In the first ecphrasis in Vergil's Aeneid (1.441–94) describing Dido's temple to Juno through the eyes of Aeneas, Aeneas comes across as an isolated and confused interpreter of images of his sufferings: he understands the images he sees in one way, while the external audience understands them and his interpretation of them differently. Odysseus is neither alone nor confused when he hears Demodocus' songs in Odyssey 8. Moreover, the Odyssey—unlike the Aeneid—sees art as a basically straightforward and positive force (...) in human life. Vergil draws on this contrast to depict Aeneas and interpretation in Aeneid 1. (shrink)

The work is aimed at interpreting text and paintings in D. Rubina and B. Karafelov’s book ‘Okna‘. The authors of the article conduct an analysis of episodes with pictorial ecphrasis in the stories from the book and an iconographic analysis of paintings inside the stories. The chosen topic is actual, because it provides an alternative way to solve a problem of word and image relations in the text. The article is aimed at the search for new methods to reflect (...) a protagonist’s character. In this context, the authors of the article compare images in D. Rubina’s texts with B. Karafelov’s paintings, analyze the symbiotical connection of pictorial ecphrasis and reproductions of paintings. The most of the stories are autobiographical what makes them representative in terms of transferring the narrator’s position through the pictorial ecphrasis. In that book, paintings are not just illustrations and not visualization of ecphrasis. Pictures were introduced into the text of novels for presenting main motives and enriching stories by new images and meanings, which could not be represented by text. Colors of paintings are accentuated by color-designation words and are converged to tonality of text. Thereby a reader can interact with a writer and a painter simultaneously. After analyzing of text and pictures, the authors of the article made a conclusion about efficiency of word and picture synthesis for disclosure of the same themes in multiple artistic planes. (shrink)

This paper studies Suetonius's depiction of the appearance of Emperors through what I call Bodily or Corporeal Ecphrasis. Suetonius's ecphrasis of the Emperor's body directs the readers' gaze over the corpus principis in a way that deconstructs the ontology of the princeps. I will show that Suetonius's construction of emperors' corpora includes an amalgamation of referents to heavenly and animal bodies that upsets a reader's ability to interpret these radically unique images through a purely human criterion.

A review of Peter Steele’s Plenty, a book in which each poem is faced by a colour plate of the painting or object which sparked it off. Hollander’s ecphrasis and Krieger’s ekphrasis are held in – possibly unresolvable – dialectic by Steele’s poems. The only resolution which one can find is one of wit rather than of philosophy.

This paper is dedicated to the Εἰκόνες of the two Philostrati and to the Ἐκφράσεις of Callistratus, that is to say to three Greek works that bear important witness to the genre of art criticism in Antiquity and which concern both literary history and the history of art. The first series of Εἰκόνες is the work of Philostratus the Elder (2nd-3rd century AD) and comprises sixty-five descriptions of paintings with mythological subjects, which the author assures us he has seen in (...) a gallery in Naples. Another Philostratus, who claims to be the grandson of the former, and who is traditionally referred to as Philostratus the Younger, wrote a second, shorter series of Εἰκόνες, which describes seventeen paintings. Finally, a certain Callistratus, who probably dates from the 4th century AD, is the author of the Ἐκφράσεις, which group together fourteen descriptions of statues in marble and bronze.1 Ecphrasis is a subject that is often the focus of contemporary research. Perhaps its importance stems from the fact that we live in a civilization dominated by images, and we feel the need to control the visual imagery that surrounds us, to govern it and to make sense of it through language. The attention given to literary theory, rhetoric and sophistry today also helps to explain the success of this subject. The present book is situated in this field of research. The "La Licorne" series in which it is published specializes in the study of ancient and modern literature, a specialization to which this volume corresponds. This volume has two points of focus: (1) the literary form of description and the complex relationships between word and image, between the oral and the visual (hence the title Le défi de l'art, which signifies, among other things, that the art of the painter and of the sculptor challenges the sophist, who tries to describe works of art with words); (2) the Nachleben of ancient texts, because Philostratus and Callistratus were well-known to posterity, particularly during the Renaissance. (shrink)

This article aims to discuss how Lucretius arranges the four ‘roots’ at the end of successive lines of verse in the De rerum natura (henceforth, DRN) (1.5–8). In this passage Lucretius, alluding to Empedocles, puts the words in such an order that one can see the layers of the world by a vertical reading. In the same passage, Lucretius imitates the very beginning of Homer's ecphrasis (Il. 18.478–85), which the allegorical tradition will explain as an image of the world, (...) related to Empedoclean theory. The article also discusses the allusion to Daedalus by means of the adjective daedalus in DRN 1.7 (daedala tellus), which could be related to both Empedocles and Homer. This adjective is a keyword for discussing the image produced by the words on the written page. (shrink)

The aim of this paper is to analyse a literary response to antiquity’s most alluring work of art, the Cnidian Aphrodite. It argues that the ecphrasis of the statue in the Amores develops textual and verbal strategies to provoke in the recipients the desire to see the Cnidia, but eventually frustrates this desire. The ecphrasis thereby creates a discrepancy between the characters’ aesthetic experience of the statue and the visualisation and aesthetic experience of the recipients of the text. (...) The erotic mechanisms of the ecphrasis, simultaneously arousing and frustrating the recipients’ desire, mirror the effect of the statue on its viewers and disclose the erotic programmatics of the whole dialogue. The analysis shows that the Amores surpass the ongoing discourse on love from Plato’s Phaedrus to the ancient novel – and Achilles Tatius and Longus in particular. The Amores, like the nude statue of the Cnidia, threaten to cross all bounds of decency in sexuality. (shrink)

This article attempts to explain the structure of the eponymous ecphrasis in the Pseudo-Hesiodic “Shield of Heracles” as a programme outlining an evolution from violent chaos to peaceful order which corresponds to the function initially ascribed to Heracles as ‘protector against ruin for gods and men’ (Sc. 28-9). It will be argued that the seemingly disproportionate ecphrasis is a conscious reworking of the Homeric shield of Achilles employed as a literary device to give a cosmic dimension to the (...) battle between Heracles and Cycnus and establish Heracles as the unambiguously glorious (super)hero of the epyllion. This interpretation of the Pseudo-Hesiodic Heracles is consistent with Richard Martin’s notion of a ‘trash aesthetic’ determining the composition and presentation of the poem. (shrink)

This paper considers two scenes in Books 15 and 16 of the Punica of Silius Italicus: Hasdrubal’s celebration of the founding of Carthage with the ecphrasis of the general’s cloak (Sil. 15,410–440) and Scipio’s visit to the court of King Syphax (16,170–276). For both passages there are important reference texts in scenes of Vergil’s Aeneid and Statius’ Thebaid that have until now received no, or not enough, attention: Aeneas’ visit to the future Rome (Aen. 8,102–553) and the sacrifice of (...) Eteocles (Theb. 11,205–238). After a brief assessment of the historiographical basis, I set out the influence in content and language of these reference texts on the two scenes. Further, I consider the adaptation of other epic pre-texts in the ecphrasis of Hasdrubal’s cloak and propose a new interpretation: the ecphrasis links Hasdrubal to Ganymede, Polyphemus and Cacus, and Scipio with Jupiter, Odysseus and Hercules. The study highlights positive and negative aspects of the pre-texts and shows the ambivalent characterisation of Silius’ Scipio, who is associated both with positive figures (Hercules and Aeneas) and with the sinister Polynices. The shared reference of the two scenes of the Punica has a linking, framing and preparatory function. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Livy’s Written RomeWilliam SeaveyMary Jaeger. Livy’s Written Rome. Ann Arbor: University of Michigan Press, 1997. xii 1 205 pp. Cloth, $39.50.How Livy went about writing his immense history has been a topic of keen interest, and recent work such as Jaeger’s directs our thinking in new and interesting ways. Livian historiography has traditionally focused on Quellenforschung and more recently on the rhetorical influences that often remain unrecognized by (...) modern readers. A still newer kind of historiography, branching from rhetorical studies, considers the influence of space on a writer’s text, and it is attracted to both topographical and material issues. Indicative of such works in the last decade are Paul Zanker, The Power of Images in the Age of Augustus (Ann Arbor 1988); Eleanor Winsor Leach, The Rhetoric of Space (Princeton 1988); C. Nicolet, Space, Geography, and Politics in the Early Roman Empire (Ann Arbor 1991); and Ann Vasaly, Representations: Images of the World in Ciceronian Oratory (Berkeley and Los Angeles 1993). Jaeger follows many historiographers in beginning with Livy’s preface, and then considering disparate episodes throughout Ab Urbe Condita before returning to the preface to reevaluate Livy’s method. By this approach, narrative is not just a chronological reflection of political and religious events; rather, spatial reminders (monumenta) may influence the organization of written narrative. Jaeger narrows her study to focus on “reminders that for various reasons fail to point unambiguously back to a particular person or event” (10). It is when Livy has restored in his text a [End Page 318] lost monumentum that his method is most readily observed: “when monuments fail and the text restores them, reminders of stories give way to stories about reminders” (11). This method of historiography, as Jaeger wields it, gives us a fresh look at an old text. It does not work equally well in all environments—witness the problems Sparta would offer such an approach, as both Jaeger (2) and, long ago, Thucydides realized. Yet more difficult would be monumental—in all senses of the word—societies such as those of ancient Egypt and Central America.Jaeger’s discussion of method and historiography (the Introduction and chapter 1) is excellent. Her survey of Livian historiographical research is thorough and attested by a wealth of judicious footnotes which review the relevant scholarship. The discussion of monumenta is particularly illuminating. Jaeger explains how the “monumentum stands between the res gestae and their literary celebration, so that two layers, the monumental and the literary, come between event and reader” (16). That all share certain qualities make them suitable for historical evaluation: “In sum, we can assume of all monumenta some common characteristics: an absent person or thing commemorated; a present audience reminded; a memory or an exhortation that is socially relevant; and a meaning determined jointly by the reminder, its physical context, and the circumstances of each viewer” (18). Jaeger’s belief that Daedalus’ labyrinth in the Aeneid (Veneris monumentum nefandae, 6.24–27) is the only exception to her standard that monumenta are “exposed to the public view” (17) is a bit strained, even without considering that Vergil’s ecphrasis describing the doors of Apollo’s temple is not really Roman at all. Moreover, Columella recorded that Hyginus collected precisely that sort of evidence: Hyginus veterum auctorum placita secretis dispersa monimentis industrie collegit (De Re Rustica 9.2.1). And what of all the Roman religious elements that are also secret (i.e., not exposed to public view)? It would be difficult to believe that there were no hidden monumenta among all the Roman sacra. Nevertheless, Jaeger’s approach to monumenta reinforces the importance of visualizing narrative as written by classical historians, which results in an illuminating and novel way of examining Livy’s historical text.After discussing the notion of monumenta in chapter 1 Jaeger proceeds to consider four separate episodes from Ab Urbe Condita, noting how Livy “maps the plot of a story onto the Roman landscape, then commemorates the particular enactment of the plot in a monument” (12). Chapter 2 considers the abduction of the Sabine women in AUC book 1, demonstrating a rhythmic flow of action between the... (shrink)

This article offers a new interpretation of Apuleius’ story of Cupid and Psyche. Most scholars have previously offered a second-time reading of this story, according to which the reader reaches Book 11 and then looks back at Psyche's story of fall and redemption as a parallel for Lucius’ life. Following Graverini's and other scholars’ emotional approach to theMetamorphoses, I argue that the ecphrasis of Cupid's palace within the story of Cupid and Psyche includes multiple re-enactments of the novel's prologue. (...) These re-enactments invite the reader to undertake a first-time and immersive reading of this story, which focusses on Psyche's experience of Cupid and her reaction to his epiphany. In its use of immersion, this article draws from recent developments in cognitive narratology and pushes scholars of Apuleius to focus on the reader's immersive and emotional response in order to reassess the value of a second-time reading of theMetamorphoses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pictorial Description as a Supplement for Narrative:The Labour of Augeas' Stables in Heracles LeontophonosGraham ZankerIn this article I propose to explore the pictorialism of the twenty– fifth poem of the Theocritean corpus, uncertainly ascribed to Theocritus and entitled Heracles Leontophonos by Callierges.1 In the course of my discussion I wish to address a contention by A. S. F. Gow2 that "The three parts of the poem... can be fitted (...) into the story [of the cleaning of the stables of Augeas] told by Apollodorus [2.5.5], and the reader can, if he chooses, reconstruct a context for them. Except in the most general way, however, he is neither obliged nor invited to do so: the poet's themes are the landscape and the conversation, and insofar as he is concerned with the Labours at all his subject is the Nemean lion, whose death is narrated in Part iii, rather than the stables of Augeas." I shall suggest that the landscape and other detail is in fact so insistent that it plays no such superficial and passive role, but does indeed invite the reader to reconstruct the myth. In particular I shall attempt to demonstrate how the author uses pictorial detail, in a manner strikingly analogous to procedures observable in contemporary Hellenistic fine art or at least discernible in later copies, to enable the reader to construct the narrative of the formal setting of the poem, i.e., Heracles' cleaning of the stables of Augeas, even though the episode is not related directly in the poem.In Realism in Alexandrian Poetry3 I briefly examined the remarkable pictorialism of Idyll 25. I concentrated on the author's care to impose pictorial coherence on Heracles' narrative of his defeat of the Nemean lion, with Heracles in the final assault standing and astride the back of the beast, his thighs squeezing its flanks, his heels holding its back paws down, and throttling it from behind with his arms around its neck (266–71).4 I also tried to bring out the author's deployment of pictorialism [End Page 411] to motivate the poem's tripartite narrative: the lion–skin arousing the Farmhand's curiosity concerning its wearer's identity (62–67); the skin provoking the bull, Phaethon, the protector of the herd (142–44); and the skin confirming to Phyleus that he is correct in guessing that his companion is the slayer of the Nemean lion (174–76). My discussion of the piece appeared in a chapter on the pictorial realism of the poets who were more or less demonstrably following the lead of Callimachus on the aesthetic principles appropriate to contemporary poetry, and whom I thus chose to consider as a movement. I argued that the historically appropriate term for pictorial realism, or visually precise and vivid description, is enargeia; the ecphrasis of the Greek rhetors from the Imperial and subsequent periods, of which enargeia is an aim, is attested later than enargeia.5 I hope here to be able to fill out the picture I sketched of the deployment of pictorialism in Heracles Leontophonos.In art criticism it has been recognised for some time that a prominent [End Page 412] feature of Hellenistic art is the appeal to the imagination of the viewer, when, for example, we have the representation of a moment prior to the climax of an act, so that the viewer can construct the denouement from the perspective of anticipation, or when the viewer is invited to supplement in his or her imagination details of a scene which have not been actually represented. P. H. von Blanckenhagen ("Betrachter") applied the term "der ergänzende Betrachter" to the viewer enticed to go through this process. So, to use some of his examples, it is the viewer who surprises the Crouching Aphrodite ascribed to Doidalsas, causing her to attempt to hide her sexual beauty. In the case of the Ludovisi Gaul and his Wife, it is the viewer who is to supply the object of the Gaul's stare, his victorious advancing enemy. The upward gaze of the Terme Boxer is directed at the viewer himself, in expression of the athlete's exhaustion. I would... (shrink)

Porphyry’s position in the ancient hermeneutic tradition should be considered separately from his place in the Platonic tradition. He shows considerable respect for allegorizing interpreters with links to Pythagoreanism, particularly Numenius and Cronius, prominent sources in On the Cave of the Nymphs. The language of Homer’s Cave passage is demonstrably distinctive, resembling the Shield passage in the Iliad, and such as to suggest an ecphrasis to early imperial readers. Ecphrasis in turn suggested deeper significance for the story. While (...) largely content to follow Numenian trends in interpreting Homer’s cave symbolically and in relation to multiple belief-systems, Porphyry shows occasionally signs of wanting to adhere more closely to Homeric evidence, resorting to symbolic interpretation mainly when no more straightforward truth is on offer. (shrink)

According to a marginal lemma in the only manuscript that carries the poem , the painting of the world described in a well-known ecphrasis by John of Gaza was situated in the winter baths of Gaza. According to the standard edition of John's poem by P. Friedlaender, these are the baths Choricius of Gaza refers to as in course of construction at Gaza in A.D. 535 or 536. If so, then both the painting and John's poem would have to (...) be later than this. And since the poem does not claim to have been written for the dedication of the baths, it might be considerably later. G. Krahmer even dated it to the seventh century, on the grounds that John misunderstood some details of the picture he was describing. (shrink)

Epigram AP XVI 275, by Posidippus, contains an ecphrasis of a statue created by the sculptor Lysippus that is an allegory of Kairos – not in expository form but rather in the form of a dialogue of questions and answers, with the aim of revealing the hidden meaning of its peculiar iconographic features. Lysippus’ statue and Posidippus’ epigram are the oldest testimonies existing in art and in the literary sources for Kairos, which was the subject of other descriptions and (...) of a rich iconography starting at the end of the Hellenistic age. They contain discrepancies in the selection of the features characterizing the concept, which possibly derive from a change in the meaning and the role of the allegory. The text provides an indication of the frequency with which certain abstractions were personified and deified in the Hellenistic age, sometimes to the point of becoming an object of worship. (shrink)

The Propertian speaker's private erotic gaze evolves into Foucault's "panoptic" gaze of state control, illustrating in the process the early and formative years of Augustan social ideology and its relation to urban renewal. Composed almost a decade before the passage of social legislation in 18 B.C.E. ( leges Iuliae ), Propertius 2.31—the ecphrasis of the temple to Apollo on the Palatine—and its companion piece 2.32 anticipate the radical redefinition of imperial power under Augustus, the encroachment of the state into (...) the private domains of family and sexuality, and the eventual use of such legislation as a "strategy of surveillance.". (shrink)

En la poesía española contemporánea resulta cada vez más frecuente la relación de la poesía con otras disciplinas artísticas y, en especial, con las artes visuales. El poemario “A orillas del Ems”, de María Victoria Atencia, que combina lo fotográfico y lo poético, puede verse como un ejemplo de este tipo de interrelación. Tomando como punto de partida el libro de fotografías “Telgte in Erinnerung”, de Renate Kruchen, la autora realiza una recreación poética, sirviéndose del mecanismo compositivo de la “écfrasis”. (...) En esta recreación, se mezclan o se combinan lo ajeno con lo propio y lo objetivo con lo subjetivo. A las imágenes de los otros se va superponiendo o entrelazando la voz, las experiencias y los recuerdos personales de su autora, en la construcción de un discurso en el que, aunque de forma velada, pueden encontrarse elementos personales, subjetivos y autobiográficos. A lo largo del texto se estudiarán algunas de las formas en las que estos elementos se introducen en el poemario, entre las que se encuentran la selección y ordenación del material fotográfico y poético; las superposiciones o coincidencias entre los dos discursos, el visual y el verbal; la relación entre lo presente y lo ausente; y la interacción de la hablante con los personajes de las fotografías y las relaciones ficticias de parentesco que establece con ellos. (shrink)

Despite the frequent use of the antithesis of parua and magna in Latin literature, the expression parua magnis in Pliny 5,6,43–44 need not be read as proverbial but as a quotation of Vergil, georg. 4,176. This attribution follows from the naming of Vergil and of Aratus in epist. 5,6,43–44. Combined allusions as in 5,6,43–44, consisting of a quotation, the naming of the author and/or narrative structures, are a pattern in the corpus of the younger Pliny’s correspondence. The context of georg. (...) 4,169–179, too, supports the attribution of the phrase as a quotation, since in Vergil’s lines a comparison of genres is made, which Pliny adopts for his own literary positioning in the descriptions of villas in epist. 2,17 und 5,6. Further, the attribution to Vergil’s didactic poem, in combination with the reference to Aratus, which other interpretations hardly take into account, permits a new understanding of the narrative structure of the villa descriptions and their allusive affinity not only to ecphrasis but also to didactic poetry. (shrink)