By Andreola Rossi
Relocating past the standard pairing of Homer and Virgil, Iliad and Aeneid, Rossi refutes the suggestion that Homer is the one code version for the latter. This in-depth learn unearths that Virgilian conflict narrative assimilates conventions of different literary genres, specifically historiography and, not directly, tragedy. Rossi demonstrates how Virgilian struggle narrative permits a number of and diachronic visions of truth, and for this reason a number of structures of signification, to co-exist within the textual content. during this method, Virgil's Aeneid detaches itself from the Homeric epic and forcefully asserts its personal relative modernity.Andreola Rossi is Assistant Professor, division of Classics, Harvard college.
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See Bowie 1990, 474 ( = 1999, 88). " 73· In Lucan, too, Troy works as a model for the fall of the Roman republic. On this topic, see Ahl 1976, 215-16; Masters 1992, 158; Rossi 2001, 258. The Fall of Troy 41 downfall is narrated. Women's voices resound in the stillness that follows the noise of battle, and these voices, feminine by nature, favor the experi ences of their own gender. " Recall that one of Polybius's criticisms against Phy larchus's "tragic style" addresses specifically this issue.
301 (clarescunt sonitus), 338 (sublatus ad aethera clamor), 503-5 (quinquaginta illi thalami, spes tanta nepotum, I barbarico pastes auro spoliisque superbi I procubuere), 507-8 (urbis uti captae casum conuulsaque uidit I lim ina tectorum). 26. Apollod. Epit. " 27. 25-27) does not make any mention of fire in his description of the sack of Troy by Polygnotus, but we should be wary of overvaluing such an argument ex silentio. 28. Tryph. 677-81. 29. Tr. 1260-71. 3° Heinze at least addresses the issue.
Aen. 667-71: lamentis gemituque et femineo ululatu I tecta fremunt, resonat magnis plangoribus aether, I non aliter quam si immissis ruat hostibus omnis I Karthago aut antiqua Tyros, flammaeque furentes I culmina perque hominum uoluantur perque deorum. 4: Nee aliud tectum eius superfuit urbis, cum faces pariter sacris profanisque inicerent, quam Matris Matutae templum. . Cf. 16: extra portam late uagatus ignis sacra profanaque multa absumpsit. 42 CONTEXTS OF WAR offers to the spectator a pitiful sight of women wailing in fear and clinging to the doorposts as they wander aimlessly in the halls of the palace.