HarrisonS.J.BassonA.F. & DominikW.J.Meta-Imagery. Some Self-Reflexive Similes in Latin EpicLiterature, Art, History. Studies on Classical Antiquity and Tradition in Honour of W.J. Henderson2003Bern916
HarrisonS.J.BassonA.F.DominikW.J.Meta-Imagery. Some Self-Reflexive Similes in Latin Epic
Literature, Art, History. Studies on Classical Antiquity and Tradition in Honour of W.J. Henderson
See the identification in Littlewood2011, ad loc., and the longer discussion in Fernandelli 2005/2006, 88-90.
Barratt1979, ad loc., notes the connection.
See Augoustakis2010, 127-136.
See Stocks2014, 218-221, Tipping 2010, and Bassett 1966. For the identification between the historical Hannibal and Hercules, see Rawlings 2005.
See Pollmann2004, ad loc.; tll s.v. imago 407.79-408.29.
Harrison2003, 9-16discusses the term’s metapoetic role in similes. Breed 2013, 74-94 examines the phrase imago uocis as a metaphor for intertextuality. See also Sznajder 2013.
See Gruzelier1993, ad loc. Claudian may have also employed a parallel connection to Silius’ images of light on water in his description of dawn: Claud. drp 2.2-3 tremulis uibratur in undis / ardor et errantes ludunt per caerula flammae. This passage may potentially draw on Silius’ description of the sky clearing after the storm sent by Jupiter that turns Hannibal aside from Rome: Sil. Pun. 12.731-732 redditur extemplo flagrantior aethere lampas, / et tremula infuso resplendent caerula Phoebo. Hannibal’s failure to capture Rome is one of the major turning points in the Punica, one engineered by Jupiter in order to allow the fulfillment of Roman historical destiny. See Chaudhuri 2014, 231-255. The opening of drp 2 offers an equally significant narrative turn, the prelude to Proserpina’s rape, a crime similarly contrived by Jupiter.
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Light on the Water in Silius Italicus’ Punica and Claudian’s De Raptu Proserpinae