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The Laocoon Tableau in Virgil's Aeneid

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The Laocoon Tableau in Virgil's Aeneid The Laocoon Tableau in Virgil’s Aeneid The Laocoon Tableau in Virgil’s Aeneid is draped over his back, once struck by lightning. A great crowd of servants stands JOHN R.C. MARTYN (1934-2019) around him, and an extra ordinary number of Trojans are emigrating with him, keen on This is the text of the lecture given at Schools’ the new settlement.’ Night at the University of Melbourne on 22 From Sophocles’ surviving plays, we can September, 1983; it was then published in the 1984 guess that the tragedy was as follows: volume of Iris. At the time, JRC Martyn was Senior Lecturer in Classical Studies at the University of Act I: Trojans rejoice at war’s end; tour of the Melbourne. He retired in 2000 with the rank of Greek Camp-site. Associate Professor, and remained an Honorary Principal Fellow of Classics & Archaeology for Act II: Debate over the Wooden Horse: well over a decade. Cassandra and Laocoon warn of danger. Act III: Laocoon insults the horse; sacrifices n the 8th Century BC Greek epic to Poseidon (Aeneas present). by Arctinus, called the Iliupersis or ‘Destruction of Troy’, Laocoon only Act IV: Messenger speech, describing I Laocoon’s death and Aeneas’ emigration. had one son, and was blinded, but escaped death.1 Sophocles’ play Laocoon was more significant; unfortunately only fourteen lines Since Laocoon and Anchises were brothers, or so survive today, but it must have been the death of Laocoon and his son or sons would the major treatment of the story in Greek have triggered the departure of Anchises literature, and of great interest to Virgil. and Aeneas (and his young son Ascanius) for safe refuge at Mount Ida. Laocoon’s The three passages that survive can be tragic flaw, I suggest, was his arrogance his translated as follows:2 hybris, first in making love with his wife inside Apollo’s temple at Thymbra and then (a) Setting: ‘The altar-stone is bright with in physically attacking Athena’s sacred horse flames, smoking with melting myrrh and and ridiculing its divinity, once the war was Eastern perfumes.’ over. The play was probably located at the scene of his first crime, Apollo’s temple at (b) Laocoon’s prayer: ‘O Poseidon, who Thymbra. Note that Laocoon is the priest holdest sway over the headlands of the of Neptune, as in Virgil’s account (line 201); Aegean, on the high crags above the entrance however, Aeneas remains to lead the fight in to the blue waters of the sheltered cove.’ Troy in the Latin, and Cassandra waits for the horse inside the city. (c) Messenger: ‘But now Aeneas, the son of Venus, is waiting at the gates, carrying his The other likely influence on Virgil was father on his shoulders, whose linen robe the statue of Laocoon and his two sons sculptured in about 50 BC3 by three artists from Rhodes, and described by the Elder 1 See Austin (1964), 95. For this paper, the assumed Pliny (Natural Histories 36.37) in AD 79: background is Aeneid II. 31–66, 195–249; the English translation is that by Lewis (1972), 6. 2 For the Greek, see Jebb & Headlam (1917), 38–47, where two additional lines (‘When toil changes, toils are sweet’, and ‘No account is taken of sorrow that is over’), two words (‘I’m wounded’ and ‘Down-swooping’) and the snakes’ names (in Servius, ‘Curifis’ and ‘Periboea’) 3 The date accepted by Bieber (1942), 37-41; for circa are also given. The translations are mine. 150–100 BC, see Havelock (1971), 149–150. 40 The Laocoon Tableau in Virgil’s Aeneid unknown but brilliant artist recreated with sicut in Laocoonte, qui est in Titi imperatoris his paints not some Pergamean original,4 nor domo, opus omnibus et picturae et statuariae the Homeric saga, nor some contemporary artis praeferendum. ex uno lapide eum ac liberos Roman night fêtes5 nor the horrors of Lucan,6 draconumque mirabiles nexus de consilii sententia but the second book of Virgil’s Aeneid, that fecere summi artifices Hagesander et Polydorus et must have been known off by heart by every Athenodorus Rhodii schoolboy- turned-artist in Pompeii. ‘The Laocoon group stands in the palace of The picture of the Trojan Horse entering the emperor Titus, a work superior to any Troy can be seen on the cover of Craddock’s painting or sculpture. Laocoon, his children text of Aeneid II, although there only half of and the snakes marvellously entwined the original is shown. 7 For the full view, see around them, were carved from a single Image 1 below. Note the superb composition block, in accordance with an agreed plan, and brushwork of this almost impressionistic by those eminent craftsmen from Rhodes, historical painting. On the right, the Hagesandros, Polydorus and Athenodorus.’ monstrous Horse towers threateningly (‘the menace mounts’)8 over the Trojans, as it ‘comes trundling into the city centre’. Its Its first appearance in Rome, late in the flaming crest is cleverly balanced by the crest first century BC, must have equally excited of Athena on the left, and by the crests of Roman artists and writers, like Virgil. the two serpents that escaped ‘towards the shrine of relentless Minerva’ and, instead of Virgil seems to have followed the sculpture ‘disappearing behind her shield’, are wound in his description of the serpents’ attack and around the urn or ball at the top of the central killing of both sons and their father. From pillar.9 The Horse is on rollers, easily inserted Arctinus and Sophocles came the reason ‘under its hooves’ by a crowd of enthusiastic behind the snakes’ attack, including his young Trojans,10 and the ‘hawsers of hemp spear-throwing, and the debate over what to do with the horse, and Cassandra’s warning. He also had a lead for Aeneas being an eye- 4 As suggested by most art-historians: see Grant (1978), witness, later able to tell the story to Dido. 161, and Hanfmann (1964), xxxiii, hereafter cited as However, it took Virgil’s genius to combine Hanfmann. ideas from Greek epic, drama and sculpture 5 As in Maiuri (1953), 76, hereafter cited as Maiuri. See into one of the most dramatic, artistic and Maiuri, 75. memorable passages in Latin literature. As a 6 Grant (1978), 159. whole, especially with the Sinon interruption, the story is Virgil’s own creation. 7 Craddock (1976a & 1976b). The full image is in Maiuri, 75. The immediate impact of Virgil’s story 8 Words in inverted commas are from Lewis’ 1972 appears in two nearly contemporary works translation. of art, a Pompeian triptych, and a miniature in an early manuscript of Virgil’s The 9 Under a magnifying glass, separate coils are visible. Aeneid. The pillar’s summit has been ignored by scholars writing triptych covers three walls in the House of on the wall-painting. Their blood-red crests (iubae Menander, the model villa in the ‘Pompeii 79’ sanguineae, 205–6) look forward to the flammas from the exhibition that visited Melbourne. It depicts poop of the leading Greek ship (256). three crucial incidents in the destruction of 10 Austin (1964), 111 criticises Virgil for ‘ignoring the Troy, the Death of Laocoon, the Wooden difficulty of fitting wheels to the great heavy creature with Horse’s entry into Troy, and the rape of all the Greeks inside’; in fact, there were only 9 soldiers Cassandra before the eyes of Priam her inside (261–4), and the hollow structure could have easily father. In all three cases I suggest that the been lifted up on to a wheeled base by the Trojan troops (or tilted). Being sacred, it would have been handled with care. 41 Iris | Journal of the Classical Association of Victoria | New Series | Volume 31 | 2018 The Laocoon Tableau in Virgil’s Aeneid around its neck’ are being pulled by four one leg thrust forward (balancing Sinon’s), young men caught in the moonlight, and by with a gloomy expression, perhaps a symbol six or so in the shadows, including one near of war’s carnage. Next to him, on the same the Horse with his arms held above his head, lattice-work seat, a loving couple gaze into pulling down on the rope; not a carpenter.11 each other’s eyes (not a seated woman!),14 On the right, ‘boys and unmarried maidens their repose neatly balancing the strain of joyfully grip the traces’, tied to the wooden the pullers. To their right, a gnarled old tree- crosses in their hands. Presumably the trunk rises from a rock; behind it, large green Horse has just ‘stopped at the entrance, fronds, and the temple of Athena. Together accoutrements clanging in its belly’, unheard with the plinth on which she stands, looking by the ‘psalm-singing’, and ‘madly blind’ away from the people she has betrayed, crowd, celebrating this unexpected end of these buildings counterpoise the towers on a grim, ten-year siege. One man, however, the right, which are being split open by the did hear, and was very worried, the crafty giant Horse; part of the large ribbons over Sinon, a key actor in this drama. He will the tower is being pulled away by the Horse. soon (verse 259) open the Horse, on seeing the flames that showed the Greek ships were At the very top of the picture a Fury now returning from Tenedos (from where approaches the Trojans, brandishing her the snakes had come). He also is caught by torch of destruction, war’s sombre Fury.15 the moonlight, which highlights his naked, Behind her the ghostly walls and towers of muscular legs and private parts beneath the Troy stretch out, very effectively depicted rags which helped deceive his captors.
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