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teaches us to expect such passages to put greater than usual strain upon the poet’s claim to provide a faithful representation of the phenomenal world. I should like now to explore a descriptive passage that, perhaps more provocatively than any other in Latin epic, engages with the opening of Georgics 3: the visit of Hannibal to Liternum at the end of book 6 of Silius’ Punica. Hannibal approaches Liternum in the aftermath of the great Punic victory at Trasimene, after he has swept south through Italy and arrived at Campania. Here he encounters a temple 53 decorated with scenes from the First Punic War: 54 hic dum stagnosi spectat templumque domosque Literni ductor, uaria splendentia cernit pictura belli patribus monumenta prioris exhausti; nam porticibus signata manebant, quis inerat longus rerum et spectabilis ordo. (6.653-7) Here, while Hannibal the general views the temple and the homes of marshy Liternum, he sees, painted in various colors on the temple porticoes, the splendid memorials of the prior war that had been fought out by the previous generation. Here was represented a long and spectacular sequence of events. There follows a forty-line description of the temple’s decorative scheme consisting of (probably) nine distinct panels 55 depicting memorable events from the First Punic War (658-97). 56 In an extended study of this passage, Don Fowler explores in some depth 53 It happens that there was an important temple at Liternum, “most likely a Capitolium:” see Johannowsky, (1976). 54 The text is that of Delz (Teubner 1987). 55 On the probable layout of the Liternum murals, see Fowler (1996) 66; Marks (2003) 130. 56 Note the possible allusion to Naevius, fr. 19 Morel: inerant signa expressa …. The parallel will be all the more intriguing if this fragment does indeed belong to a description of temple, as many have claimed; see esp. Barchiesi (1962) 274-75; Buchheit (1973) 23-53. 22
the complex play of focalization that results as the reader’s perspective shifts between potential interpreters with conflicting sympathies. 57 More recently, Raymond Marks has skillfully elucidated the relationship between Silius’ ekphrasis and its principal model: Aeneas’ reading of the murals on the temple of Juno at Carthage in Aeneid 1. 58 The reaction of Hannibal to what he sees, however, owes rather more to the architectural fantasy at the beginning of Georgics 3: 59 having observed an artistic representation of the events of the First Punic War from the Roman perspective, Hannibal unveils his plans for a rival set of temple murals, to be realized in Carthage, which will tell the story of the Second Punic War from the Carthaginian perspective: 60 quae postquam infesto percensuit omnia uultu arridens Poenus, lenta proclamat ab ira: “non leuiora dabis nostris inscribere tectis acta meae dextrae: captam, Carthago, Saguntum da spectare, simul flamma ferroque ruentem; perfodiant patres natorum membra. nec Alpes exiguus domitas capiet locus; ardua celsis persultet iuga uictor equis Garamasque Nomasque. addes Ticini spumantis sanguine ripas et nostrum Trebiam et Thrasymenni litora Tusci clausa cadaueribus. ruat ingens corpore et armis 57 Fowler (1996) 57-74, esp. 65-71. On the problems of reading ecphrasis, see Fowler’s seminal article (Fowler (1991)) with exhaustive bibliography. 58 Marks (2003) 128-44. On the description of artwork in Silius, see also Frank (1974) and Augoustakis (2003). 59 Some of the parallels between Punica 6 and Georgics 3 are noted by Fowler (1996) 72-73. 60 The probable lexical parallels are highlighted. domitas in line 704 and addes in line 706 pick up Georgics 3.30 (addam urbes Asiae domitas). Less secure is the resemblance in sound between flamma ferroque ruentem at line 702 and Georgics 3.28 (atque hic undantem bello magnumque fluentem). Note too the allusion to the columns adorned with ships’ beaks that will appear on the doors of Vergil’s temple (Georgics 3.29) at Punica 6.664: rostra gerens niuea surgebat mole columna, noticed by Fowler (note 3 above) 67, n. 37 (“the proem to Georgics 3 is ‘a significant ekphrastic intertext’”). 23
Page 1 and 2: EXEGI MONUMENTUM: ARCHITECTURE IN L
Page 3 and 4: EXEGI MONUMENTUM: ARCHITECTURE IN L
Page 5 and 6: ACKNOWLEDGEMENTS I should like to t
Page 7 and 8: Introduction When Octavian celebrat
Page 9 and 10: Octavian and his successors articul
Page 11 and 12: putative hierarchy upon which ficti
Page 13 and 14: Chapter one “The earliest ekphras
Page 15 and 16: its tender reeds. I will put Caesar
Page 17 and 18: Next, Virgil envisages the lavish f
Page 19 and 20: In Metamorphoses 3, Ovid adapts Vir
Page 21 and 22: the conquest of “the cities of As
Page 23 and 24: in fashioning of his own “literar
Page 25 and 26: (3.26-36) Parian stones too will st
Page 27: appear in Georgics 3, Myron’s cat
Page 31 and 32: Hannibal’s speech falls into thre
Page 33 and 34: foresees his own deeds being “wri
Page 35 and 36: they belong to the realm of possibl
Page 37 and 38: we are left with the text of the Pu
Page 39 and 40: The unity of the Aeneid may be defi
Page 41 and 42: in the precise center of Virgil’s
Page 43 and 44: aequora tuta silent; tum siluis sca
Page 45 and 46: Servius’ observation about Virgil
Page 47 and 48: mixture of pure fancy, literary (ch
Page 49 and 50: The long and winding ambages that c
Page 51 and 52: instant ardentes Tyrii: pars ducere
Page 53 and 54: The sight of the impressive civic b
Page 55 and 56: theatre in the heart of Carthage al
Page 57 and 58: aut Agamemnonius scaenis agitatus O
Page 59 and 60: in a half-realized, half-idealized
Page 61 and 62: The authorial voice here goes to un
Page 63 and 64: The literary resonances of these fa
Page 65 and 66: oth to construct his own narrative
Page 67 and 68: The nominally distinct layers of (u
Page 69 and 70: Parius lapis is a striking phrase,
Page 71 and 72: After Dido delivers her magnanimous
Page 73 and 74: Aeneid, defined in the proem as a g
Page 75 and 76: Just as when a cauldron of water re
Page 77 and 78: house resembles in the real night s
Page 79 and 80:
condenses and crystallizes the laby
Page 81 and 82:
Aeneid 1. 105 It should come as no
Page 83 and 84:
Aeneas to sing belong to distinct l
Page 85 and 86:
Chapter three Aeneid 6.1-294 Virgil
Page 87 and 88:
thirties. 4 Not only does he relate
Page 89 and 90:
thus be understood as the crucial l
Page 91 and 92:
polemical “correction” of the m
Page 93 and 94:
Whereas the immania templa dedicate
Page 95 and 96:
the description of the artist faili
Page 97 and 98:
The manner in which Virgil treats t
Page 99 and 100:
at line 14 (Daedalus, ut fama est
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threads, thus symbolizes and encaps
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from the present of the narrative t
Page 105 and 106:
In the previous section I discussed
Page 107 and 108:
towards the Sibyl, Aeneas calls upo
Page 109 and 110:
will stand for the poetic monument
Page 111 and 112:
More allusions to Lucretius follow.
Page 113 and 114:
Virgil’s list of the human sins a
Page 115 and 116:
falsa insomnia (altera candenti per
Page 117 and 118:
Trojans have landed not on Leucas,
Page 119 and 120:
et glacialis hiems Aquilonibus aspe
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gesture. 17 By transferring the Ili
Page 123 and 124:
Aeneas’ Coroebus place upon both
Page 125 and 126:
Whether or not we care to identify
Page 127 and 128:
that Aeneas has before his eyes as
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heroic age. The paltry size of the
Page 131 and 132:
Octavian in 28 BC (8.675-728). Like
Page 133 and 134:
The description of Aeneas’ shield
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2 and 3, Virgil surrenders the narr
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anticipated. His representation of
Page 139 and 140:
the arces of the Phaeacians’ isla
Page 141 and 142:
As it happens, 85 the first thing A
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88). The parallels with both the Ho
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Aeneas concedes as much when, final
Page 147 and 148:
Aeneas recognizes (agnosco, 351) th
Page 149 and 150:
Helenus’ artistry as the new Troi
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y living beings that has been reduc
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thatch. 3 It seems plausible that t
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have known only the hands of their
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no less authentic than the physical
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the Palatine dwelling of Augustus.
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Rome of his day and the bucolic Rom
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Like Carinae and the Asylum, the na
Page 165 and 166:
The ruins of Latium’s primeval ci
Page 167 and 168:
activities of Caesar in the East (l
Page 169 and 170:
to immortalize its protagonists las
Page 171 and 172:
After the proem to Georgics 3, Hora
Page 173 and 174:
In the Pharsalia of Lucan, the abse
Page 175 and 176:
Lucan paints a very similar picture
Page 177 and 178:
state is due purely to the civil wa
Page 179 and 180:
In reporting the words of Alexander
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Rhoetion et multum debentes uatibus
Page 183 and 184:
the structure of which they were pa
Page 185 and 186:
aspicit Hesiones scopulos siluaque
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magic of a uates to create a poetic
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envy for the holy renown of others;
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eader. Over the primeval rusticity
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Conclusions For the poets of the ea
Page 195 and 196:
manner in which literary artists ge
Page 197 and 198:
in which architecture was a primary
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———. P. Vergili Maronis Aenei
Page 201 and 202:
———. Vergil Über die Sendung
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Doob, P.R. The Idea of the Labyrint
Page 205 and 206:
355-56. ———. “Augustus, Ver
Page 207 and 208:
Harrison, S.J. “The Sword-Belt of
Page 209 and 210:
———. “Vt Pictura Poesis: Wr
Page 211 and 212:
Michels, . “Lucretius and the Six
Page 213 and 214:
Poetry, 51-79. Bari, 2004. ——
Page 215 and 216:
Salemme, C. “Sul ‘senso della s
Page 217 and 218:
Image 15 (1999): 7-18. Webb, R. and
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