The article discusses the metapoetic import of Idyll 15. The tapestries and the Adonis song evidence a metapoetic significance, as well as the votive offerings described in this song. In addition, throughout the poem, the association of cloths and poetry is encouraged. The poem functions as a “metapoetic manifesto” designed to indicate the poetic qualities defended by Theocritus. At the same time, it promotes itself as an example of the refined literature and art promoted by the Ptolemaic court and by (...) Arsinoe, and introduces a recognition and appraisal of Arsinoe as responsible for the patronage and promotion of these forms of art. (shrink)

An undiscovered chapter in the history of architecture comes from the ex-Soviet Republic of Georgia. Poetics of Architecture is the name given to the studioworkshop at the Georgian Technical University set up by the Georgian architect Shota Bostanashvili (1948–2013). From 1990 until his death he delivered insightful, playful and rather provocative lectures on architecture at this university. He preferred to call his architectural philosophy, critical discourse on architecture. Themes ranged from poetics to metapoetics of architecture. His philosophy of architecture (...) is illustrated by some of his designs and executed projects which demonstrate a drift from existentialism to the philosophy of play. This study includes reference to his last building, a project whose demolition Bostanashvili witnessed before passing away. Based on the concept of the return of the sacred, this edifice was a sort of counter movement to technogenic architecture. (shrink)

Abstract:This paper explores the poetic interplay between the poet and angry goddess Juno, the two metacharacters in the Aeneid, that is central to the composition of Vergil's epic poem. In addition to the conflicting characterization that links both figures with the epic as well as elegiac genres, their agonistic relationship evokes a typically elegiac discourse between the poet-lover and his dura puella that is known to play a role in his poetic language. The power dynamics of elegy that Vergil has (...) reproduced in the subtext of the Aeneid closely associate Juno's metapoetic role with the process of creating a new Roman epic. In fact, Juno is unveiled as a dominant figure within the poetic discourse who not only animates the poet's talent but essentially shapes his poetic project and allies it with the masculine genre of the epic. (shrink)

TheCulexis now widely recognized as a piece of post-Ovidian, possibly Tiberian, pseudo-juvenilia written by an author impersonating the young Virgil, although it was attached to Virgil's name already in the first centuryc.e., being identified as Virgilian by Statius, Suetonius and Martial. Dedicated to the young Octavian (Octauiin line 1), the poem seems to fill a biographical gap in Virgil's career before his composition of theEclogues. It is introduced as aludus, which Irene Peirano suggests may openly refer to ‘the act of (...) impersonating Virgil’, and, like many of the poems in theAppendix Vergiliana, it seems to have a parodic intent. TheCulexhas been interpreted as a parody of neoteric style and the epyllion, as mock-epic, as Virgil parody (John Henderson called it a ‘spoofAeneidin bucolic drag’), as pointed Augustan satire, as mock Ovidian ‘Weltgedicht’ and as just very bad poetry (Housman's ‘stutterer’). Glenn Most has observed that the poem's three ‘acts’ structurally recapitulate Virgil's three major works in chronological succession. Little attention, however, has been paid to theCulex's final lines, which contain a catalogue of flowers thepastorplaces on the gnat's tomb. Recent scholarship has reintroduced an older interpretation of the gnat's tomb as a political allegory of Augustus’ Mausoleum; in this paper I suggest instead that the tomb and its flowers serve a closural and metapoetic function at the end of the poem. (shrink)

Suave, mari magno turbantibus aequora ventise terra magnum alterius spectare laborem;non quia vexari quemquamst iucunda voluptas,sed quibus ipse malis careas quia cernere suave est.suave etiam belli certamina magna tueri 5per campos instructa tua sine parte pericli.sed nil dulcius est, bene quam munita tenereedita doctrina sapientum templa serena,despicere unde queas alios passimque videreerrare atque viam palantis quaerere vitae, 10certare ingenio, contendere nobilitate,noctes atque dies niti praestante laboread summas emergere opes rerumque potiri.o miseras hominum mentes, o pectora caeca!qualibus in tenebris vitae quantisque (...) periclis 15degitur hoc aevi quodcumquest! nonne viderenil aliud sibi naturam latrare, nisi utquicorpore seiunctus dolor absit, mensque fruaturiucundo sensu cura semota metuque?(Lucr. 2.1–19)It is pleasant, when the winds stir up the waters on the great sea,to watch the great struggle of another from land;not because it is a great pleasure that anyone be troubled,but because it is pleasant to observe the troubles you yourself lack.It is also pleasant to watch the great contests of war 5spread out over the plains without taking any part in the danger.But nothing is more pleasing than to hold lofty yet calm templesthat are well defended by the teachings of wise men,from which you can look down and see others everywherego astray and wander while seeking the path of their life, 10competing in wits and contending over their nobility;throughout nights and days they strive with outstanding labourto come out at the peak of riches and have power over everything.O wretched minds of men, O blind hearts!In what shadows of life and in how many dangers 15is this bit of life, whatever it may be, being spent by you! Do you not seethat nature barks for nothing other than this – thatgrief be separated from the body and far away, and that the mind enjoypleasant feelings cut off from anxiety and fear?Epicurus' advice to his young friend Pythocles to ‘flee all education, raising up the top sail’ (παιδείαν δὲ πᾶσαν, μακάριε, ϕεῦγε τἀκάτιον ἀράμενος, Diog.Laert. 10.6 = Epicurus fr. 163 Us.) contains an allusion to Circe's advice to Odysseus inOdyssey12.37–58. For much of the Greek (and Roman) world, education was based on the Homeric epics, and thus Epicurus' statement represents a complicated position towards Homer in particular and poetry in general. Epicurean philosophy rejects poetry because it is misleading about the gods and the nature of the soul, but Epicurus and his followers, most notably Philodemus and Lucretius, engage in poetic allusion and even the composition of poetry. Much work has been done on allusions to poetry in all three writers, but I hope here to bring out a heretofore unnoticed poetic allusion at the start ofDe rerum naturaBook 2, in which Lucretius makes a programmatic statement about not only his philosophy, but also his poetry and its place in the poetic tradition. (shrink)

This article argues that the literary contexts of Horace's Odes 3.13, especially archaic Greek poetry, have been relatively neglected by scholars, who have focussed on identifying the location of the fons Bandusiae and on understanding the significance of the sustained description of the kid sacrifice. This study presents a more holistic interpretation of the ode by exploring Horace's interactions with previously unnoticed (Alcaeus, frr. 45 and 347) and underappreciated (Hes. Op. 582–96) archaic Greek poetic intertexts, which also offer a fresh (...) perspective on earlier debates. Horace's use of Alcaeus’ fr. 45, a key intertext, firmly places the fons Bandusiae within the literary landscape of Horace's Sabine estate, and offers a structural and argumentative model for Odes 3.13; further, Alcaean and Hesiodic allusions also suggest that the kid is sacrificed as a surrogate for Horace for keeping him safe. These conclusions are used to offer a new interpretation of the ode on metapoetic, political and philosophical levels, and to explore how these different aspects of the ode interact with Horace's other odes. (shrink)

This is the first comprehensive study of the sublime in Lucan. Drawing upon renewed literary-critical interest in the tradition of philosophical aesthetics, Henry Day argues that the category of the sublime offers a means of moving beyond readings of Lucan's Bellum Civile in terms of the poem's political commitment or, alternatively, nihilism. Demonstrating in dialogue with theorists from Burke and Kant to Freud, Lyotard and Ankersmit the continuing vitality of Longinus' foundational treatise On the Sublime, Day charts Lucan's complex and (...) instructive exploration of the relationship between sublimity and ethical discourses of freedom and oppression. Through the Bellum Civile's cataclysmic vision of civil war and metapoetic accounts of its own genesis, through its heated linguistic texture and proclaimed effects upon future readers and, most powerfully of all, through its representation of its twin protagonists Caesar and Pompey, Lucan's great epic emerges as a central text in the history of the sublime. (shrink)

This study examines a recurrent scenario in Roman poetry of the first-person genres: the separation of the poet from his writing tablets. Catullus' tablets are stolen ; Propertius' are lost ; Ovid's are consigned to disuse and decay by their disappointed owner. Martial, who does not reproduce the specific narrative of loss, nonetheless engages with the tradition of lost tablets from within the fiction of festive gift-exchange in his Apophoreta : rather than losing or rejecting the tablets, he gives them (...) away to guests/readers at his Saturnalian party. I argue that the representation of writing tablets and their loss is involved in the production of authorial presence. The scene of lost tablets demonstrates how the poet retains the capacity for poetic speech even when deprived of the aid of his material medium. The ostensibly accidental and sometimes lamented loss of the poet's tablets thus contributes to a sophisticated strategy of authorial self-representation. The tablets do not so much stand for the literary text as provide a focus for metapoetic concerns with voice and writing, author and text, presence and absence, immortal ingenium and expendable materia. Examination of the shifting representation of writing tablets from Catullus to Martial will provide insight into the invention of the Roman poetic author. (shrink)

The paper provides an analysis and interpretation of selected literary texts by Ewa Lipska, with particular focus on poems: 11 września 2001 [September 11th, 2001] and Kopalnia [The Mine]. In these metapoetic poems, Lipska makes use of jewellery imagery in order to emphasise the processuality of an act of creation, its ethical ambivalence, and its complex sources. The offered interpretations refer, among other things, to theses by Carl Gustav Jung and Pierre Marc de Biasi. Analysing the way in which the (...) poet uses motifs of gemstones and metaphors with a jewel – and also demonstrating strategies of the literary refining of poems – the author of this paper challenges the hypothesis of the end of the ‘goldsmith convention’ in contemporary Polish poetry. (shrink)

This essay explores references to monkeys as a way of talking about imitation, authenticity, and identity in Greek stories about the “Monkey Island” Pithekoussai and in Athenian insults, and in Plautus' comedy. In early Greek contexts, monkey business defines what it means to be aristocratic and authoritative. Classical Athenians use monkeys to think about what it means to be authentically Athenian: monkey business is a figure for behavior which threatens democratic culture—sycophancy or other deceptions of the people. Plautus' monkey imagery (...) across the corpus of his plays moves beyond the Athenian use of “monkey” as a term of abuse and uses the “imitative” relation of monkeys to men as a metapoetic figure for invention and play-making. For Plautus, imitator—and distorter—of Greek plays, monkeys' distorted imitations of men are mapped not onto the relations between inauthentic and authentic citizens, as in Athens, but onto the relation of Roman to Greek comedy and culture at large. Monkey business in Plautus is part of the insistence on difference which was always crucial in Roman encounters with Greek culture. (shrink)

Lucan's account of Caesar crossing the Rubicon is dense with metapoetic allusion. Although the river has been specified as a small stream at Caesar's arrival, it becomes swollen, tumidus, as soon as Caesar ‘breaks the delay of war’ and ‘carries his standards in haste over the [now] swollen river’. This has been pinpointed both as a metapoetic signpost of Lucan's engagement with the anti-Callimachean swollen river of grandiose epic at the outbreak of Civil War, and as a programmatic statement that (...) the whole Bellum Ciuile will set up a series of contrasts between Caesar's urgency in crossing boundaries and Lucan's narrative obstructions to or compliances with Caesar's progress. In fact, as Jamie Masters notes, ‘in spite of the “undoing of delay,” the perfect “tulit” and the adverb “propere,” Caesar has not crossed the river yet; or if he has, he must do it again’, precisely at 1.213–22. Within this densely self-reflexive passage, Lucan inserts a palindromic acrostic which signals both the doubling of Caesar's action and Lucan's poetic representation of Caesar taming the forces of nature. (shrink)

Critics generally agree that Statius’Silvae2.4, a poem about a dead parrot dedicated to Statius’ patron Atedius Melior, is modelled closely on Ovid'sAmores2.6, a poem about Corinna's dead parrot. In particular, many read Statius’ poem as picking up on the metapoetic strand in the Ovidian model, in which the parrot may be interpreted as a poet-figure, though they also note that Statius’ poem shows more of a concern for the tensions involved in a poet's relationship to his patron. I agree with (...) this general interpretation of the poem and its metapoetic aspect; however, there are some oddities about the dead parrot and its relationship to itsdominusthat have not been fully explained by theories that equate the parrot with either Statius or a non-specific Flavian poet-figure and thedominuswith Atedius Melior or a similar patron-figure. For instance, why is the parrot dead, and why does Statius write an epicedium for it that is similar in tone to the epicedia for dead people inSilvae2? Why is the parrot's relationship to its master an ambiguous one such that his cage can be described as a prison, and the master's grief over the parrot's death is never specifically mentioned? Finally, why does the parrot speak the name of Caesar instead of Atedius Melior, the friend of Statius to whom the poem is dedicated? (shrink)

The influence of Phaedrus the fabulist on Martial the epigrammatist has long been neglected by scholarship. Quite recently scholars have started to pay more attention to Phaedrus’ literary techniques and allusive art, thus also paving the way for a reassessment of the role which Phaedrus played as a model for Martial. This paper examines the question to what extent the Flavian epigrammatist was inspired by Phaedrus’ literary techniques and argues that Phaedrus served as an important link in the process of (...) the reception of Neoteric and Augustan poetry. Although there are not many thematic parallels between Phaedrus and Martial, the later poet seems to have been inspired considerably by Phaedrus’ metapoetic techniques. Furthermore, the paper also investigates the epigrammatic potential of Phaedrus’ own poems, a potential which seems to have made the fabulist especially attractive as a model for Martial. (shrink)

Ovid’s poetic descriptions of Rome are not as vivid, as pictorial as one tends to suppose. In the poems from exile the lack of detail and the flat imagery seem to be programmatic. Thus, the reader’s attention is directed to the metapoetic message conveyed, by bringing into focus the role of enargeia/evidentia and the rivalry between literature and the visual arts. Evidence for this hypothesis is furnished by passages from the “Metamorphoses”, the “Tristia” and the “Epistulae ex Ponto” as well (...) as by statements concerning the ancient theory of evidentia. (shrink)

In recent times, many Callimachean epigrams have been discussed in terms of their connection to contemporary inscribed epigrams. However, in the case of Ep. 1 Pf. influences of inscribed epigrams have not yet been detected. This article argues that similarities to various types of metrical inscriptions (especially funerary inscriptions and sign-posts) do exist and that the epigram could be read as a fictional sign-post with philosophical and possibly metapoetic overtones.

Journal Name: Philologus Issue: Ahead of print.

This note argues that Ps.-Lyc. 874-6 alludes to Pind. Pyth. 6.7-14 and may, in turn, be pertinent as one of the intertexts of Hor. Carm. 3.30.1-5.