that
will
allowance
Propertius that
of grim the contrast
elegiac
his
of
to puella all
Homer and
of
sing
something one was verse
my excluding
effect
the
so fiction project
the
arma
again
of
foot.
more
meast)
often or
proem?
the
time."
female
was
himself with
for
wars,
important
the of
a Aeneid,
1.7,
of
that in
boy, output
by (
reinforcing
Cupid's
equal
Ov.
subtle
frater programs
underlie to
the
Augustan the (7-8)
Thus,
when
stealing
and
arma ...
the
nor
use
Am.
erotic
materia is
to
,
point)
I
of ruled poet
a the
for
own
and
the
or
a
of
•
erotic well that project male tween friend
So all lines ticates and Horace's friend's prequel,"
the
far,
This
vest While wars has have lent from perducis
same Aeneid; However, res si et nee
as
as and
forces
the
bene Macer:
time.
Paris and
the offering
gestae
that in
been epic
tibi, shade
the
treatment said
at (resque et aureus dicis,
the
an
erotic
habit elegiac
you,
the
eroticizes
characterization
comes Ars te
10
est oath-bound
Note Achillem
as
qua
he
Essential project: interesting
taking
to
to
note
novi, regumque
of Propertian
et when
subversive
Macer, illic
Poetica
had
sit my of in
the forces,
domi
tutum Venus,
a
the Amores
extincto
vestris medio
too contrast
in
et non
is
up girl
familiar
previously
the I
the first
adultera,
observable gestas my
take
Epic:
primaque
of how
73
vati,
where
"Go with bella
ducumque
men twist
most
in Marte arms: lap
closing and and
couplet's of,
(translated
Laodamia your
et
the mea helps
Macer, Genre
away,
tender
of
libentius
rather with contrast ...
has mea
Ovidian an they
nobile famous
I
epic description
tacetur
poem
envisaged,
iuratis
castra
sing
I in
actual
why
lines to
been
their
bella
am
arma
et Amor and
evocations do
another than
poetry viro. explain
crimen,
of
tristia earlier):
istis
down
between don't
vanquished, venis of
occur,
Amor: induis
passages
cano). first
added of Gender
exploits
epic
canenti
constitutive
all
crushing
the
Ovid
bella of
you?" arms
to Augustan here
poem
how
written
arma
tend
(Am.
elegy
to of the
elegy
his
at
just from
the -her makes is (carmen Ovid's
references
home wrath my
in viris), to and
2.18.1--6,
elegiac
very
in
discussed:
not incipit-words
return the of,
present Macer
grand
characterizations
line
my
immediate
and
of a the characterization
I
much
by Amores,
ad
dally
further (Am.
talent project 12 Achilles,
designs.
11-12) epic himself,
of to
to iratum to
those
allusively
all my
epic's in
Statius
along
2.18.35-40)
Macer's
plot.
is
2.18.
the
war,
response
contrast
personal
of and
recalled
and female
dum Often
but
both
indo
actual
the
all
Here,
an
domes
of in
"Iliad
tu by
of
male, 1
same
epic,
Iliad 227 epic
and
be
his fe
his
as 228
The
place
genre
duced:
"where
risks and makes
camp Fowlerian
Helen,
locked
neric
epic
what
turns
Statius's
a
of than
plet,
tails
endo),
passage
epic:
Amor
Nor
brated
death.
you
nee
erotic,
female
"qua
gets
cum
When
in
minishes
quoted
involved
an the
at an
of
out
transgression.
of
indispensable
it
the
are Stephen
where
tibi,
in
first
Macer's
in
elegy. imputation
enervation
Achilleid is
unsung
move
Mac:er If
bene: in
attenuat
scandal-are tutum
to
the
in
epicist,
a
safe genre
moving
the
my I
dtmensions
qua
word,
sight
be
touch
know
before.
Amores
it
poet's
my-nervos.
As
surrexit female
in
for
new
from
something
is
tutum
a Hinds
epic vati
in
into
soon safe looked
the
that
potential
nervos
you
emasculation.
you but
over
with
the
page
own
in
But of
...
the
though
Once
1.1
after a
for
vati,
introduction and
weU,
will ...
versu
rather
midst
there,
as
treachery
the
narrow
from
of
":
has
its
consider
"hard"
like
proximus that you, ":for
manhood:
a
by
1
close
Macer,
the
(in
conclude
all-unlike
l
Trojan poet's
you
feminine
again,
traitor
risen
nova
your
this
of
and
a
way
Macer,
a
can
broadening
Paris's a
Trojan
stereotype
do
Mars.
generic
themes
to
poet
In
be
may
Laodamia,
up
pagina
camp
of arma
the
style,
suggest
not
war
the
ille
the
to
that
to
of
preparation
well
this
as
who
side,
Both
terms
his
case)
await
war teU meos
opposite. the
epic
canenti in
a
ever-available
Amor.
into
of
and
programmatic
turncoat
primo,
bard
paper,
with
genre:
of
of
the
war sings
that
epic
Paris
its and
myth
begins
the
in
mine. the
wars
companion
ultimately
itself.
of
essential
its
stereotyped
which
plot,
An
feminizing
something
to
effeminate
poet let
of
and
acknowledgment
arma,
first
produces,
for
more
likely
the
The arma,
to
me
incipient
that
his
the
who
verse,
these
dwell
"soft"
contrast
do
gladly
return
aition
implication epic-ness
adulteress--a
(through
to
to
extended
epic
it
you
adulterates
of
even
her
descriptions
seems
sneak
elements
the
turn
on
not
themes
(Am.
than
interest is the
of
parenthetically
leave
husband
the
next
flirting
with
a
the
more
out
epic
is that
1.1.17-18)
across an
broad-based,
of
discussion
of
seduction
golden
verse
is
elegiac
of
threatened:
these:
are
to
easy
cele
the
elegy
paradigm
the
in
that
there
shameful
elegy
with
in have
of
intro
to
Amor
di erotic
purity
innu
once
cou
the
are
has
the
ge
en
of
a
of
to
•
elements does
Ovid with
the
tional, as
is ments fire cisely,
reading
quid
female militariness characteristic verse
the epics typed
own
Iliad relational:
dearly
he
To
lines
of
denique
Ilias
quid
author
Finally, ess
of before
role
So
the
higher
est
female
is is
had
characterization
does
descriptions
passion
the back
or
resume.
about
the
far using and
a
of
aliud
same ipsa
composito
inter of
fecerit
quoted, prius
in
collection
exceptionable,
meant
done girl?
the
become
the my
to
I
I
the
in
Macer's
essentialized composui
stakes.
of
the characters
Essential
have
am quid
whom
be
literary
amatorem
nisi
for
kind
flare-up
est
Her.
approach
ignited
Iliad
the
iratos
In
female
with
not
punished
erotic
to
is
illi
the
est
focused
...
Amores
genre
3.87-90.)
What
so
poenas
to
of
of
come
of
that
the
her
Trojan
flamma
aliud
rapta
Macer
Iliad
historical
accents
Epic:
teneros turn
canonized.
by the
for
skewing.
of
in
Amores);
within
to
only
lover
pugna
to
I
in
to
is
Briseis?
the
actual
achieve
for
Briseis,
view
2.18,
genre; argued
across nisi
on
itself:
solus
pueUa
these
Homer
the
the
the
Genre
epic;
in
author
Briseidos,
Ovid's
it
and
IIUuls
the
non discussions
adultera,
virumque
epic
Amores
...
exclusion
arguments
erotic
Iliad,
Ovid
amore
Recall
of what
epics
questions
but
duces?
as
tendentiousness);
the
in
(Note
her
that
Such
to
sol
The
and
himself
to
are
epic
epic
characterization a
his
be
us
wrath
he
surprise
explains
husband
poetry
is write
perverse
never
perversion.
utque
dedi
the
Iliad 2.
de
Gender
am
is
implicit
that
great
to
asks,
entirely
qualities
fuit?
I
of
that
the
in
qua
8,
ores:
to
distinction
be
of
of
into
...
tender
itself-what
matters
but
Ovid
elegiac
becomes
of
deny
but
at
genre
dynamic apologia the
(away) had
acknowledged-but
emphasizes
and
from
the
a
the
in
(Trist.
now
normal
generals
the
kind
to
here
amores;
a
that
Briseis's
and
and
Ars texts
role
exaggerated fight?
female
make
of
Macer adultery
the
in
canonized
proposed
2.361-362,
from
of
renders
here:
there
the
Amatoria.
what
gender
is
a
of
of
is
erotic
due
erotic
What
but
genre-defining
it
an
his
the defining
"own"
and
what
the
but
to
exile,
Ovid
is
it
elegiac
I
to
of
use
anything Statius
explicit
am
female
has
perverts
and
occurs erotic.
an
elegist-rather
the
one in
maleness
Helen
within
is
371-374)
His
elegiac
of
Tristia
offers
the
adulter~
been with
normal
my
seizure
the text
point
(!lias
the
only
tactic,
in
in
Now
the
preface:
and
female
is,
stereo
of
wholly excep
a
a
actual
it
Iliad's
2,
game
argu
229
very
per very
epic
pre
(the
and
ipsa
and
the
the he
in Essential Epic: Genre and Gender from Macer to Statius 231 230 Stephen Hinds what is transgressive in epic. It is time to consider the operation of these ques 4.193-194), and is to Iarbas a perversion of natural justice by a perfumed Paris tions within epic texts themselves. Let me take a few bearings, then, in that most with a retinue of Asiatic eunuchs (Aen. 4.215-217)-this last being especially canonical Augustan treatment of epic arma virumque, Virgil's Aeneid-firstly unsettling in its alignment of the Aeneid's hero with the familiar stereotype of and most summarily in the Dido episode, at whose transgression of the epic an emasculated, orientalized, un-Roman other. norm of "all war, all male, all the time" Ovid had affected some disingenuous So much by way of brief evocation of the Dido episode. Let me dwell a little surprise at another moment in his address to Augustus in Tristia 2: longer on another Virgilian nexus of genre and gender, in Aeneid 7-which I se lect because it is founded on an unexpected and suggestive reprise of a cele Some loudly celebrate wars and their bloody weaponry; some sing of the brated speech by Hector in the sixth book of the Iliad, in which the Homeric hero is responding to his wife's attempt to persuade him to avoid the dangers exploits of your line, some of your own. As for me--envious nature has of confined me within a narrow space, granting but slight powers to my tal battle. (My discussion here is deeply indebted to a fine treatment by Alison ent. And yet that most favoured Aeneid-poet of yours brought his "arms Keith in her forthcoming book Engendering Roman Epic, a major intervention and the man" to a Tyrian couch ( et tamen ille tuae felix Aeneidos auctor I in the present paper's field of interest.) contulit in Tyrios arma virumque toros), and no part of the whole work is more read than that union of illicit amor. ( Trist. 2.529-536) "But go home and see to your own tasks, the loom and the distaff, and bid your handmaids ply their work; war will be the concern of men, myself
On Ovid's tendentious reading, Virgil sets up an assignation for his epic Aeneid ab~veall, th~t dwell in Ilium (7TflAE~O(j S~Ep.oi,~lAtif!EyyEyaaow )."So in the purple sheets of a Tyrian bed-in which, at the lowest stratum of mean saymg, glonous Hector took up h1s horse-plumed helmet; and his dear ing, arma virumque can function like a phrase in Ausonius's Cento Nuptialis to wife went home, looking back often, and letting big tears fall. (Il. 6.490- endow our man with the "equipment" he needs for erotic burlesque.12 But is 496) some element of surprise at the Aeneid's assimilation of such an erotic episode encoded, albeit less luridly, within the Aeneid itself? I think so: the Tristia 2 This famous Iliadic exchange is one that might be expected to generate consid- vignette is as much a commentary on Virgil's own self-conscious play with epic . erable interest among Augustan characterizers of epic norms, and, perhaps, to norms as it is a parodic reading--even granted that Ovid's purposes lead him to be regarded as a foundational moment for the pure-arma stereotype; and I deemphasize Dido's more obvious affinities with tragedy in favor of her think it was so regarded by the Augustans.U Here in Aeneid 7, Virgil's Turnus affinities with elegy and other "slight" genres. confronts an aged priestess-unbeknownst to him, she is really the Fury One might look to the fact that, whereas the Carthaginian episode in Allecto-who has just attempted to tell him how to run his war: Aeneid 1 and 4 boasts the full paraphernalia of epic divine machinery, the agent of that machinery is none other than Cupid, the divine player stereotypically associated with erotic elegy; remember Rem. 379 blanda pharetratos Elegia "sed te victa situ verique effeta senectus, cantet Amores. One might cite the marked downsizing of epic lexis embodied in o mater, curis nequiquam exercet, et arma Dido's famously affective diminutive at Aen. 4.328-329, at the moment when regum inter falsa vatem formidine ludit. her foundation-narrative is definitively eclipsed by Aeneas's: si quis mihi cura tibi divum effigies et templa tueri; parvulus aula I luderet Aeneas (if a darling little Aeneas were playing in my pal bella viri pacemquegerent quis bella gerenda" (Aen. 7.440-444) ace ... ). Or one might consider the terms in which hostile witnesses are allowed to define Aeneas's entanglement with Dido in the various narrative "But old age, madam, exhausted, decayed, and barren of truth, worries you focalizations of Aeneid 4: what to Mercury is a stalling of the Aeneid's mission by a hero who has become, unepically, uxorius (Aen. 4.266), is to Fama a forget needlessly with cares, and deludes your prophetic vision with false fears amid the arma of kings. Your responsibility is to watch over the statues ting of regnum by a ruler who has sunk into a winter of erotic servitude (Aen. 232
whereas For matic
division time When is
Caiybe
ues the throws
programmatk peated
it in whose
digm, virumque.
to mately
as is
emphasis erness
ation. mulaic, some male by
Tumus, and
associated to
to
prevail: priestess
both
"See deludes come
(adsum the Turn 7.452-455)
no
a foundational This
handle."
enhancement, be
Allecto
and (Turnus's Turn temples
Stephtm thereby of
very the
Andromache, Let of
within
epic the means
a
irrational me
but
us's
the
from labor
discussion female,
in erotic standard
it me as But
narrator
with us's
now dtrarum ti:ular to
male
rather
is
allusion the categories with
for
throws
of
reinforce epic
by whom
force ready
challenging
now the
between
characterization Hinds
ageism
(en
elements false remainder the
Hector
albeit is no
and
a
opening
exists seat of
speaking
androcentric
passage
brand a ego) of the of gods;
ab well means
to
the
to off
Turnus
the fears
female
doomed.)
her
Allecto's
a of
used accept that is, sede
the the
exhausted, at
making
recipient as
female
genre's illustrates her
men does
the
then,
of
own amid
IL
not something
irrelevant
of confirms
from sexes Iliad
point
to sororum,
in
character warfare
had disguise,
6.492-493,
dread
my
will a
not a just
my
epic.
of of reply of
marginalized
the female
view very 6
and and the
imagined paper:
and of
handle
a passage the only
decayed, conform
Preface.
a
Turnus
sisters; different
arma
this
(Not the Iliad; point
to
beats represented here different
I of
mobile also breaking genre
she
within
and momentary bella
the
epic
namely, but androcentrism speech
war
of
that
to
has take and
a to war ceases
Virgilian
whom portrayal
but he
erotic
to
back
wordless
kings. with
arma; kind manu be and
and
which
role
the to
kind
Heinze's was
that he
stock
and
also
of
apprehended. in
that be
peace,
in
in
continually
to had old much elements than Aeneid
within
the
speaking.
he Pay war
challenge letumque of
death
his heard interest),
the
I
practice Hector,
more
be of
the
age, and
intend
had epic
voiced
Iliad,
for heed either
static teeth:
Allecto
schemes
is of
Augustan the
institutionalized
challenges
th~
barren are
tearful
in
allusively wars
broadly,
female--one
epic man's
never
accepts
elderly to
Homer,
order to vis-a-vis
gero)." model And
Andromache
it open is but
in genre
Turnus
that
are
within this:
allowed give
warfare:
my
of of
retreat,
becomes she
work.
this
program
theirs
to for
by
truth,
her
the
of grounded of Hector's
(Aen. hand
increasing priestess I
the
and
contin
renegoti
am
epic's applying
had female
the
epic an
arma.
agency
Aeneid
finally
who
para~ arma this But
ulti epic
oth full
for
re or
pu-
fe
~within
whereby mized. to protagonist epic Virgilian hybrid, rity the debate mache, self, locutor, about ess be marginalization the
viewpoints a ways a interestedness peal sometimes
the This tion) Rem. mism least, ual Trist. Trist.
single
emplot
generic
emplotted.
tending
Aeneid ( 1
stigma renegotiation
A
draws female; female,
To
to
ability
in
2.529ff.: 372ff.: ), has 2.37lff.:
this the
few
of
do
Nor
nor epic an
epic whereby
which some
moment not
a
practice
genre
often
role into
not combination
broader thoughts, ability
attention category
outcome of 7
contradictory Calybe in
on
the
of and
just
does
of what in Essential as
nexus
(over)indulgence
extent,
her of remain
his epics evenepics
the that
the role
of
at exasperated as epic's
temple.
well
he of between
women unepic
in
to
is
is
an least epic own
is it Augustans
any
either:
the otherness does
analyzed one of
the are the
renegotiate right
simultaneously in
conform
operative
as this
female static, Epic:
poem
ktistic prior female
of Augustan
three
very of
nothing
Iliad Rome.
Turnus
of
elements
so
to in
sometimes
Homer
agendas the continual neither for
epic
dynamic
in
epic;
recent Genre
a
thing
either
then,
negotiation. a invoked
mildly to epic before, can and
narrative female
such
may
mobility to
continuing
category and
One
in expose
is repeats but
but
and
the
be
Kroll's are reading
is
erotic the that that critics concerning
a
and a
entail, intratextually
unepic
impurity renegotiability
not elegiac clear incompatible to
expressed way
the dabble
in
Allecto,
thing princess
played by
Virgil
erotic:
it (as
a
and an
epic.
Gender
in in
right shift
Virgil and
continuity
can
elements of that
static
discussion
strength, whom Rather
enduring
noted
of
the elements Aen.
secondary
Latin that amores.
in but
down We
serve,
in
(3).
the even renegotiability
for generic tending
the
poetry elegiac
as and
the model
from within
7.444
saw
it as
has
or
elegy,
demonic poetry. the Virgil the
theory
ways
may
persists; the and
are the the
which
is identity
in
generic
intertextually.
is
earlier
about
Macer aition
emerged, model
of nothing
am the love-interest epic's a norms. presented terms
legion.
outset
number
their the of and involve,
uses,
to
canonical Augustan
But, and
or;
palace
guarantees
epic
defend
Fury, Virgilian the
for prejudice that Ovid vice but
of
marginalization to
importance of that
say,
of practice as in
We
the more The
otherness
Statius a
reference
of and
impurity
I
the the formal versa;
nor as
multiple to is
Dido,
best have
think,
female
different
elegy Thus Rome.
formulation
in an
not
"otherness" present
number how
what
passage (and
the
to
could Aeneas's, the of
achieved
explains
just
terms Andro at
contin
too, against
priest epic
it mini of
of
is
inter
dyna
set once noth- (2a),
such 233
may
seen
sec and the the
ap the
it in
of
of as
of
at 234
ing alteration: essences grammatic nance quoted
35,
rung 9.777,
the recontextualization,
other
tion" tion."15
genre}
essentialism maintain rity:' the
tive thors Derridean fact sively
thing
his Romantic cally egy egory
yond
to
ary some other
erotic sociological. gard
less)
and
the
repetition
arma-stereotype
negotiations
opening that
in
on
system; Where
At
that
unmarked
each
sources,
11.747, that
considerations essentialized, the
and
by earlier itself."
that interpretative
sources."
elements Kennedy
present
Trist.
Stephen
themselves. than
some
the
Augt
with
the Jacques
some
female
buzzword
Derrida
ideas perspective
time
it
readers.
epic's
Kennedy's
at
and
2.534,
the 16
seems ancients
aphorisms,
such and
ultimate
Unless
stan
which
which generic
The the
discussion,
critical
novel Hinds of here
it In has
working
with
one
Derrida
as opening
elsewhere.
generic core
as is
contemplates
genre,
or,
Even practice, Derridean
never
involving among
to
But
as anomalous
context the
arma
(re)cited
Prop. of mediates
reason brings attracts
tradition
or themselves).
for within oppositions,
level
be
Derridean
an of
distance
strict
novella Romans a
perhaps
Derrida
to continually out and
a
seeks even
essences
sign objectivist
however, arma
must
1.7.2,
close consideration it
their
be
14
why generic
outside about
is of the
poetic
applying marks
the
perspective
In and
"a
overtly
of
by
the
indeed
to
a (whose
pick in
virumque in
from
Virg.
first law
Duncan
had Aeneid
the terms
generic
an
universal
is
find description not
really
(re)framed-whether most "La as
the
generic
is
form
essences of
treating
even
infinite
of
renegotiated, fiction up
role
somehow noted,
reading
theorized
in
Aen.
worth
the
at "lodged
his
loi
res
repetition of ancient
impurity
and
itself, relativistic
are
their
essentialism
within in
Kennedy's
is every
the
du
at
reference
interpretative
gestae
often
1.1, law
change
much useful
envisaging masking
but set
shed
l.l19,
thinking
specifically genre";
and
most
communities
(implicit)
in
'generic;
of
within
Ov.
ancestor of
and of or
also level.
epic occluded
the
or
regumque
poetic
and
traces oppositions
discourse.
more infinitely without even
in
4.495,
model Am. tightly
in
a
can at
notable
changes
with
under
an
that
principle
of as
of
the
some traces
the
The
"traces
named
powerfully
add
1.1.1, solid, differs there form
pressure epic's
of infinite readiness
a
in
Romantic
6.233,
it generic
heart
of
generic
self-referential any very
appeals
context
the ducumque
repositionable at
usefulness
discrete offers
point
a
formulation,
Iteration
of
"dynamic
self-consciously
is Am.
say,
fresh
least, is
own will of
closure, as
from
of
timelessness
citation
of act limited
set
8.441,
inevitably
a
to citation
contamina
norms
as
essence ceased to us
2.18.2 the
generic
and
always and to
female
dimension of of
the
and
than
epic
passages
the
a reach
entails
law generic
et subjec
is way
repeti 9.620,
of impu
perva
by metri reso
from pro
surely and or post
and
tristia
to
from any
liter
"in
like
au
cat [of find
the the
and
be
to
el
of
re a
Jaced
autonomy death by sult. cent ation discourseY quarter-book Scyros, form lar erfully a came and that case Keith's (at swered of eroticized fairs tween rather read Hardie, lose readers. Caesar parallelism had play have maneuverability bella
conspectus
Virgil
them
cultural
least
A If
somehow all
completely
And studies
there between as
revaluations
of
ever
dynamically.
actually
of
a
the
that the
than generation
women
complicit
forthcoming
and
potential
a
19 normative
contemporary
18 new
which
for
the
as powerful
straightforward
so have
Does
become
preceding
"code
agents,
was
of
challenges
simply transgressive Antony
frame, of
those
it And
in
proposition threat
Essential
the
epic
epic
is
of
argued
Dido
lost
a were the and
dominates
this
institutionalized in
model" healthy of to with
Achilles' (to male
why of
of for or
predictable
But
and let women
continual fragment,
my to
the
from be
in outcome weaponry
this
and book
paragraph
early
us
disrupted two
press
accept the
this
for
the
the
sociopolitical
should
last read the its Epic:
capacity protagonists
societal
who
for enduring
Cleopatra,
of tendency
genre?
the that
an ago,
yes
will construction readers two
episode
imperial
continuity
and
erotic
who
in the
as,
epic
the
the
epic Genre
are
renegotiation mean Aeneid
the to
this the
representations most
show,
versions or
in to
most
serves tensions
first
to
Aeneid by
the Once
genre
devotees (like threaten
tradition
Achilleid.
places, routine?
as
be
encounter
Aeneid
to
female
of context
be
in
that poetry, and
two interventions modern
in associated
Rome's
extended the
experience,
book
itself. expected
the
revive the
of
Augustan
surprised
to the
for and
as of
of
even such
Gender
construction
questions
an is set
erotic stocktaking
of the
itself
and an
Aeneid
the
In elite
in
most
unusually
my
Virgil's Whatever
of notably
between of
unepic
a
and
"dynamic national
Latinists achieved
the the
elements dynamism with
poem
ideological
other).
generic
case
erotic
of
Statius's
in
argument
with
male
dalliance constitutes
and
poetic
how
subsequent from
century
case
such renegotiate
became
the
just
of
study,
epic? Deidamia chef
by
like
them
the
perturbed
education
otherness)
end was
close
epic the
world of of
would Macer
hybrid,
tensions
otherness
female,
Denis
impurity"), that
asked.
practice
d'oeuvre
unfinished the
lines epic for
the
at
and
from preferred purity the any with about
(Aeneas
a
that
to
Carthage)
had
Aeneid
post-Augustan
cultural
Aeneid, of
at Roman probably Virgilian
code Feeney to
more
reconciliation of
a the However,
on
a
the
effeminate,
have established
it
and when
Krollian Rome epic
been
Statius to
unless
the
brief the
and
in
was
inevitably
surface
the
mid model,
treat
in
the
in
after
Roman explanation
homosocial
one-and-a
continuing
text-both such
poetry?
and
frame.
em
so masculine
poets
one public a
were
was consider
island
have
most
tensions
Romans 90s particu
happily
literary end
Virgil's rapidly plotted
Philip
in
inter
story,
did pow
c. now
epic
epic 235
and
and
be
an be My
the
re re af
As
E.,
of
it 236
may than than
the
courts
confirming
to
The
which
too
women;
teration
woman.
jan
Statius
part
even
emblematically
milieu works
tion
oughly ing.21
be
entire
had
be,
presence
Achilles'
shoulders,
the
War tresses, his
eight
dant
move,
(invita
three
(ambiguus
An
1.325-331,
of
and
as
a
it
constructed
In
itself
more
Stephen
further
woman
garments
stride
Achilles
in his
by
but
adulterated
post-Ondian,
a
is
gracefulness
draft,
fact,
Mediterranean
disto1tion
centuries
centuries
kind
and
whic.h
engaging negotiated
it.
and
poem's
virtute),
in
mother
out
of
than
with
uithin
~nd
speak
the
...
335-337)
foregrounds
of
such
is
switches
on
unwarlike cross-dressed
at
Hinds
upon
a
the
a
theme-park
relaxes
case
the
sexus)
opening
a
a
after
as
century
sees
after
given
the
of
in
generic
with
foreign
and
degree
is
the
suppression
manages,
levels
Scyros
threatening
an
the
him. of
at
him
plot
her
Homer
basin,
Apollonius
his
embroidered
that
her
modesty
erotic
beholders
in
the
land
Achilles
epic discourses
after
book
own
a
undecided
tension
Then of
of strong
shore
any
of
son's
in
Achilleid,
decision
by
by
of
mannerism
language,
the
(Ach.
epic
as
liaison
had
the
Virgil
his
necklace
a
treatment
gender-
by
she
disposal,
...
stiU expected,
of
narrow
arms;
canonical
its
in
mother,
Achilleid
are
given
had
presenting
arma
on
1.207
Achilles'
softens
Nor
skirt,
and
to
seems, the
had
with
poem's
the
Scyros
she
misled
setting,
brought
"unman"
to
and
Achilleid
Odysseus
does
of
distinction
willing
by
his
brought
hero
that
imbelli
of
a
his
she
anxious
tames
to
arma
is his
epic
woman
engaging
on
genre-bending
manly
the
manhood
she
surprise.
persistently
dear
generic
shows
the
20
compounds
teaches
by
stiff and
the
to
Jason
moment
and
•..
action
his
and
struggle
is
entire
Aeneas
be
an
an
neck;
to
vigor
evidence
plot
expected;
neck,
hides
while
Lycomedis
Statius
epic
styles
compelled,
keep
erotic
masculine
in
to
him
indeterminate
identity
Previous
and
in
on
Scyrian
then,
notwithstanding
erotic
Colchis,
bows
hero
to
long; himself
its
at
the
him his
a
the
how
Scyros.
imagery;
package
Carthage,
at
which
sustained
of
secret.
martial
and
land
shortening
uncombed
for
his
generic
for his
liaisons
... this
from
rather
and
to
setting
self-fashion
epic
dressed
and
the
the
most
abun
heavy
not
aula),
walk, the
(Ach. However,
episode,
puts
tour
the
impulse
this
sex
way
heroes
greater
more more
refrac
adul
just
hero
than
with
as
thor
Tro
as
and
of
is
in
an
a
of
a
gender-
genre-)
vere
and ing"
Pallas
To feminine.
masculinized
war
demeanour: reading
in
aries
be-made-over scene
female, shadows My
Aeneas
pared the
modeling
a
It
offer
exierant
fronde
They
comparison
locks
...
present
atque
hairstyle
as reading
her
ponat
Her
the
In
of
is
Athena-whose
just
Achilles
a
an
bending
if
to
warlike snakes
just
and
gender
(and
sisters.
beauty
female
the
of
the
had
As
Apollo
a
ipsi
et
earlier
sampled,
ligare
the
the
after
23
scene
dare
revision
of
Essential
tendentious
exempta
if
goddess
with
terms
female,
genre-)
gone
par
on
to
Achilles
passage
and
the goddess
is
to
and
They
imagery.22
that
that
comas
veris
Thetis
encourage
context
in
equal
her
forma
(1.294-296),
leaves
Apollo,
forth
codes
of
genre.
with
Aen.
unwarlike,
equates
of
we,
of
pacetur
breast,
the
opes
have
Epic:
bending
the
cult
et
(1.301
to on
with
Pallas
war
has
deae
and
4.143ff.
along
to
its
in
goddess spargere
paraphrase: the
will
hero's
divaeque
modeling
the
statue
come
Genre
presented
offer
the
this remove
were
problematization
foliage
est,
Deidamia's
casside
by
goddess's
is
hanc
initially
is
famous
with
Statius
imagery,
book's
decorating
way
repeated
si
(both
own
the retrospectively
to
down
floribus
they
of
pectoris
and
and
ubi
her
severas
divest
vultus
of
Achilles,
war;
riches
his
to
imminent
Apollos
fleetingly narrative
own-if
seem
adorn
Deidamia
•..
unpacking
Gender
helmet
to
comparison
to
the
appearance
simile
but
just
and
shower
hastarn
herself
angues
vidit),
the
her
of
resistant
overdone:
of
below,
by
have
of
the
they
and
on
spear
shore
the
from
on
focalized
the
(1.165-166),
boundaries
cheering
compares
negotiations
of
and
her
spring,
the
and
homecoming
pacify
our
goddess
the
do
her
with
only
of
spear
Achilles
bending
Macer
with
the to
passage,
so
first
famous her
but
martial
Dido
celebrate
her
that
this scene
to
through
by
(Ach.
flowers:
up
with
Deidamia
should
the
sight
to
sisters
bind
countenance.
between
making
the
to
the of
of
time
Statius
with
exactly
Statius
(1.299-300)
blossoms.
equipment
effectively
1.288-289)
fact
comparison
from
the
Diana
gender-
idea
the goddess's
of
a
lay
the
figuratively,
the
worship
goddess
festival
Deidamia
is
her
had
stern
of
to
aside
Lycia).
male
the
soon-to
that
bound
in
"pass
Diana,
more
same
(and
com
fore
237
Aen.
and
and
se
the
of
of
In
of
a 238
Achilles symmetry:
Aeneas
1.498ff. category talking
This Hecate)
agery
sic
Statius's which
is
makeover.
dressed
(598lex
paradoxical
imagery
sex ambiguous
Bacchant with
compared
dicit
ad
sic
maritime
mater
ipsa deducit
As
when
ens)
child's
draws
the
Things
and
time
noticeable
perversely
patrem
ubi
Achill•!s
and
she
(both
that
Stephen
disorcered and
arcum
disruption
et
in
as
procul to
simile
his
resp-lnds
et
Hecate
down
for vir3ineis
it
admoto
instructs
the
an
shoulders
her
a
sparsosque
Dido.
come
ipsa
Deidamia appearance
is
situation to
tomboy
Dianas
female,
mother's
this
fratremque
love
intratextual
Achilles
pharetrasque
allusion
father
the
ire
through
foregrounds
the
umeros
authority:
aligns Hinds
returns
paradigmatically But
to
tresses. mares
non
female
story
Hecate
of
thus
hitched-up him,
standing
a
and
and sexually
deity
its
a
head
tumet
is
who
Achilles to
cessat
counterfeit
little
to
exsertaque
his
(
"the
she
worn own:
to
accorded
of
redit,
605
brother,
repeat
deity exposed
lassata
and
the
locat
at
our
is
feminine
Virgilian
herself
and
does
componere
comere
law
farther
et
taller
compared
asserts
a
out
comes
intertextual dress,
with
Aeneid's
of
women-only
sexus
hero's
Therapnis the
complicates vestemque
bids
not
her
the
from
arms;
a
bracchia
liminal
suit
than
the
receives
tactu.
and erotic highly
on,
haeret
cease
his
mother male
pariter
makeover,
and
males
increasingly
female, Therapne crines
him
their
pair
to
she
takes at
manhood
rite
pre-
province
disruption
to
velat; match
latentem
the
Diana eunti
mannerist
keep
arranges
alike") the
decet
festival
an
attends
of
entourages). apply
a
...
Virgilian
moment
not
mother's
the
sibling-deity
gender
nhrceitcly feminine uncharacteristically
far
and
(haunt
of
(under
et
the
the
with
of
impressive
away"),
imagery
of
as
her
their
mendacia
wields
of the
the
treatment.
male, Bacchus styling
he
transgression:
epic.
pride when
path
the
of
Deidamia.
her
bow
hunt
So
Virgilian
dons
Spartan
when
protocols:
the
player
responds
far,
and
chthonic
More
similes
in (
touch.
Thetis
and
1.343-348)
matris
but
at
later
thyrsus
arranging
the
near-perfect
Statius's a veils
Achilles,
moment
quiver,
in
sustainedly
maid
forebears
Again,
than
Thus
in
garb
finishes
sets
"his
the
Achilles
her
the
with
alias
Book
(
1.612)
clas
that,
epic
of
up
true im
still
the
of
a
in
1
a
.
sort One
is ing sion: ronymic
colleague. Man's
has Achilles;
honor
simile
bending transgressively those their But
nounces
compared
verse
Euhius
serta talis,
armat
Just
to
his
meet
Finally,
They cum of
and stowed
been moenia,
A
again
cannot
weaponry.
1.593
women
line:'
compares
the
of
move
inverted
hair,
so
ubi
is
comis
captured ... for
of Scythicas
himself
his
the
is
approach
et
By
full
somehow
Euhius, there
available
et
beneath
the
Iucus
arms
back
also
subeunt,
hostiles
ad
to
suppositis
improve
Indian
Essential
when
from
patrio
members this
his
(like
effeminate mitramque
Thebas
masculinized
episode,
comparison
is them
operative
to
point, the
homeland's
to Agenorei
rapuere domos
Getic
after
imagery
they
a
like
foes.
satiavit
Pallas them.
to
Deidamia
invisit
Deidamia
green
quales mannerist compromised
on
Epic:
to
vultumque
epulantur
mobilize
of
Amazons
relaxing
it
are
in
forts,
Amazons:
the
seems
the
in
Bacchus
levat
fortior
fact,
pectora
thyrsus,
sublimis
Maeotide
to first
as
Genre
here:
Ach.
and
Loeb
soft
Greek
in plot
dine
genre-bending.
and
an thyrsumque
his
and
twist:
that
espied
Amazones
who,
the
et
militarized
Indos
living,
animumque
1.299-300)
the
etymologizing
and
luxu,
and
note
making
visage
will
capta
her on
ad
by
to
army
the
courtship
ripa,
warlike
after
the
annotate
with
by
Gender
the
orgia
show
their
entourage,
of
removes
Scyrian
Getarum
and
who
simile
Ulysses
Mozley armis
ready
plundering
Maeotid
virentem
an
women-at
Bacchi
more absorption
spirit
Achilles
are
remisit
accession
arrive
scene
Immediately
from
the
girls'
bonnet
compares
for
reading
temporarily
(our
to observed
at
clearly
thematics
shore
war."
"
Macer
(1.650
...
in
own
Thebes,
this
putting
Scythian
hero
of
quest
and
the
of
of
of
As
collective
passage:
boldness
with
how
the
the to
ille
garlands
Bacchus,
amongst
early at
the
after
moment
and
of
of
dissociated
on
(1.615--618)
Statius
(1.758-760)
homesteads
Scyrian
the
all
ego
god's
their
gender
their
cross-dressed
Bacchic
enjoying
as
Achilles
this
"There
goes
..
banquet
femininity
the
from
own
arma
.
absentee
in
them),
of
),
gender
girls
confu
to
open
he
which
Real
from
garb
239
pat
is
an
de-
in
to
a
a 240
male dares
The
fully
grammatic application history the lation
all
displaced ance Amazonian
This
for
His by
the tegmina, te tympana
"I you
task
cross-dressed
terms identity:
What feminized Ulysses arma,
"Do spirited himself
wedlock." (arma
of
propter, Hardly
to
desire would talis same
that
limp
Stephen
of on
"
and war
see
...
you
vidisse). of
form com
rescues
the
just
is more
desire of umeris
nee the ni
male the
... is not is, to (of
does is his
properlyashamed the
tibi
not
:;bore: the
primo finally
she, (1.351-353) "
tship and precisely, trick as
'soft' new-arrived ego
Hinds course) have
in protest
than fate
pensa see protagonists
Achilles Achilles soon
immediately
adjective (1.753-755)
arcumque), Achilles
she Thetis'
"softened"
hos
the
on
episodes drum."
how tu put
of
and
straightforwardly
would
as
manu,
cultus visa your
are
hero in
all
a
up
fierce the
conceal
decisively
has
desire
presentation
"her" from
epic
significant:
mollia
in
heroes with
account
out ask
Greek and
aut
in tibi
litore: externalized himself
of
stirs
she
heroes
his of
epic interests:
for for this
the
of
foeda
his would
mollia
to
and
is
the
Achilles,
transgressive hiding:
leaders
realized arms
cessi emblematically
I genre the
new adornment about
can
submitted;
in
the
who subissem their female
to
descriptive. seek,
gesto
noun the
joy: and
argue
the draft-dodging
of and
the
arrive:
stray
though cause
arms in
in
eagerly amoritselfl a
Scyrian
eyes, tympana dress
bow
the
(almost)
the
these
or
for
behavior
from
(novos
of
vile
actual
Amazonian
24
how
to you
still epic
that
he his
A
lines
bear
garb, king
arma
reading desires,
is
I love dressed like
literalized
6
arma, heroas
epic
handle
). is
gift
ideological
and
on to
of cloaking
had
her
for
into
be of hero (1.652-655)
her
way,
"Achilles' unmanly
even
seen
et
sensitive
brother? inappropriately Deidamia; I
the
arma
symptomatic:
not
shoulders amo~
arma
has
an
to
wool
as early
his
seen
and
reject
emascu
presented
he
shame
I 5
avoid
So to
sister,"
true (as
vel
on is,
pro
the
the
of
in
-
lined The
icon tles icons the
The
sions excluded. find tive phoses among to some far
"charming, enough-provided level, generic "stages"
Scyrian
moves
posed phrased rature, complete
graved But (saevis resist bonus spear, his occultus
(caelatum
to
comprehensiveness
"later" to
language
devious in
What
of ( of
other
1) set
the offer.
in brow.
by fierce the
whose adherents
genre war,
in self-definition.
episode
As
classification than
a
a my
of Achilles While
with
the
et
with fact little beginning a presented
amor):
the
Essential
metapoetic
Achilles
rubric: I some
but
forte
Achilles almost
ways Gone
kind
Preface,
chose and agenda and pugnas); he
cumulative
that battles-ruddy
poet
schematically arma,
he my
to
let
of rubebat his himself, gender,
actual
action to
of
are
the the is
to out to that
final
prepares
"dynamic
does was
Epic: novelistic,
to whole return
it also programmatic
as
of
the dwell
as Conte,
his
epic shield its
I
has a
the of
meditation
to
want bloodstains. they
no
case of roar
an
the through
I
ready
as
early reductively effect people
mother's Genre Achilles'
render
hero often breast bellorum
narrative
Achilles
Achilleid
sooner on to
epic epic
presented to
do
and
study too, the for Achilleid's
to
impurity:'
the
the
in to
set
is
fragment."
in
dose
not
hero. seemed
the
and
of on is
Achilleid
rolled
which by
to the embrace
Book unwarlike the
Achilleid
confronted sail
full
conversion orders,
could on
Scyros
maculis)-,
damnatio elide
sake that put any
Not chance,
1
martial
with on Gender
fragment Here
Iliad.
are by of from
the
his
the
second 2, the the to
comfortable only it
of Scyros Troy.
end
Ulysses, the
27
internally gone the is
war eyes,
are has
I
modern
are
(in)appropriateness in
is brevity): repressed
dalliance with the Scyrian
think, "relaxed land
message Such
poem's from engraved there, is by
suggestion part
( memoriae afraid from
inaugurated.
itself, the
and 1.852-857) more
his
Achilles
his island,
book
the
the
unlike from
because, stages Macer hair
characterizations
is secret
critics
I leaning
action
structured, amor gleaming
gobbets savage
own to
terms have on and easily
terms
is
to
actually
now with
standing which
remember
ready further
the Scyros
emplot of
that,
in
love
idyllic," to internal
to
to
one
under
of stains like describable
there
the a
the elaborate
whatsoever.
nothing
Statius
be
of
arma
proper
shield,
to at arma they
(nusquam
more
dramatizes has
the gore
so process episode-pro~ enhanced
then, up of
an
embrace
a
on
of erasure,
what
to
dialectic peculiar
number
have from is seemed Metamor- the important
virumque
war
en and but
perspec the
Feeney epic
cosmic are under
by
he under
241
whole (para
been bat
Even
all.
ten
the
herCJ
sous
by fair
had
so as
of or
of
a 242 Stephen Hinds Essential Epic: Genre and Gender from Macer to Statius 243 been for much of the previous book-an idea expressed in a locution of almost has cunningly managed (via Greek outrage at the abduction of Helen) to bring Tacitean pregnancy: the conversation back to Scyros, the very area in which Achilles wished to avoid further probing: how would Achilles react, he asks, if someone were to steal There is Aeacides, his breast now bare of the purple dress, shining forth in Deidamia? Achilles blushes, apparently from a mixture of outrage and embar his newly-seized arm a-for the breeze and his kindred seas are calling. All rassment (2.84-85); but now Diomedes comes to the rescue by asking the gaze on him and fear him, as young man and chieftain, not daring to re young hero himself to put another narrative of first beginnings on the table. member a thing (Aeaciden ... prospectant cuncti iuvenemque ducemque I This time, the theme is Achilles' own elemental training on Mount Pelion at the nil ausi meminisse pavent); so wholly changed is he in his restored aspect, hands of Chiron-a tale of extreme hardiness, as we soon learn, which is en as though he had never suffered the Scyrian shores, but were embarking tirely free of the softness and effeminacy of the subsequent Scyrian misadven straight fr<'m the cave on Mount Pelion. (2.5-11) ture:
(2) A little later, on board ship, Ulysses asks Achilles to explain how on ... "quin, o dignissima caeli earth Thetis had effected the shameful feminization of the future destroyer of progenies, ritusque tuos elementaque primae Troy. More than mere narrative economy is involved, I think, in the hero's re indo lis et, valida mox accedente iuventa, fusal to be drawn back into an account of the causes of his indecorous delay on quae solitus laudum tibi semina pandere Chiron, Scyros: virtutisque aditus, quas membra augere per artes, quas animum, sociis multumque faventibus edis?" (2.86-91) ... "longum resides exponere causas maternumque nefas; hoc excusabitur ense "0 worthiest progeny of heaven, why not instead tell us (your friends and Scyros et indecores, fatorum crimina, cultus" (2.43-45) admirers) the modes and elements of your early character; and then, as the "It would take too long to expound inaction's causes and a mother's un strength of your youth increased, what seeds of glory, what paths to man speakable conduct; this sword shall excuse Scyros and the shameful styl hood Chiron was wont to disclose to you, by what arts he would ing, reproach of destiny." strengthen your limbs and your spirit?"
Here is an Achillean narrative on which Achilles is only too happy to embark. Instead, Achill.~sasks Ulysses for a very different narrative of causation, namely, an account of the first beginnings of the Trojan war itself: After a diffident beginning, he proceeds to unfold the theme for the next sev enty lines: "tu potius, dum lene fretum zephyroque fruuntur carbasa, quae Danais tanti primordia belli, Who would find it a chore to tell of his own deeds? Yet he begins modestly, ede: libet iustas hinc sumere protinus iras" (2.46-48) a little uncertain, and with the air of one compelled. "The story goes that even in my tender and still-crawling years, when the old Thessalian re "Rather you should declare (while the sea is mild and the sails enjoy the ceived me on his stark mountain, I did not devour any common food, or zephyr) what the primordia were for the Greeks of so great a war: my de sate my hunger at the nourishing breast, but ingested lions' tough entrails sire is to draw from this a rush of righteous anger." and the marrow of a still-living she-wolf .. :• (2.94-100)
A more manly agenda, to be sure: note in particular how Achilles' active em What this scene of shipboard storytelling29 does, I think, is to adumbrate brace of "anger" finds him refashioning himself as, in effect, the canonical two ways other than Statius's of beginning an Achilles epic from first principles: Iliadic hero of an epic of men is.28 either with the primordia of the whole Trojan war, as in Ulysses' narrative ( 3) Ulysses has not forgotten his original question to Achilles, however; and (2.50-83), or with the elementa of our hero's own basic training, starting from by the time he ends the requested account (2.50-83) of tanti primordia belli, he infancy, as narrated by Achilles himself (2.96--167). Where the poet had chosen 244
to
which
hero's controlled
himself hood
The
memory which Note
death song
the
after
poetic
with
breaks starting
ing What
in
framed surely
ter,
stronger, epic;
theRenre.
1?
begin,
Achilles'
We
opening
we
into
"hactenus
et
tive "Thus
What
aposiope<;is
its
about
V'ugil, how
and
training
imposes
life
memi.ni
is
made
the
fame
as
can
off
may
would
years:
and
own
Stephen
Statius's
the an
that
of
not
did
sec!lnd, story,
Acltilleid
hactenus
by
Statius
far,
just
nt!Ver
"the
strictly
Achilleid:
course,
be
appears
Ovid, Froblematized
scenes
unepic
Achilles
generic
described his
weaker,
the all annorum,
comrades,
et
have
at
where
premature
certain
in
with
meminisse
mighty seeds
mother-and
epic
Hinds
his
the
rest
know.
had
that
and
itself
of
167
martial
...
organized
softness
back
as
tensions.
Roman
into
point
the
my
the
decorum
Book
at
it
foregrounded
of
et
the
early
Macer, is
the
comites,
I
is
falls
the
However,
mother
poet
marked
memini in
two
remember
draft-dodging,
closure
a
both
idea
terms
fearful
the iuvat:
2:
where
woman
Book
end
and
as
silent.
predecessors
the
things:
such Statius
of
has
of
generic
does
1.188-194
in
of
apt
elementa
knows."
of
effeminacy
glorious
scit
epic.
et
from on
its
for
the
self-censorship
a
an 1,
his
given
is
Statius
the
meminisse
and
cue
so
and
on
inevitable
was
his
cetera
in
another
epic's
first,
versus
essentially
Achilleidf
story
He
agenda
with
now
Achilleid's
Scyros.
Book
am to
latest
frustrating
the
emasculating
a
meorum
deeds"
ends
in
that
to
publishes
seize
mater"
reemplotrnent,
little
pleased
Achilles
on,
a
catches
authorized
his
craftiness
come
reason
marked
epic
1,
iuvat in
Statius
his
but
This
Will
or
back
Achilles
performance
30
epic
farther
his
of
)
innovative
own narrative
project.
will
to
would
ever-mobile
up
on
picks
the
up
no
that
opening
the
too:
plan
the
epic
remember
aposiopesis:
would
with
there
the intervention
with
more,
by
to
Scyrians
on
narrative
(whose
agenda
this
the
up the
is
would
like
more
the the
proper
in
not
an
be
which
have
negotiations
unfinished
book
is
of
and
the
to
(2.166-167)
poet
"soft"
the
essentially
more
my
preoccupation
than
a
how
from
investment back
vocabulary of
have forget
self-reflexive
be
decorum (we
eponymous
failed
and
hardy
forma
moment
in
Statius
of
presented
narrative
a
the
backslid
in
his
Achilleid
emerged assume)
century
Thetis,
a
here
2.8-9.
just
poem
quar
hero
boy
hero.
with
epic
has
for
of
in
in
at
as
Bibliography
Notes
Index 302 Notes to Pages 216-222 Notes to Pages 222-237 303
42. Compare Chapman's note on the first line of the Odyssey in his translation: "the 3. In a revaluation of Heinze's central case study (elegiac and hexametric information or fashion of an absolute man; and necessary (or fatal) passage Persephones in Fasti and Met.), especially p. 117: "whether they are being kept or through many afflictions (according with the most Sacred letter) to his natural ha broken, generic rules are always relevant to an Augustan poem." ven and country, is the whole argument and scope of this inimitable and miracu 4. Compare Barchiesi 1997:66 on Ov. Fast. 3 and 4 proems: "the interplay between lous poem." In general, compare Stanford 1963, especially 118-127, Buffiere literary genres has come out of the workshop and moved onto the stage, and the 1956:376 n. 39, Hoistad 1948:94-102. effect is as ambiguous and shifting as a shadow play." 43. Gale 1994:52, and especially 124-125. 5. A good point of access, this, to Conte's extensive writings on genre; included is a 44. Muir The Journey Back (Muir 1960:175). Muir constantly returns to the theme of discussion of the "staging" of generic choice, and a notable critique of Kroll. the journey: his second collection was Journeys and Places (1935), his third and 6. Fowler 1982, especially 45-48. fourth Tho!Voyage (1946) and The Labyrinth (1949). See also "The Return of 7. For tristitia in the erotic estrangements of Augustan elegy, compare Gallus fr. 2 Bii Odysseus" from The Narrow Place ( 1943). and (e.g.) Prop. 1.18.10. 45. Tractatus 6.54. 8. On the "timing" of Her. 3, see Barchiesi 1992:17, 185, 189,209. 46. Conte 1994:1-3. 9. On which see further Barchiesi 1997:16-23 ('"arma' and literary genres"). 47. Compare Hardie 1986:209-213, Salemme 1980:9-21. 10. McKeown 1987 ad loc. 48. On the problems of definition, compare Kroll1925, Fabian 1968, Rifaterre 1972, 11. Kennedy 1993:59 (with further discussion): "the word nervus can refer to a sinew Pohlmann 1973, Effe 1977, and Schuler and Fitch 1983. muscle, strength, literary vigour-and the penis." 49. With this sort of generic "inclusion"-rather than mixing or hybridization 12. Sexual metaphor in arma: compare, e.g., Am. 1.9.26, with Adams 1982:21. See alsc compare Cairns 1989, Davis 1991:11-77. Barchiesi 1997:27-28. 13. For a differently tendentious allusion to the Il. 6 scene, see Ov. Am. 1.9.35-36. 12. Essential Epic 14. See McKeown 1987 on the Am. passages and, more radically, Buchan 1995; Hardif My thanks to my fellow participants in the CHS colloquium, whose comments 1994 on Aen. 9.57 for "the eleven repetitions (with varying case and number ol and whost own presentations helped me better to define this paper's discursive vir) in the poem of the first two words of the poem arma virumque"; Fowle1 space; especially to Mary Depew and Dirk Obbink (organizers and editors), and to 1997:20 on post-Augustan "arma." Carolyn Dewald and Kathryn Morgan (respondents). More good advice came my 15. Kennedy 1989:210, in a finely theorized review of Knox 1986 and Hinds 1987a. way at Kathleen Coleman's March 1998 Statius Workshop in Trinity College, Dub 16. Derrida 1980, at 178 and 204. lin: my especial thanks to Elaine Fantham, Peter Heslin, and Susanna Morton 17. See especially her chapter 1 (citing Sedgwick 1985 for the term "homosocial"). Braund, themselves all authors of forthcoming papers that bear in different ways 18. For the term "code model;' "modello-codice," see Conte 1986:31; on the generi• on the Statian matters briefly treated here. Two Texan audiences, in Austin and at pressure exerted by the Aeneid on Virgil's epic successors, compare Hind1 Baylor University, sharpened my final revision; I am indebted to Andrew Zissos 1998:105-107, 120-122, 143. and to the UT Department of Classics for the opportunity to visit, and to work for 19. Feeney 1991 and Hardie 1993, both transformative of our understanding of epic. a fortnight on the Achilleid with a lively graduate seminar. Alessandro Barchiesi 20. This final case study supplements Hinds 1998:124-129 and (especially) 135-144
has been an important interlocutor throughout, in person and in print: to Here as there, my approach has a debt to Rosati 1994a and 1994b, and a tel~pathi• Barchiesan bibliography below, add "The Xing," forthcoming in S. J. Harrison and affinity with work in progress by Alessandro Barchiesi. Compare Koster 1979; anc J. Birchall, eds., The Common Task, which situates Krollian Kreuzung anew in liter add now Cyrino 1998:232-239, which appeared just before this paper went t< ary and intellectual history. press. 1. A Krollian reading of the Metamorphoses can better be divined from the chapter 21. For comparable manipulation of genre imagery in Ovid's Fasti, see Hind: thus titled as a whole (Kroll 1924:202-224) than from the remarks specific to the 1992:81-112. With "the unwarlike court of Lycomedes," compare in particular th•
Metamorp~oses(pp. 215-216). The latter show some evasiveness, evidently be sketch of the island of Battus at Fast. 3.569-578, with Hinds 1992.110-111 an< cause Kroll is reluctant to acknowledge direct disagreement with the terms of Barchiesi 1997:21-23. Heinze 1919. 22. More on the post-Ovidian Statius of the Achilkid: Rosati 1994a, Hinds 1998:135- 2. Ross's comment (on Virg. Eel.6) is cited alongside Kroll at Knox 1986:1 and notes. 144. 304
27. 28.
30.
29.
23. 24.
25.
26.
Achilles
The
metapoetics to Shipboard: anger his 3.87-90.
Conte See
Homer's
Ach. On remarks
the
own
For Kennedy For
me,
menis,
sense
the
also
the
mollis
Notes
allusion
side.
1.188--189
over
1994b:487,
the
eff•:minacy
startling
at
now
canonical
on
1993:31-34,
pause!),
Pertinent
as
but
2.89
Briseis
phrase
i.e.,
to
Briseis's
of
a word
is
Cyrino
Pages
he
this not
(quoted programmatically
immania
contribution
see
"misreads"
Feeney
just
is
of
inauguration
without
song,
here
charged
1998:234,
echoed
own
237-244
now
the
Hinds
below
earlier).
laudum
elegiac
is
see
1991:376
Barchiesi
limited
Rosati
its
1987b:22-23,
with
in
at
Hinds
the
of
"a
intertextual
Diomedes'
2.84-85,
of
male
the
I
source
simile
enhanced?
unmasculine,
semina
foreknowledge
n.
1994b:42
the
1997b:215-217.
1998:126-128.
clausula
199.
poet/lover,
theme:
tense
from
citing
(compare
and
programmatically
irony:
on
litore:
with
viz
which
above
II.
unmartial,
an
see
from
Statius's
1.194.
of
transvestite
As
echo/anticipation
cessi
Homer's
Wyke
all,
Achillean
that
Elaine
offenses
to
Compare
Edwards
menis
Achilles
such
1994:115-121.
and
Fantham
klea
charged
ambiguity."
perpetrated menis
unepic
a
will
andron);
1993:63-97.
reading
also
can
be
at
of
prompt
points
values,
my
anticipate
drawn
Ov.
Achilles'
(across
on
earlier
by
Her.
out
the
see
his
to
in
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in
A [Bibliography for Hinds, 'Essential Epic.']
Adams, J. N. 1982. The Latin Sexual Vocabulary. London: Duckworth. Barchiesi, Alessandro. 1992. P. Ovidii Nasonis Epistulae Heroidum 1-3. Florence: Le Monnier. ---. 1997. The Poet and the Prince: Ovid and Augustan Discourse. Berkeley: University of California Press. Revised trans. of 1994 Italian ed. ---. 1997b. "Otto punti su una mappa dei naufragi." In Hinds and Fowler 1997.209-226. Buchan, Mark. 1995. "Ovidius Imperamator: Beginnings and Endings of Love Poems and Empire in the Amores." Arethusa 28, 53-85. Conte, Gian Biagio. 1986. The Rhetoric of Imitation: Genre and Poetic Memory in Virgil and Other Latin Poets, ed. Charles Segal. Ithaca: Cornell University Press. ---. 1994. Genres and Readers, trans. Glenn W. Most. Baltimore: Johns Hopkins University Press. Expanded from 19911talian ed. --·. 1994b. Latin Literature: A History, trans. Joseph B. Solodow, rev. Don Fowler and Glenn W. Most. Baltimore: Johns Hopkins University Press. Cyrino, Monica Silveira. 1998. "Heroes in D(u)ress: Transvestism and Power in the Myths of Herakles and Achilles." Arethusa 31,207-241. Derrida, Jacques. 1980. "La Loi du genre /The Law of Genre." Glyph 7, 176-232. Edwards, Catharine. 1993. The Politics ofImmorality in Ancient Rome. Cambridge: Cambridge University Press. Feeney, D.C. 1991. The Gods in Epic: Poets and Critics of the Classical Tradition. Oxford: Oxford University Press. Fowler, Alastair. 1982. Kinds of Literature: An Introduction to the Theory of Genres and Modes. Cambridge, Mass.: Harvard University Press. Fowler, Don. 1997. "On the Shoulders of Giants: lntertextuality and Classical Studies." In Hinds · and Fowler 1997.13-34. Galinsky, G. Karl. 1975. Ovid's Metamorphoses: An Introduction to the Basic Aspects. Oxford: Blackwell. Hardie, Philip. 1993. The Epic Successors of Virgil: A Study in'the Dynamics of a Tradition. Cambridge: Cambridge University Press. ---. 1994. Virgil: Aeneid Book IX. Cambridge: Cambridge University Press. Heinze, Richard. 1919. Ovids elegische Erziihlung. Leipzig: Siichsischen Akademie. Reprinted in Vom Geist des Romertums, 4th ed. Stuttgart: Teubner, 1972. Hinds, Stephen. 1987. The Metamorphosis of Persephone: Ovid and the Self-Conscious Muse. Cambridge: Cambridge University Press. ···. 1987b. "Generalising about Ovid." Ramus 16,4-31. ---. 1992. "Arma in Ovid's Fasti. Part 1: Genre and Mannerism. Part 2: Genre, Romulean Rome and Augustan Ideology." Arethusa 25, 81-153 ---. 1998. Allusion and Intertext: Dynamics of Appropriation in Roman Poetry. Cambridge: Cambridge University Press. Hinds, Stephen, and Don Fowler, eds. 1997. Memoria, arte allusiva, intertestualittll Memory, Allusion, /ntertextuality. Materiali e Discussioni 39. Pisa: Istituti Editoriali e Poligrafici lnrternazionali. < Keith, Alison M. 2000. Engendering Rom•~t Mf'ttr. Cambridge: Cambridge University Press. Kennedy, Duncan F. 1989. Review of Knox 1986 and Hinds 1987. Journal of Roman Studies 79, 209-210. ---. 1993. The Arts of Love: Five Studies in the Discourse of Roman Love Elegy. Cambridge: Cambridge University Press. Klein, T. M. 197 4. "The Role of Callimachus in the Development of the Concept of the Counter Genre." Latomus 33, 217-231. Knox, Peter E. 1986. Ovid's Metamorphoses and the Traditions of Augustan Poetry. Cambridge: Cambridge Philological Society. Koster, Severin. 1979. "Liebe und Krieg in der Achilleis des Statius." Wii.rzburger Jahrbii.cher fii.r Altertumswissenschaft n.F.5, 189-208. Kroll, Wilhelm. 1924. Studien zum Verstiindnis der romischen Literatur. Stuttgart: Metzler. McKeown, J. C. 1987-. Ovid: Amores. Liverpool and Leeds: Francis Cairns. Rosati, Gianpiero. 1994. "Momenti e forme della fortuna antica di Ovidio: I' Achilleide di Stazio." In M. Picone and B. Zimmermann (eds.), Ovidius redivivus: von Ovid zu Dante, 43-62. Stuttgart: Metzler. ---. 1994b. Stazio: Achilleide. Milan: Rizzoli. Ross, David 0. 1975. Backgrounds to Augustan Poetry: Gallus, Elegy and Rome. Cambridge: Cambridge University Press. Sedgwick, Eve. 1985. Between Men: English Literature and Male Homosocial Desire. New York: Columbia University Press. Wyke, Maria. 1994. "Taking the Woman's Part: Engendering Roman Love Elegy." Ramus 23, 110-128.