By Phillip Mitsis, Lecturer in Classics Ioannis Ziogas
Taking their element of departure from Frederick Ahl s pioneering paintings, the celebrated students during this quantity have come jointly to reconsider the relation of poetry and tool within the context of authoritarian regimes in historic Rome and to ascertain the ways in which poets not just commented on imperial politics, but additionally have been direct contributors within the building of that political fact. "
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Extra resources for Wordplay and Powerplay in Latin Poetry
Tacitus, however, omits the precise details of the play and of how the figured speech works, leaving us instead with the memorable image of Britannicus the performer using his poem on one specific occasion to undermine Nero’s authority. The poem itself matters much less than its politically engaged performer. ³⁸ Our next Neronian poet, Antistius Sosianus, is rather less impressive than Britannicus. 1). 1): P. Mario L. Afinio consulibus Antistius praetor, quem in tribunatu plebis licenter egisse memoraui, probrosa aduersus principem carmina factitauit uulgauitque celebri conuiuio dum apud Ostorium Scapulam epulatur.
In contrast with either modern or postmodern positions, however, the tendency of the partisan of the truth is the interpretation of the reader who ‘knows’ that the results of her approach cannot be ‘proven’ or ‘disproven’ in the traditional terms of positivism and empiricism but pursues them anyway. The partisan justifies this pursuit with a conviction more compelling than, or at any rate epistemologically prior to, simple positivism. The conviction is that there are stakes in the struggle, and one has to act.
70): exim Annaei Lucani caedem imperat. is profluente sanguine ubi frigescere pedes manusque et paulatim ab extremis cedere spiritum feruido adhuc et compote mentis pectore intellegit, recordatus carmen a se compositum quo uulneratum militem per eius modi mortis imaginem obisse tradiderat, uersus ipsos rettulit eaque illi suprema uox fuit. Thereupon he commanded the slaughter of Annaeus Lucanus. As his blood poured forth and he realized that his feet and hands were chilling and that the pulse was gradually withdrawing from his extremities, yet his breast was still warm and in control of his mind, he recalled a poetic composition of his in which he had transmitted that a wounded soldier If Ahl () is right that Lucan, in his lost poem de Incendio Vrbis, held Nero responsible for the fire of Rome in AD and that this lay behind Nero’s ban, then Tacitus’ choice of the metaphorical verb accendo seems a caustic dig at the poet by alluding to the basic cause of the feud with Nero.