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Succeeding Succession: Cosmic and Earthly Succession B.C.-17 A.D Publication of this volume has been made possiblej REPEAT PERFORMANCES in partj through the generous support and enduring vision of WARREN G. MOON. Ovidian Repetition and the Metamorphoses Edited by LAUREL FULKERSON and TIM STOVER THE UNIVE RSITY OF WI S CON SIN PRE SS The University of Wisconsin Press 1930 Monroe Street, 3rd Floor Madison, Wisconsin 53711-2059 Contents uwpress.wisc.edu 3 Henrietta Street, Covent Garden London WC2E SLU, United Kingdom eurospanbookstore.com Copyright © 2016 The Board of Regents of the University of Wisconsin System Preface Allrights reserved. Except in the case of brief quotations embedded in critical vii articles and reviews, no part of this publication may be reproduced, stored in a retrievalsystem, transmitted in any format or by any means-digital, electronic, Introduction: Echoes of the Past 3 mechanical, photocopying, recording, or otherwise-or conveyed via the LAUREL FULKERSON AND TIM STOVER Internetor a website without written permission of the University of Wisconsin Press. Rightsinquiries should be directed to rights@>uwpress.wisc.edu. 1 Nothing like the Sun: Repetition and Representation in Ovid's Phaethon Narrative 26 Printed in the United States of America ANDREW FELDHERR This book may be available in a digital edition. 2 Repeat after Me: The Loves ofVenus and Mars in Library of Congress Cataloging-in-Publication Data Ars amatoria 2 and Metamorphoses 4 47 BARBARA WElDEN BOYD Names: Fulkerson, Laurel, 1972- editor. 1 Stover, Tim, editor. Title: Repeat performances : Ovidian repetition and the Metamorphoses / 3 Ovid's Cycnus and Homer's Achilles Heel edited by Laurel Fulkerson and Tim Stover. PETER HESLIN Other titles: Wisconsin studies in classics. Description: Madison, Wisconsin : The University of Wisconsin Press, [2016] 1 4 Loca /umillis haurit: Ovid's Recycling of Hecuba 100 ©2016 1 Series: Wisconsin studies in classics ANTONY AUGOUSTAKIS Identifiers: LCCN 201504151S I ISBN 97S0299307509 (cloth : alk. paper) Subjects: LCSH: Ovid, 43 B.C.-17 A.D. or IS A.D. Metamorphoses. Ovid, 43 1 5 Succeeding Succession: Cosmic and Earthly Succession B.C.-17 A.D. or IS A.D.-Criticism and interpretation. 1 Ovid, 43 B.C.-17 in the Pasti and Metamorphoses 125 A.D. or IS A.D.-Technique. 1 Ovid, 43 B.C.-17 A.D. or IS A.D.-Influence. DARCY KRASNE 1 Repetition in literature. 1 Epic poetry, Latin-History and criticism. Classification: Lce PA6519.M9 R47 2016 1 DOC S73/·01-dc23 6 Rape and Repetition in Ovid's LC record available at http://lccn.1oc.goV/201504151S Metamorphoses: Myth, History, Structure, Rome 154 SHARON L. JAMES 7 Metamorphoses in a Cold Climate PETER E. KNOX v vi CONTENTS 8 Ovidian Itineraries in Flavian Epic ALISON KEITH 9 Revisiting Ovidian Silius, along with Lucretian, Vergilian, and Lucanian Silius 225 NEIL W. BERNSTEIN Preface 10 Return to Enna: Ovid and Ovidianism in Claudian's De raptu Proserpinae 249 STEPHEN HINDS Works Cited 279 Contributors 307 In this book we have, we hope, brought together some of the most exciting Index 311 contemporary work on Ovid's Metamorphoses. What unites the volume is a Index Locorum 315 shared vision of the possibilities of Latin epic poetry, and a series of attempts to realize those possibilities. Some of the chapters exploretraditional veins of allusion and intertextualityj others are more innovative in their approaches. Each chapter thus embodies a methodology of theorizing the repetitive prac­ tices of poetry, of epic, and of Ovid in particular. To capture some of the ambience of the conference in which this volume originated, including the varied authorial voices, chapters have been only minimally edited. Thanks are due to the Langford Family Foundation for making the original conference possible, and to the Classics Department of Florida State Univer­ sity for its support of both the event itself and the editors. Thanks too to Stephen Fodroczi for help with the indices. Finally,Laurel would like to thank Megan Drinkwater and John Marincola (they know why!), and Tim thanks Amy Dill. vii ANTONY AUGOUSTAKIS 124 funeracemam, / vivacen:: literary portrayals: cf."quo, di crudeles, nisi ut nova previous . publica clades, / sed fimta tamen differtis anum?" (Met. 13.51S-19) and "finita est (13.506). 5 19S1, 3S. 26. The connection with Niobe is also noted by Neraudau Hecuba's stoning, to build a 27. Hecate in a vision forced Odysseus, culpable for in the scholia (ad l1S1 S�hee�) is, I cenotaph in her honor in Sicily. What we read . Succeeding Succession manipulated by OVid In his own believe a unique extension of the story, used and Tn 'EKa�n S£l�aTou�£VOe;U1t' a6T�e; tv Cosmic and Earthly Succession in the narrati�e: fv8a K£voTaqllov'OSuO'O'£ue; ISpuO'aTo aUT�v iJ1to'EU�vwv Tate;vu� Sui TO 1tPWTOValhov KaTCtp;alTOU KaTaA£uO'�aTOe;TOU de; Pasti and Metamorphoses frightened by her at y£yov6Toe; ("there Odysseus founded a cenotaph for Hecuba, ? the stoning against her' night, for he was the first among the Greeks to start . DARCY KRASNE entry, through which OVId 28. Curley 2013, 1l5: "a formula of exit rather than leaves his seal on the narrative:' 29. Cf. the discussion in James 1995· clause so much that t is no longer a secret that many correspondences exist between Ovid's 30. Anderson 1972, 22S: "He liked this powerful introductory Hecuba." Lat�iner (2006, 1�6-97) Pastiand Metamorphoses. Their shared frameworkis most clearly brought he repeated it in 13.546 to characterize the vengeful I of mothers In the poem, mclud- into focus by the cosmogonies that open both works and by the revela­ provides a brief treatment of Hecuba in the context tion of primordial Chaos as the alter ego of Janus, Ovid's first interlocutor in ing Procne. Ta rrant. 31. Obelized by Bentley and subsequent editors, including the Pasti,! but Ovid has only begun as he means to go onj as Janus himself 2005, IS7-97. 32. On the closural aspects of Ardea'sfall, see Papaioannou says, beginnings contain omens. Similar parallels, correspondences, and rep­ 33. Von Glinski 2012, 91, with reference to Hinds 1993· etitions exist throughout the poems, which overtly interact with each other in multiple ways.2 The "meaning" of such correspondences, of course, is any­ one's best guess. Are they meant to highlight the repeated episodes as par­ ticularly significant? Are they meant to change our perception of each work when we read them side by side? Are they meant to play up (or actively blur) the differences between epic and elegy? Are they simply meant as two com­ plementary representations of time, one synchronic and the other diachronic? Does each work complete the other? And so forth. Rather than seeking to provide explicit answers to such questions, this chapter explores some less obvious connections between the two works, revolving around the ideas of succession, repetition, and, most of all, succession as repetition, on both the cosmic and the terrestrial level. A recent and productive trend in reading the Pasti has been "connecting the disconnected" -that is, tracing a thematic thread between disparate parts of the work, "read[ing] across and between episodes, across and between books" (Newlands 2000,174).3 I stretch this concept further, connectingthe extremely disconnected as well as the already-connected. To be precise, I aim to read Pasti 5 in light of its astonishingly orderly slew of connections not just with itself but with the Metamorphoses,4 and even more precisely, with the 125 126 DARCY KRASNE overarching temporal and cosmological framework of the Metamorphoses, TABLE 5.1 The Structure ofPasti 5 fromthe origins of the cosmos to the glory of Augustus's Rome.5 1-110 Proemial material: Quarrel of the Muses Themes of succession pervade both the Metamorphoses and the Fasti, link­ 9-54 Polyhymnia's etymology: cosmogony with Maiestas ing the cosmic power dynamics of the so-called Divine Succession Myth to 55-78 Urania's etymology: Roman maiores the dynamics of power and succession in Augustan Rome. They are particu­ 79-106 Calliope'S etymology: birth of Mercury (fromMaia)j Evander's larly prevalent in the firsthalf of Fasti 5, where the entire construction of the journey fromArcadia to Latium cosmos and successive generations occurs under the guise of alternative and 111-58 May 1 seemingly unrelated tales (table 5.1 outlines the structure of Fasti 5), and in 111-28 Jupiter's infanCYj aition of cornucopia the last 150 lines of the Metamorphoses, where they more clearly pertain to the 129-46 Augustus's addition of his genius to the cult of theLares quandaries of imperial succession at Rome. Moreover, these themes are not Compitales unrelated to Ovid's poetics; as Philip Hardie (1997, 189-95) has argued of 147-58 Livia's restoration of the BonaDea's shrinej Romulus's defeat of Ovid's sphragis and self-apotheosis in the final lines of the Metamorphoses, Remus Ovid asserts his own self-perpetuating fama in contrast with the need of 159-378 May 2 Rome's rulers to be replicated and aggrandized by their successors.6 Poetry and 159-82 Hyas and Hyades politics, as always for Ovid, go hand in hand, and the network of connections 183-378 between the Fastiand the Metamorphoses helps to illuminate their interplay. Floralia 195-274 Rape and honors of Flora THE COSMOS WASN'T BUILT IN A DAY 229-60 Birth of Mars (IT WAS BUILT IN Two) 275-374 Dishonoring of Floraj famine in Romej honoring of Flora While scholars have frequentlyobserved that both the Fasti and the Metamor­ 377-78 Ovid's sphragis phoses begin with a cosmogony, much less attention has been paid to the sec­ 379-414 May 3 Death and catasterism of Chiron ond, alternative, cosmogony that appears in each work toward their respective 419-92 May 9 Lemuria endpoints.7 The finalbook of the Metamorphoses includes a cosmogony within 451-92 Remus's ghostj Celer's crime the quasi-Empedoclean doctrine of Pythagoras (see Hardie 1995; Galinsky 493-544 May 10 Birth (and death) of Orion 1998), while the fifth book of the Fasti, which opens with the quarrel of the 545-98 May 12 Temple of Mars U1tor Muses over the origins of "May," features an alternative cosmogony in the 603-62 May 14 rise to power of form of Polyhymnia's song narrating the birth and (instant) 605-20 Rape of Europa (see Barchiesi 1991; Mackie 1992).
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  • Newsletter Nov 2011
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