Dissertation FINAL2.pdf - Cornell University

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TABLE OF CONTENTS Page Introduction 1 Chapter one 7 Chapter two 31 Chapter three 78 Chapter four 108 Chapter five 144 Conclusions 185 Bibliography 190 v
Introduction When Octavian celebrated his triumph in 29 BC, all of his major rivals were dead. His opponents had no significant spokesman; the senatorial class had been devastated. In solidifying his rule, Octavian set about fashioning for his contemporaries, and for posterity, the official image of his regime, overlaying the brick city he found with a veneer, or façade, of marble (Suet., Aug. 28). As a direct result of Octavian’s building program, architecture and art became the principal medium through which to propagate and transmit the Augustan version of the Roman past and present. Virgil, charged with the task of giving literary shape to the new Rome, was in his own way one of the chief architects of the regime. Like the new and renovated physical monuments of the city, the Aeneid, Virgil’s literary monumentum, was commissioned to present, and preserve, the Augustan narrative of Roman history. Like those physical monuments, too, the Aeneid was necessarily a selective account of the Roman past. Yet had Virgil been concerned merely to preserve the official version of Octavian’s Rome, his monument would have run the risk, after the passing of the regime, of going the way of all monuments. In order that his own monumentum might endure the passing of temporal power and its buildings, Virgil exercised a selectivity of his own. At the beginning of Georgics 3, Virgil proclaims the impending composition of his new opus by describing the erection of a massive temple of marble on the river Mincius: et uiridi in campo templum de marmore ponam propter aquam ingens tardis ingens ubi flexibus errat Mincius et tenera praetexit harundine ripas. 1
Page 1 and 2: EXEGI MONUMENTUM: ARCHITECTURE IN L
Page 3 and 4: EXEGI MONUMENTUM: ARCHITECTURE IN L
Page 5: ACKNOWLEDGEMENTS I should like to t
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 and 28: appear in Georgics 3, Myron’s cat
Page 29 and 30: the complex play of focalization th
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
Page 101 and 102:
threads, thus symbolizes and encaps
Page 103 and 104:
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
Page 121 and 122:
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
Page 129 and 130:
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
Page 135 and 136:
2 and 3, Virgil surrenders the narr
Page 137 and 138:
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
Page 143 and 144:
88). The parallels with both the Ho
Page 145 and 146:
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
Page 151 and 152:
y living beings that has been reduc
Page 153 and 154:
thatch. 3 It seems plausible that t
Page 155 and 156:
have known only the hands of their
Page 157 and 158:
no less authentic than the physical
Page 159 and 160:
the Palatine dwelling of Augustus.
Page 161 and 162:
Rome of his day and the bucolic Rom
Page 163 and 164:
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
Page 181 and 182:
Rhoetion et multum debentes uatibus
Page 183 and 184:
the structure of which they were pa
Page 185 and 186:
aspicit Hesiones scopulos siluaque
Page 187 and 188:
magic of a uates to create a poetic
Page 189 and 190:
envy for the holy renown of others;
Page 191 and 192:
eader. Over the primeval rusticity
Page 193 and 194:
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
Page 199 and 200:
———. P. Vergili Maronis Aenei
Page 201 and 202:
———. Vergil Über die Sendung
Page 203 and 204:
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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