The aim of this volume is to study Silius’ poem as an important step in the development of the Roman historical epic tradition. The Punica is analyzed as transitional segment between the beginnings of Roman literature in the Republican age (Naevius and Ennius) and Claudian’s panegyrical epic in late antiquity, shedding light on its ‘inclusiveness’ and its peculiar, internal dialectic between antiquarian taste and problematic actualization. This is an innovative attempt to connect epic poems and authors belonging to different ages, to frame the development of the literary genre, according to its specific aims and interests throughout the centuries.
This study investigates the role of embedded narratives in Silius Italicus’ Punica, an epic from the late first century AD on the Second Punic War (218–202 BC). At first sight, these narratives seem to be loosely ‘embedded’ in the epic, having their own plot and being situated in a different time or place than the main narrative. A closer look reveals, however, that they foreshadow or recall elements that are found elsewhere in the epic. In this way, they serve as ‘mirrors’ of the main narrative. The larger part of this book consists of four detailed case studies.
This collection of papers responds to the question of whether a ritual at the end of a text can offer resolution and order or rather a complicated kind of closure. It reveals that ritual can bring but also can thwart closure by alluding to new beginnings. A ritual could be a perfect kind of ending but it hardly ever seems to be. In Flavian literature this is even more apparent because of the complicated political background under which these texts were produced. Ancient religious practices in the closing sections of Flavian texts help us create connections between endings and (new) beginnings, order and disorder, binding and loosening, structure and dissolution which reflects the structure of the Empire in Flavian Rome. Overall, this volume offers a new tool for studying literary endings through ritual, which promotes our understanding of Flavian culture and politics as well as creating a new perception of the use of religion and ritual in Flavian literature: instead of giving a sense of closure, this volume argues that ritual is a medium to increase complexity, to expose ritual actors and to project a generic riskiness of ritual actors also onto the epic actors who are acting before and mostly after a ritual scene.
This volume explores the theme of marginality in the literature and history of the Neronian and Flavian periods. As a concept of modern criticism, the term marginality has been applied to the connection between the uprooted experience of immigrant communities and the subsequent diasporas these groups formed in their new homes. The concept also covers individuals or groups who were barred from access to resources and equal opportunities based on their deviation from a "normal" or dominant culture or ideology. From a literary vantage point, we are interested in the voices of "marginal," or underappreciated authors and critical voices. The distinction between marginalia and "the" text is often nebulous, with marginal comments making their way into the paradosis and being regarded, in modern criticism, as important sources of information in their own right. The analysis of relevant passages from various authors including Lucan, Petronius, Persius, Philo of Alexandria, Pliny the Elder, Silius Italicus, and Statius, as well as the Moretum of the Appendix Vergiliana is vital for our understanding of the treatment of marginalized people in various literary genres in relation to each one’s different purposes.
Two allegorical ancient Greek stories about a young hero’s career- defining choice are shown in this book to have later been appropriated to radically differing effects. E.g. a male’s choice between female personifications can morph into a female’s choice between the same, or between various male personifications. Never before have so many instances of this process from art, literature, music, even landscape gardening, been culled. Illustrations, mainly colour, many brought into this context for the first time, are conveniently incorporated into the text, thus mimetically mirroring a central theme of the book, the process of ‘visualising the verbal, verbalising the visual.’
Vom 19. bis 21. Juni 2008 fand an der Universität Innsbruck erstmalig eine Tagung statt, die ausschließlich dem epischen Dichter Silius Italicus gewidmet war. Die einzelnen Beiträge, die in diesem Band versammelt und um einige vermehrt wurden, fassen einerseits die bisherigen Forschungen zu zentralen Fragen zusammen, skizzieren andererseits auch neue Wege und Sichtweisen auf einen Dichter, den die Klassische Philologie lange Zeit recht stiefmütterlich behandelt hat.
Book 13 of Silius Italicus' Punica marks an important turning point in this Latin epic poem on the Second Punic War. After twelve books of Carthaginian dominance, Rome begins to gain the upper hand. Following his failed attempt to attack Rome, Hannibal is devastated to learn that his role model Diomedes had provided Aeneas' heirs with the protective talisman of the Palladium, and leaves for southern Italy. This allows the Romans to finish their siege of Capua, Hannibal's rich ally in Italy, in punishment for its treachery; Capua's fall marks the beginning of the end for Carthage. The book's central theme of the anticipation of Rome's destined victory is continued in the third and longest part of the book, where young Scipio, the future Africanus, ventures into the underworld, and into the depths of the rich poetic past, to be inspired by the shades he encounters and to define his own position as an epic hero. This volume presents the first full-scale literary and linguistic analysis of the entirety of Punica 13, including the famous Nekyia episode. The notes, which cover matters of syntax, textual criticism, style, a selection of realia, and important verbal and conceptual parallels, are complemented with extended introductory paragraphs for each scene focusing on poetic models, themes, intertextual interpretation, and narrative structure. C. M. van der Keur's General Introduction discusses the book against its Flavian background, its position within the epic and within the literary tradition, and Silius' use of metre and verse composition. The Latin text is presented alongside an English translation.
The author's approach to Roman epic is interpretative; the reader is invited to study a choice of typical texts, from the beginnings to the end of Antiquity. Famous poets are given the attention they deserve, but also some minor authors are discovered as precious 'missing links' between the ages. Special heed is paid to intertextual relationships between different epochs, cultures, literary genres, linguistic and literary patterns. The book is meant for students and teachers of classical and modern literatures, but also for all those interested in the history of literary genres and cultural ideas.
Book 13 of Silius Italicus' Punica marks an important turning point in this Latin epic poem on the Second Punic War. After twelve books of Carthaginian dominance, Rome begins to gain the upper hand. Following his failed attempt to attack Rome, Hannibal is devastated to learn that his role model Diomedes had provided Aeneas' heirs with the protective talisman of the Palladium, and leaves for southern Italy. This allows the Romans to finish their siege of Capua, Hannibal's rich ally in Italy, in punishment for its treachery; Capua's fall marks the beginning of the end for Carthage. The book's central theme of the anticipation of Rome's destined victory is continued in the third and longest part of the book, where young Scipio, the future Africanus, ventures into the underworld, and into the depths of the rich poetic past, to be inspired by the shades he encounters and to define his own position as an epic hero. This volume presents the first full-scale literary and linguistic analysis of the entirety of Punica 13, including the famous Nekyia episode. The notes, which cover matters of syntax, textual criticism, style, a selection of realia, and important verbal and conceptual parallels, are complemented with extended introductory paragraphs for each scene focusing on poetic models, themes, intertextual interpretation, and narrative structure. C. M. van der Keur's General Introduction discusses the book against its Flavian background, its position within the epic and within the literary tradition, and Silius' use of metre and verse composition. The Latin text is presented alongside an English translation.
