Epic

Contexts of War: Manipulation of Genre in Virgilian Battle by Andreola Rossi

By Andreola Rossi

Relocating past the standard pairing of Homer and Virgil, Iliad and Aeneid, Rossi refutes the concept that Homer is the single code version for the latter. This in-depth learn unearths that Virgilian conflict narrative assimilates conventions of alternative literary genres, particularly historiography and, in some way, tragedy. Rossi demonstrates how Virgilian struggle narrative permits a number of and diachronic visions of fact, and for this reason a number of platforms of signification, to co-exist within the textual content. during this manner, 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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Another reference to Alba, although not directly to its fall, occurs in the description of the famous punishment of Mettius on the shield of Aeneas. See Gurval 1995, 221-22. 44 CONTEXTS OF WAR images of unfounding and decline, and (as the fates of Troy, Alba, and Rome show) the endlessness of empire gives way to a version of Roman history that bears witness only to the endless repetitiveness of the topos of the urbs capta. The Altar and the King Aeneas's report now turns to a detailed chronicle of the destiny of the most important protagonists of the story: Priam and Hecuba.

71. Heinze compares Virgil's closing 32 C0NTEXTS 0F WAR noteworthy, and Servius's remarks connecting Virgil's description of the sack of Troy to the Ennian account might induce one to see Ennius's Annales as the "exemplary" model for both Virgil and Livy. 49 Let us return, for a moment, to Polybius. "so The two themes that I have just analyzed in Aeneid 2, antiq­ uity and greatness, are here linked explicitly. 557, Walbank similarly comments on Polybius's passage: "In any case the words to those of the paidagogus in Sophocles's Electra (757) and of the messengers in Andro­ mache (1161), Bacchae (1151), and Heracles (1013 ) , where the tone is that of a concluding narrative suited to the style of drama.

This does not seem to be the case. On the contrary, this remapping of events openly contradicts all the earlier (and not only the earlier) accounts of the fall of Troy. 26 Our most ancient epics on the fall of Troy attest to a similar charting of events. 2 8 Tragedy follows a similar sequence of events. 2 9 Only from afar, while she is embarking on Odysseus's ship, does Hecuba see Troy engulfed by flames ( Tr. a£) . In Aeschylus's Agamemnon, as soon 24. Cf. Aen. ), 759 (exsuperant flam mae, furit aestus ad auras).

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