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Fama and Fiction in Vergil's Aeneid

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Fama and Fiction in Vergil's Aeneid Fama and Fiction in Vergil’s Aeneid For my sister, Lydia Fama and Fiction in Vergil’s Aeneid Antonia Syson The Ohio State University Press • Columbus Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Syson, Antonia Jane Reobone, 1973– Fama and fiction in Vergil’s Aeneid / Antonia Syson. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1234-9 (cloth : alk. paper) ISBN-10: 0-8142-1234-4 (cloth : alk. paper) ISBN-13: 978-0-8142-9336-2 (cd-rom) ISBN-10: 0-8142-9336-0 (cd-rom) 1. Virgil. Aeneis—Criticism and interpretation. 2. Epic poetry, Latin—History and criticism. 3. Rhetoric, Ancient. I. Title. PA6932.S97 2013 873'.01—dc23 2013014967 Cover design by Mia Risberg Text design by Juliet Williams Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. Cover image: Master of the Aeneid (fl. ca. 1530–1540). Juno, Seated on a Golden Throne, Asks Alecto to Confuse the Trojans. France, Limoges, ca. 1530–35. Painted enamel plaque on copper, partly gilt, H. 9 in. (22.9 em) ; W. 8 in. (20.3 em.). Fletcher Fund, 1945 (45.60.6). The Metropolitan Museum of Art, New York, NY, U.S.A. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii Chapter 1 • Introduction 1 1.1 The seams of fiction in epic and novel 7 1.2 What Turnus sees 18 1.3 Classifying fama 28 1.4 Chapter previews 40 Chapter 2 • Monstrous Fama 44 2.1 Fama’s tongues 46 2.2 Jupiter’s bargain 54 2.3 Sinon’s fama 59 Chapter 3 • Matter out of Place I: Across the Styx 63 3.1 Dirt and disorder 69 3.2 Daedalean excesses 74 3.3 Misenus and the substance of fama 78 3.4 Putting Palinurus in his place 84 Chapter 4 • This and That 91 4.1 Memories of the Harpy 96 4.2 When “that” becomes “this” 102 4.3 Recognizing divine authority 108 vi • Contents Chapter 5 • Matter out of Place II: Nisus and Euryalus 117 5.1 Fama evaluated 119 5.2 Dirty fighting 126 Chapter 6 • The Order of Metamorphosis 135 6.1 Vidi ipse 137 6.2 Cybele and Jupiter’s order 146 Chapter 7 • Slithery Changes 165 7.1 Venus’ fictions 166 7.2 What Amata sees 178 7.3 Reading for the novel 185 Chapter 8 • How to Do Things with Birds 191 8.1 Rumors 194 8.2 Accipio agnoscoque deos 201 8.3 Juturna’s fictional truth 208 Afterword • Swan Song 214 Works Cited 219 Index Locorum 230 General Index 232 Acknowledgments This project has made me learn just how grateful it is possible to be for the unfathomable depths of generosity I have found in friends, family, and colleagues. First and last, Nelly Oliensis: I don’t know what would have become of the project without her sharp questions, her untan- gling and rephrasing of ideas that were expressed with quite unnecessary obscurity, her reading suggestions for relevant theoretical and philosophical perspectives when I was drafting chapters of my dissertation, and—most of all—her warm and steadfast encouragement (though I’m sure I haven’t convinced her of everything I argue here). And for providing through his emails just the light editorial touch, guidance, and firm support I needed as I completed the book, I owe an immeasurable amount to my editor, Eugene O’Connor. Others read single chapters or the whole manuscript at vari- ous stages from its tiny kernel as a dissertation to its most recent drafts. In different ways all contributed to the development of the book’s overall shape (with the usual caveat that what’s good I owe to them, while they’re not to be blamed for what isn’t): Melissa Mueller, Lydia Syson, James Ker, Chris van den Berg, vii viii • Acknowledgments Howard Mancing, Keith Dickson, Aaron Seider, Angelica Duran, Jim Tatum, Margaret Williamson, Allen Romano, David Wray, Shadi Bartsch, Danielle Allen, Peter White, Ted Lisowski, Matt Pincus, Leslie Kurke, and the members of my lovely dissertation committee all those years ago (along with Nelly Oliensis): Kathy McCarthy, Marianne Constable, and William Fitzgerald. The Ohio State University Press’s anonymous readers helped a lot, and so did another still unknown reader when the project was at a much earlier stage. I am grateful, too, to Steve Oberhelman and an insightful anonymous reader for Helios, who helped me to sharpen an essay which is now chapter 3. But of all these, I would single out with even warmer grati- tude for their lavishly detailed comments Melissa Mueller, James Ker, Chris van den Berg, Jim Tatum, Allen Romano, Danielle Allen, Matt Pincus, and Kathy McCarthy. Much of my stimulation has come from conferences and talks, particu- larly from fellow participants in the “For a Theory of the Novel of the 21st Century” workshop at the Center for the Study of the Novel at Stanford, the APA in San Antonio, the International Conference on Narrative in Birming- ham, and the Indiana Classical Conference, as well as audiences at talks I gave at York University, Dartmouth College, the University of Michigan, the University of Chicago, the Department of Classics at Stanford, Scripps College, and SUNY Buffalo. Many of my thoughts and questions about fama and fiction are indebted to students here at Purdue, at Dartmouth College, the University of Chi- cago, Northwestern University, and UC Berkeley. I am thankful to these institutions, too (and to the Mellon Foundation’s doctoral and postdoctoral fellowships) for generous research support and for employment in various capacities. And I can’t imagine what it would mean to think or teach in this line of work at all without Oliver Taplin, who was my undergraduate tutor at Magdalen. Finally, none of this would have meant anything without all the other kinds of help given by amazing friends, colleagues, and family, especially Lucy Gaster, Nick Deakin, Luke Syson, Anna Lawrence Pietroni, Julia Davids, Jill Peterson, Celina Gray, Christiane Hullmann, Jo Depledge, Amanda Oberg, John Fox, Jo Crawley-Quinn, Jo Park, Uthie Srinivasan, Elena Coda, Jen William, Anu Subramanian, Nicki and Matt Haines, Patty Hart, Patrice Rankine, Nick Rauh, Marcia Stephenson, Polly Gaster, and the younger generation: Sophy, Poppy, Molly, Benedict, Felix, Judy, Sol, Popi, Andrew, Margot, Leonia, Arthur, Phoebe, Adam, Rufus, and Solomon. 1 Introduction Both Aeneas and his enemy Turnus are told “Look!” at pivotal moments in the Aeneid. A goddess issues each imperative; each drastically alters its recipient’s mental state and sets the Aeneid’s story on a new trajectory. “Look,” his mother Venus instructs Aeneas (Aen. 2.604), when she lifts the cloud that normally blunts mortal vision, so that he can see for himself the unrelent- ing hostility of the gods (diuum inclementia, 2.602), who are tearing apart his city.1 “Look at these!” says the Fury Allecto to Turnus (Aen. 7.454), when she throws off her mortal disguise and demands that he look at her Fury’s gear in all its contami- nating, snaky force.2 “Look!” is an injunction familiar to novel readers. We are repeatedly asked to look at the world around us, and to blend that world—as we remember or imagine it—into the narrative’s 1. Hershkowitz 1998, 80–85 analyzes Aeneas’ vision of the gods in relation to Turnus’ madness—and Turnus’ moments of clarity. She argues that Aeneas in 2.624ff. and Turnus in 12.665ff. “view the same fundamental chaos and darkness” (85). 2. For detailed discussion of these commands, see chapters 6.1 and 1.2. In 2.604 Aeneas tells the Carthaginians of Venus’ orders: aspice is the first of a series of impera- tives. In 7.454 Allecto directs Turnus, respice ad haec, telling him to “have regard for” the force of her hellish attributes; bella manu letumque gero (“wars and death I bear in my hand,” 7.455). 1 2 • Chapter 1 particular creations. George Eliot’s Middlemarch invites us to visualize this blending in the famous “parable” that reflects Rosamund Vincy’s egoistic view: Your pier-glass or extensive surface of polished steel made to be rubbed by a housemaid, will be minutely and multitudinously scratched in all direc- tions; but place now against it a lighted candle as a centre of illumination, and lo! the scratches will seem to arrange themselves in a fine series of concentric circles round that little sun.3 Eliot’s “lo!” marks out the almost magical power of the narrator to bring such visions to the reader’s inner-eye, as well as the power of the candle’s viewer to etch with her gaze the concentric circles that turn the flame into a “little sun.” Over and over again mortal characters in the Aeneid are faced with unset- tling words and strange visions, and are called to look to these for some kind of divine order. Readers too are invited to see a world structured (and thrown into disarray) by the gods’ whims and plans, and a world where humans owe the gods not only their obedience but their interpretive skills. Not all divine communications in the Aeneid take the form of grammatical imperatives, of course. But those appeals to “look” at a world infused with the power of the gods—and to yield to that terrifying power—spell out explicitly a rhetorical gesture that permeates the entire narrative, giving a special cast to the fictive knowledge offered by the poem.
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