How and to what purpose does Virgil use ekphrasis in the Aeneid
How and to what purpose does Virgil use ekphrasis in the Aeneid?
Virgil’s use of ekphrasis in the Aeneid has attracted much attention by classical scholars; as such the coverage on this topic is extensive. This essay therefore does not aim to purport all of Virgil’s techniques and aims in regard to describing art in the Aeneid – a subject on which entire books have been written – rather the brevity of this essay necessitates an overview of the predominant theories, whilst attempting to shed light on some of the less well noted observances. Where it is more informative the original Latin text will be employed. West’s translation will be used everywhere else.1
The first point to make is on the nature of an ekphrasis. The term ekphrasis has come to mean ‘an extended and detailed literary description of an object, real or imaginary.’2 Description of this nature causes a narrative pause and it is precisely this which makes it salient and draws the reader to read the passage functionally. In epic poetry – and especially in Virgil - there is no room for a passage of substantial length that does not contribute to the understanding or furtherance of the plot. By discontinuing the narrative and describing scenes on artwork Virgil possesses the reader of a ‘strong need to interpret’.3 It is towards this interpretation the essay shall now turn.
There are six ekphraseis in the Aeneid.4 A particularly close analysis of the murals in the temple to Juno, and of the shield of Aeneas will be given. It became clear during the research for this essay that the main three ekphraseis – the aforementioned ones, and the panels on the door to Apollo’s temple at Cumae - interrelate. They have been described as forming a kind of ‘structural triptych’,5 and the full significance and interweaving of these depictions whilst fascinating, is unfortunately beyond the scope of this essay, however a brief examination of the relation the Shield, and Daedalus ekphraseis have will be given. For a
Virgil’s use of ekphrasis in the Aeneid has attracted much attention by classical scholars; as such the coverage on this topic is extensive. This essay therefore does not aim to purport all of Virgil’s techniques and aims in regard to describing art in the Aeneid – a subject on which entire books have been written – rather the brevity of this essay necessitates an overview of the predominant theories, whilst attempting to shed light on some of the less well noted observances. Where it is more informative the original Latin text will be employed. West’s translation will be used everywhere else.1
The first point to make is on the nature of an ekphrasis. The term ekphrasis has come to mean ‘an extended and detailed literary description of an object, real or imaginary.’2 Description of this nature causes a narrative pause and it is precisely this which makes it salient and draws the reader to read the passage functionally. In epic poetry – and especially in Virgil - there is no room for a passage of substantial length that does not contribute to the understanding or furtherance of the plot. By discontinuing the narrative and describing scenes on artwork Virgil possesses the reader of a ‘strong need to interpret’.3 It is towards this interpretation the essay shall now turn.
There are six ekphraseis in the Aeneid.4 A particularly close analysis of the murals in the temple to Juno, and of the shield of Aeneas will be given. It became clear during the research for this essay that the main three ekphraseis – the aforementioned ones, and the panels on the door to Apollo’s temple at Cumae - interrelate. They have been described as forming a kind of ‘structural triptych’,5 and the full significance and interweaving of these depictions whilst fascinating, is unfortunately beyond the scope of this essay, however a brief examination of the relation the Shield, and Daedalus ekphraseis have will be given. For a
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