Word Order and Expressiveness in the Aeneid 3110401029, 9783110401028

Table of contents :
Frontmatter......Page 1
Thanks......Page 7
Table of Contents......Page 9
Preamble......Page 13
Introduction......Page 15
1. Poetry and verse......Page 31
2. Poetry and rhythm: on metrical expressiveness......Page 164
3. Word order and meaning......Page 229
Bibliography......Page 276
Index Locorum......Page 286
Index Rerum......Page 293

Citation preview

Paolo Dainotti Word Order and Expressiveness in the Aeneid

Untersuchungen zur antiken Literatur und Geschichte

Herausgegeben von Heinz-Günther Nesselrath, Peter Scholz und Otto Zwierlein

Band 121

Paolo Dainotti

Word Order and Expressiveness in the Aeneid Translated from Italian by Ailsa Campbell

The publication of this book has been financially supported by the University of Salerno (Dipartimento di Studi Umanistici/DIPSUM, Sezione FILSAM and Fondi di Ateneo per la ricerca di base – a. a. 2013 of prof. Stefano Grazzini).

ISBN 978-3-11-038422-2 e-ISBN (PDF) 978-3-11-040102-8 e-ISBN (EPUB) 978-3-11-040112-7 ISSN 1862-1112 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2015 Walter de Gruyter GmbH, Berlin/Boston Satz: Michael Peschke, Berlin Druck und Bindung: Hubert & Co. GmbH & Co. KG, Göttingen ♾ Gedruckt auf säurefreiem Papier Printed in Germany www.degruyter.com

To Gian Biagio Conte

This work, the expanded and revised version of my doctoral thesis, would not have been possible without the valuable help of the distinguished scholars who have supported me in these long years of study. I am deeply indebted and grateful to Gian Biagio Conte, who first conceived the idea of this research. He entrusted to me some years ago this topic which he himself had long intended to investigate fully; he offered me his long-term hospitality at the Scuola Normale di Pisa and his critical finesse, and has contributed, by means of his subtle analysis of Virgil’s style, not only to the planning and realiz­­­ation of the work, but also and above all to my cultural development. It pleases me to think that this is also his book. Stephen Harrison supervised me in my research term at Corpus Christi College of Oxford and, in the role of external supervisor of my doctoral thesis, has read my text and made valuable suggestions, in particular on the iconicity of Virgil’s ordo verborum, an aspect in which he is indisputably a pioneer. Particular thanks are due to Stefano Grazzini, who has supervised me from the start of my research activities and has helped, in the role of tutor, towards the realization and revision of my work, with the competence and rigour which distinguish him; and to Lucio Ceccarelli, for having read the work with patience and meticulous care, putting at my disposal his incomparable metrical competence. If the positive aspects of my work are due to the contributions of these scholars, any possible defects obviously remain attributable to me alone. The translation of the text, carried out with elegance and uncommon rigour by Ailsa Campbell, was financed by the Dipartimento di Studi Umanistici dell’Università di Salerno. I am also indebted to the editors of the series Untersuchungen zur antiken Literatur und Geschichte for their valuable suggestions. Finally, I thank my family and my wife Gabriella, who have always supported and encouraged me. Paolo Dainotti

Table of Contents Preamble 

 1

 3 Introduction  Expressiveness, iconicity and literary tradition  A) Expressiveness   3 B) Iconicity   7 B) I Typologies of iconicity   8 B) I a Images   8 B) I a 1 Acoustic images   8 B) I a 2 Visual images   10 B) I b Diagrams   10 B) I b 1 Acoustic level   10 B) I b 2 Visual level   13 B) I b 3 Structural level   14 C) Criteria for a stylistic analysis   17

 3

 19 Chapter 1 Poetry and verse  A) Poetry, verse and enjambement in ancient and modern theory   19 B) Enjambement in the Aeneid   26 B) I Interlinear juxtaposition: Virgil’s primary device.   27 B) I a Stylistic effects of interlinear juxtaposition: adjective–noun   31 B) I b Stylistic effects of interlinear juxtaposition: noun–adjective   47 B) II Rejet   58 B) II a Stylistics effects of the rejet of a verb   59 B) II a 1 Falling   63 B) II a 2 Throwing   70 B) II a 3 Blows, thrusts and violent actions   76 B) II a 4 Momentary actions   90 B) II b Rejet of noun   96 B) II b 1 Patronymics, proper names, ethnological names  B) II b 2 Rejet and syntactical expansion   100 B) II c Rejet of an adjective   106 B) II c 1 Expressiveness of the rejet of an adjective   106

 97

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B) II d Mimetic expressiveness of the rejet in direct speech: exhortations, exclamations, demands, orations, conclusions   113 B) II d 1 Imperatives in rejet   113 B) II d 2 Rejet at the close of direct speech   116 B) II d 3 Rejet and interrogative sentences   118 B) II d 4 Vocatives   121 B) II d 5 Rejet and emphasis   123 B) III Stylistic effects of the après-rejet   130 B) III a Consequence   131 B) III a 1 Cause and effect   131 B) III a 2 Action and reaction   136 B) III a 3 Reactions to signals or commands   137 B) III a 4 Psychological reactions   139 B) III b Après-rejet of opposition   142 B) III c Immediacy of the action, excitement   144 B) III c 1 Subitus, ocius, mox   145 B) III c 2 Verbal forms   146 B) III d Explanatory après-rejet   147 B) III e Epic closures and sententiae   149  152 Chapter 2 Poetry and rhythm: on metrical expressiveness  A) Stylistic effects of synaloepha   152 A) I Synaloepha and iconic word order   153 A) I a To hide, to hug   153 A) I b Fusion or conflict   155 A) II Synaloepha and rhythm   156 A) II a Rapidity, urgency, commotion   157 A) II b Violence   163 A) II c Effort   164 A) II d Gasping and pathetic synaloepha   166 A) III Synaloepha at the point of a syntactical pause   175 B) Synaloepha and hypermetric lines   178 B) I Hypermetre in lists   179 B) II Hypermetre and an effect of suspense   181 B) III Rapidity, agitation, anger   182 B) IV  Hypermetre and direct speech   183 C) Writing verses in a Greek style: hiatus, spondaic lines, irrational lengthening, four-syllable line-ends   184 C) I Hiatus   184



Table of Contents 

 185 C) I a Hiatus and the literary tradition  C) I b Hiatus and expressiveness   188 C) I b 2 Hiatus and enantiometria   190 C) II Polysyllables and Graecising line-ends   192 C) III Σπονδειάζοντες   196 D) Stylistic effects of the disposition of caesurae   198 D) I a Lines with a dearth of masculine caesurae  D) I b Masculine caesurae and spondaic rhythm  E) Stylistic effects of a monosyllable at line-end   206

 xi

 200  204

 217 Chapter 3 Word order and meaning  A) Marked order   217 B) Key positions: beginning and end of line; unimportant words at line-end   218 C) Significant juxtapositions   225 C) I Polyptoton: conflict, proximity, similarity   226 C) II Juxtaposition: conflict, hostility, love, filial relationships   227 C) III Juxtaposition of adjectives of significant affinity   232 C) IV Oxymoron by position; unus–omnes; contrasting colour terms   233 C) V Juxtaposition of personal and possessive pronouns   237 D) Hyperbaton, between the literary tradition, expressiveness and iconicity   239 D) I Hyperbaton in single lines: ‘golden lines’ and hyperbaton framing the verse   239 D) II Hyperbaton in single lines and iconicity   242 D) II a Linear hyperbaton   243 D) II b Framing hyperbaton and icons of closure, cover, containment, and crossing   245 D) II c Interlocking hyperbaton and the icon of mixture   248 D) III Expressiveness and iconicity of hyperbaton in enjambement   249 D) III a Interlinear hyperbaton   256  264 Bibliography  Editions and commentaries  Studies   266 Index Locorum  Index Rerum 

 274  281

 264

Preamble In the main commentaries on the Aeneid there is no shortage of elegant notes on the relationship between ordo uerborum and expressiveness, but such obser­ v­ations, in the absence of a systematic examination, inevitably run the risk of being impressionistic and rather too open to argument. A stylistic analysis based on textual evidence and not on mere suggestions needs to clarify at the outset what the standard word order is in the hexameter: starting from this point we can then weigh and measure possible departures from the norm, the ‘non-standard’. For this purpose I have examined above all the ordo uerborum in Latin hexameter poetry, from its beginnings up to Virgil, with the aim of obtaining from statistical data an empirical model of versification, in dialogue with which the specific features of Virgil’s technique can emerge more clearly. In short, through an ongoing counterpoint between hexameter ‘langue’ and Virgilian ‘parole’ we can build the premisses for evaluating competently whether and to what extent Virgil was innovative, as regards tradition, or whether he did not rather prefer to keep the figures and forms already codified. There is also what we might call a ‘neutral’, purely denotative, way of ordering the words within the metrical constraints by following structures already set and available within the poetic idiom. We shall see how Virgil successfully exploits the already codified metrical and verbal constraints, bending them to inspired and new effects, used for a specific purpose – in short, the game between the standard and the ‘non-standard’, or, following Friedrich Klingner’s happy formul­­ation, ‘the greatest freedom within the greatest order’, which G.B.Conte has put to good use to define Virgil’s practice in expressiveness. This is a work of stylistic analysis; my collection of material is aimed at bringing forth a ‘Virgilian norm’ from the text of the Aeneid, against which it then becomes simple to recognize the divergences. Indeed, the departure from the norm indicates expressiveness. Next to the norm, the non-standard acquires significance; it becomes a strong signal of a specific meaning, which each time is drawn from the context itself. The non-standard deviation from the norm throws into relief and emphasizes certain essential elements of the verse. My aim has been to analyse Virgil’s method, examining his word placing – now subject to constraint, now free – for effects on the meaning, which do not appear unintended. In this perspective I describe as expressive certain verbal dispositions, since they are regularly repeated and in each instance are able to lend support to the meaning and represent it, with the word-structure following a richly endowed plan.

2 

 Preamble

Clearly a stylistic figure cannot be considered expressive per se, but must be looked at in relationship to the sense of the passage within which it is found; it is the sense that directs us towards a given interpretation because it is precisely for the sake of the sense – to reinforce or strengthen it – that the poet has breathed life into the word order, creating it in a new form. Enjambement, hyperbaton, and metrical figures, none of them necessarily expressive per se, become so because of their importance in reinforcing iconically the semantics of the text. A stylistic figure, then, should only be weighed and interpreted in relation to the sense of the verse (this dispels and wards off any deconstructionist drift) and above all in relation to other figures with which it combines in a powerful stylistic convergence to enrich the text with expressiveness. And so the ‘figure’ should not be thought of as an extraneous element, almost as an addition to the line, or as an ornament superimposed from without, but as the form spontaneously assumed by the significance of the verse to reveal itself; it is the very expression of the poet’s thought. A study of ordo uerborum cannot therefore be limited to a statistical examination of forms, but must necessarily be transformed into active hermeneutics of the text, in which expressiveness is approached as a factor in the meaning. For example, noticing how with surprising regularity the same ordo uerborum attaches itself to recurring images, themes and motifs, enables us to see how the poet prefers the use of certain structures to obtain comparable effects. But there is more. The similarity, not just structural but also thematic, a sort of ‘self-echo’, often works as a real intratextual reference, turning the word order into a means of guiding the reader and commentator; it thereby assumes the appearance of a common denominator – an ‘internal ear’ – through which we can bring together passages which present significant affinities in the poet’s practice. It becomes clear that a study of ordo uerborum could be helpful even in the fields of hermeneutics and of textual criticism. The present work, therefore, conceived and structured essentially as a work for reference, is not just a simple catalogue of metrical–syntactical methods, but is aimed at putting forth a number of examples of stylistic analysis. The discussion of the various stylistic figures therefore forms an invitation to read the text of the Aeneid from a perspective which, starting from the formal level, aims at the heart of Virgil’s artistic method.

Introduction Expressiveness, iconicity and literary tradition A) Expressiveness What is meant by ‘expressiveness’? On the basis of what parameters can an ordo uerborum be considered ‘expressive’? The answers to these questions, unavoid­ able for anyone who wishes to comment upon poetry, must necessarily be based on a search conducted on the texts, and on a reading that outlines the set idiom of versification, against which to measure the significance of any divergence from the norm. A keen-eyed analysis cannot, however, be limited simply to pointing out the presence of anomalies or rarities; it will need to embrace both statistics and stylistics, seeking to interpret the deviation, grasping what it voices as regards ‘effects’. Expressiveness can therefore be defined first as a function of the non-standard; an ordo uerborum is expressive when, due to its singularity, it has the power to alert the reader to the peculiar nature of a passage, to throw into relief a term pregnant with meaning. A clear example is Aen.5.838 ff. cum leuis aetheriis delapsus Somnus ab astris aëra dimouit tenebrosum et dispulit umbras, te, Palinure, petens, tibi somnia tristia portans insonti; puppique deus consedit in alta

where, in the speech to Palinurus, the poet, not without a touch of pathos, draws attention to the adjective insonti, isolating it, in a way not usual in the Aeneid, at the beginning of a line and the end of a period: Aeneas’ mission, Virgil underlines, requires the sacrifice even of men who are ‘pious’ and innocent. 1 In general the expressiveness of a passage does not spring from the use of any one stylistic figure but rather from the convergence of stylistic factors, as is apparent in lines such as Aen.7.98 f. externi uenient generi, qui sanguine nostrum nomen in astra ferant,

1 See pp.127 f.

4 

 Introduction

where the possessive nostrum, in semantic opposition to externi at the other end of the verse,2 – the beginning and end of a verse are known to be emphatic positions3 – is brought into prominence not only by the notable word order4 but also by collocation at line-end and the enjambement of the noun nomen: Faunus stresses that the descendants who will exalt the name of his race will be strangers. Latin’s inflected nature allows particularly expressive words to be separated or brought together,5 for example in pronominal juxtaposition, used especially in contexts of pathos,6 as at Aen.9.481a ‘hunc ego te, Euryale, auspicio?

(Euryalus’ mother addresses her son’s corpse) or in bringing together adjectives of similar importance, as at Aen.2.50 sic fatus ualidis ingentem uiribus hastam

(the two adjectives underscore the idea of exertion) or in striking semantic contrasts, as at Aen.6.563 nulli fas casto sceleratum insistere limen;

or in significant juxtaposition of colour terms, as at Aen.12.247 namque uolans rubra fuluus Iouis ales in aethra

In other instances the word order can be used as a form of ‘intertextual quotation’: the poet is alluding to a passage, not only in theme and motif, but also in the use of particular stylistic figures.7 In addition to the more obvious instances of allus­ ion, there are other, more elusive instances where the poet is not recalling a spec­ ific passage, but rather a specific way of constructing the line to give the wording a particular atmosphere. We can think, for example, of hiatus and the spondaic line-end (or the quadrisyllabic ending), used, often together, to write lines in imit­

2 The symmetrical collocation of antonyms (as in 7.98 above), synonyms, personal names, and, above all, verbs to frame the verse is common in the Aeneid. Cf. pp.221 ff. 3 See pp.218 ff. 4 On positions of the adjective see pp.217 f.; on the verb, p.59, n.195. 5 See pp.225 ff. 6 See pp.237 f. 7 See Wills 1996, pp.15–41 (‘Formal Features of Allusion’).

A) Expressiveness 

 5

ation of the Greek,8 of the ‘golden lines’ and ‘silver lines’, of the flavour of the Alexandrians and Neoteroi which they evoke,9 or of the monosyllabic line-end and triple final alliteration, for their clear archaic patina.10 The expressiveness of these stylistic features does not spring from the context in which they are used, but entirely from the connection that they establish with other texts, an intertext­­ uality of form which, to be fully appreciated, requires and presupposes an active partnership with an educated reader. It seems to me that in these instances the use of a figure is more literary than expressive. Equally significant are the instances of intratextual quotation in which the word order calls to mind two or more passages inside the same work.11 In some instances we find self-quotation: the poet uses a syntactical unit or indeed an entire line to establish a parallelism between two images, situations or characters. The archetypal example is Aen.2.325b ff. fuimus Troes, fuit Ilium et ingens gloria Teucrorum; ferus omnia Iuppiter Argos transtulit; incensa Danai dominantur in urbe.

recalled at Aen.6.64 f. dique deaeque omnes, quibus obstitit Ilium et ingens gloria Dardaniae.

8 See pp.184 ff. The same effect is found with name-lines, which often recall Homeric models not only in the sequence of names but also in the rhythm. See p.57, n 191. 9 On golden and silver lines see pp.239 ff. Also consider enantiometria, an indication of Hellenistic verse-writing. See pp.190 ff. 10 On final monosyllable see pp.206 ff.; on triple alliteration at line-end, which probably originated from Saturnian verse and was then adopted by Ennius, see Austin 1955, ad Aen.4.29; Fordyce 1977, ad Aen.7.189 and pp.289 ff.; Horsfall 2006, ad Aen.3.183 (see also ad Aen.3.58 on fourfold alliteration) and 2008, ad Aen.2.452 (with further bibliography). In rare instances it can underscore iconically the meaning of the verse, as at Aen.9.814b fessos quatit aeger anhelitus artus, where the alliteration of words beginning with a seems to suggest Turnus’ gasping (see Hardie 1994, ad loc. and here p.78, n.254) or at Aen.5.866 tum rauca adsiduo longe sale saxa sonabant, where the σιγματισμός (see p.49, n 167) imitates the sound of the waves (cf. Williams 1960, ad loc.). 11 For this Virgilian tendency see Knight 19662, pp.253 ff.; Briggs 1988, EV 4, pp.505 f. (with ample bibliography); Hardie 1998, pp.86 ff.; Conte 20072, p.109, n.21 (on Aen.1.100 f. and Aen.8.538 ff., shows how the ‘inner ear’ creates an intratextual allusion rich with meaning); Tarrant 2012, pp.44 f.; and for full detailed investigations Sparrow 1931 and Moskalew 1982. For repetition of phrases with different meanings see Austin 1964, ad Aen.2.505 (see also 1971, ad Aen.1.85 and 350, and 1977, ad Aen.6.685); Fordyce 1977, ad Aen.7.509; Wills 1996, pp.469 f.

6 

 Introduction

where the self-echo is ‘expressive’ in that it presents us, at a diegetic level, with an impression of events already narrated: at Aen.2.325 ff. the censure of the gods’ hostile spite (ferus . . . Iuppiter) in the words of the dying Panthus has clearly remained embedded in Aeneas’ mind, and he repeats the words (at Aen.6.64 f.) in the prayer to the Sibyl, almost as a boast.12 In other instances, as we shall see, the self-echo seems virtually unconscious, as at Aen.2.361 ff. quis cladem illius noctis, quis funera fando explicet aut possit lacrimis aequare labores? urbs antiqua ruit multos dominata per annos;

where the hyperbaton multos . . . per annos, not significant in itself, recalls a rich series of Virgilian passages. Analysis of these passages shows that the analogy between them is not only structural – in these instances the hyperbaton always contains an adjective or past participle agreeing with a feminine noun – but also applies to their subject matter: the passages make clear the sacred inviolability of plants or forests. Thus at Aen.9.85 pinea silua mihi multos dilecta per annos; at Aen.7.59 f. laurus erat tecti medio in penetralibus altis / sacra comam multosque metu seruata per annos; at Aen.2.714b f. antiqua cupressus / religione patrum multos seruata per annos; and at G.2.207 f. aut unde iratus siluam deuexit arator et nemora euertit multos ignaua per annos

where the sacred nature of the wood, for so many years the undisturbed home of the birds, is finally desecrated by man. In light of these passages Aen.2.361 ff., quoted above, can be read with a greater understanding. The self-echo charges the text with further meaning, suggesting that in Virgil’s view the city of Troy had to be seen as akin to a great forest or age-old plant, which, having weathered the passage of the years, venerated and respected, is finally and piteously destroyed by history’s unjustifiable violence.13

12 On this significant self-echo see Austin 1964, ad Aen.2.325. For a stylistic analysis of the passage see here p.33. 13 The simile at Aen.2.624 ff. confirms this interpretation: Tum uero omne mihi uisum considere in ignis / Ilium et ex imo uerti Neptunia Troia: / ac ueluti summis antiquam in montibus ornum / cum ferro accisam crebrisque bipennibus instant / eruere agricolae certatim, illa usque minatur / et tremefacta comam concusso uertice nutat, / uulneribus donec paulatim euicta supremum / congemuit traxitque iugis auulsa ruinam.

B) Iconicity 

 7

When, on the other hand, word order, rhythm, and figures of metre and sound mirror and amplify the sense of a passage, expressiveness becomes iconicity, ‘Form Miming Meaning’.14

B) Iconicity Tracing this characteristic of language in classical texts is not a spurious study, tainted by an exclusively modern perspective; the ancient writers themselves understood the value of iconicity as an element of expressiveness, not only in versification but also in theoretical observation. This is made evident by Dionysius of Halicarnassus, who, in the twentieth chapter of his De Compositione Verborum, observing that men when speaking are miming the facts they narrate, directs the poet and orator to imitate what they describe,15 not only through choice of words, but also by means of how they are placed: ταῦτα δὴ παρατηροῦντα δεῖ τὸν ἀγαθὸν ποιητὴν καὶ ῥήτορα μιμητικὸν εἶναι τῶν πραγμάτων ὑπὲρ ὧν ἂν τοὺς λόγους ἐκφέρῃ, μὴ μόνον κατὰ τὴν ἐκλογὴν τῶν ὀνομάτων ἀλλὰ καὶ κατὰ τὴν σύνθεσιν.16

A striking awareness of iconic word arrangement is clearly proved by the production, in the Hellenistic period, of visual poetry, the most clear and extreme form of iconicity.17 The best known example is the pseudo-Theocritean Syrinx, an elegant composition where the decreasing length of the lines reflects iconically the image of a set of Pan-pipes. 14 The semiotic concept of ‘icon’ was introduced and discussed many times by Charles Sanders Peirce in his semiotic taxonomy (for a concise definition see Peirce 1991, pp.239 f.), while we owe the term ‘iconicity’ to Morris 1946. For an initial approach to the argument see the brief synthesis of iconic typology in literary texts with essential bibliography in Nänny–Fischer 2006, pp.462–472. 15 Aristotle makes a similar observation in Rhet.3.1408 a 11 ff. advising the orator to adopt a path­­etic style (λέξις παθετικὴ) hence expressing emotions like a man enraged, offended or struck, depending on whether he speaks of outrageous, base or commendable acts. 16 Dionysius further sets forth for the reader a stylistic analysis of Od.11.593 ff. (the section des­ cribing the punishment of Sisyphus), underlining the iconic placing of the words (ἡ σύνθεσίς ἐστιν ἡ δηλοῦσα τῶν γινωμένων ἕκαστον, τὸ βάρος τοῦ πέτρου, τὴν ἐπίπονον ἐκ τῆς γῆς κίνησιν, τὸν διερειδόμενον τοῖς κώλοις, τὸν ἀναβαίνοντα πρὸς τὸν ὄχθον, τὴν μόλις ἀνωθουμένην πέτραν). This passage is cited as an example of iconic hiatus in the Περὶ ἑρμενείας of Demetrius (para. 72), a treatise which presents many interesting observations on iconicity. This type of expressiveness is also a characteristic of poetic language for Longinus (22.1), who shows, in particular, the iconic potential of hyperbaton. 17 On this type of poetry see Luz 2010.

8 

 Introduction

Although it is clear that word arrangement was used iconically in ancient poetry, there are few specific studies of the topic to date,18 compared with the many studies on iconicity in modern literature. This is due simply to the fact that in classical scholarship the term ‘iconicity’ has only recently begun to be used for well known phenomena, generically labelled as ‘expressive’.

B) I Typologies of iconicity It will be useful to discuss briefly the typology of iconic expressiveness used for modern literary texts and to examine which of these categories are also applic­ able to ancient poetry. An initial distinction is that between ‘image’, a single sign which reflects certain visual and aural characteristics of the object described, and ‘diagram’, a composite of signs whose relationships reflect those occurring between their objects.19

B) I a Images Images can be acoustic or visual.

B) I a 1 Acoustic images This category includes onomatopoeia – ‘a complete acoustic sign’, a whole word which reproduces iconically its object – and sound symbolism – phonemes (or groups of phonemes) inside a phrase which have an iconic effect. In the study of English poetry it is impossible to ignore Alexander Pope’s poem An essay on criticism, a manifesto on acoustic iconicity, where the introductory statement, ‘The Sound must seem an Echo to the Sense’, is explicitly put

18 Apart from the main commentaries, among which particular attention is drawn to questions of iconicity in Harrison 1991 (Appendix C, ‘Word Order and Sense’), Traina 20042 (cf. index s.v. ‘icona’), and Tarrant 2012 (pp.40 ff. and index s.v. ‘iconic word order’), there are: the series of leçons par l’exemple (see p 9, n.20) by Marouzeau (1926, pp.110–111; 1936, pp.58–64; 1948, pp.105– 108); the note by Young 1933, pp.51 f. (on the ‘Pictorial Arrangement of Words’); and the specific study of iconic word order in Lateiner 1990, pp.204–237, and Dainotti 2012, pp.173–190. There are also comments on iconic expressiveness in Winbolt 1903; Hahn 1930, p.120, n.85; Marouzeau 19462, and Wilkinson 1963 (especially pp.53–85). 19 I do not discuss the iconic value of metaphor since it does not present a direct iconic relationship between the sign and its referent (cf. Nänny–Fischer 2006, p.462).

B) Iconicity 

 9

into effect, in an elegant metapoetic step,20 in the evocative iconic acoustics of the second and third lines:21 The Sound must seem an Echo to the Sense, Soft is the Strain when Zephyr gently blows And the smooth Stream in smoother Numbers flows

It is well known that in Latin poetry sound symbolism and onomatopoeia are used frequently and, since the two phenomena are often closely combined,22 they are both classified under the term Lautmalerei or phonic chromotism.23 It is important to note that the ancients were fully cognizant of the phenomenon, as is evident, for example, in Servius’ note (ad Aen.9.503 at tuba terribilem sonitum procul aere canoro) ‘bene tamen hic electis uerbis imitatur sonum tubarum’.24 Here, as in other instances, the sound effects converge powerfully with other figures – at this point with the dactylic rhythm – to fill the passage with expressiveness. Consider Aen.9.477 euolat infelix et femineo ululatu,

where the hiatus has the effect of lengthening the sound ‘o’ in the onomat­o­ poeic sequence femineo ululatu, iconically mirroring the shrieking of Euryalus’ mother.25

20 The metapoetic reflection is subtly joined to the iconic expressiveness: the poem describes one of its attributes, placing it on the scene at the same time. For a comparable effect see Hor. Ars 260 in scaenam missos cum magno pondere versus, where the poet puts in front of the reader a valuable leçon par l’exemple (cf. Marouzeau 1926, p 110; 1936, p.59; 19462, p.84): he mocks Ennius’ spondaic verses in a ponderous spondaic line. 21 The accumulation of fricatives, both liquid and nasal, reinforces ‘the idea of soft breezes and murmuring streams and echoes the idea of smoothness’ (Nänny–Fischer 2006, p.464). 22 Cf. Nänny–Fischer 2006, p.464: ‘are not separate phenomena but, rather, form a continuum’. In Latin poetry consider instances such as Aen.1.55b magno cum murmure montis, where the phon­­emes ‘m’ and ‘u’ not only contribute to the onomatopoeic murmure but are also repeated in the other words. For this and other examples see Hofmann–Szantyr (Traina) 2002, p.50. 23 On the terminology see Hofmann–Szantyr (Traina) 2002, p.49, n.87, and, for further biblio­ graphy, pp.289 f. 24 A further observation on iconicity (many others can be found in the ancient critics) is given by Demetrius (para. 176), who, discussing the euphony and cacophony of words, emphasizes that the verbal form βέβρωκε (‘he has devoured’) is ‘harsh’, because it is formed in imitation of what it actually denotes. 25 Cf. p.188.

10 

 Introduction

B) I a 2 Visual images In modern poetry white space can suggest iconically the idea of silence.26 In ancient poetry this type of iconicity, strictly correlated to the text’s typo­ graphy, is limited to the pattern poems, whose form directly mirrors the object described.

B) I b Diagrams In this class of iconicity, the relationship between signs reflects the relationship between their objects. This iconic category, also much used in ancient poetry, is more complex than the iconic image and enters into various levels of the language: acoustic, visual, structural (both morphological and syntactical), semantic, and narrative.27

B) I b 1 Acoustic level At this level of the language the figure of the ‘phonetic metaphor’ is iconic, where the iteration of sounds (assonance, homoeoteleuton, and alliteration) form complex and evocative semantic relationships between words which are not correlated syntactically.28 Think of Peter Howard’s poem A Poppy, where the names of flowers (carnation, violets, samphire) and terms semantically inherent to war (carnage, violence, gunfire) are phonetically linked, to poignant effect. An exemplary instance of this device is the ‘antithetic’ or ‘antiphrastic’ alliteration at Aen.12.153 perge: decet. forsan miseros meliora sequentur.’ 29

26 See Wolf 2005, pp.113–132 (he quotes the paradigmatic Gomringer’s poem Schweigen). Even bolder is the iconic use of white space in Emily Dickinson’s poem Our lives are Swiss, placed between the two stanzas to indicate the white of the Alps which divide Italy from Switzerland. Cf. Nänny–Fischer 2006, p.465. 27 Since it is not directly concerned with word order, I do not deal here with the narrative level, which can be iconic as regards the large size of a work (reflecting the greatness of a theme), the use of a white page (evoking the idea of silence or death) or the narrative representation of speech (direct speech clearly allowing a greater degree of iconicity than indirect speech). Cf. Nänny–Fischer 2006, pp.470 f. 28 Cf. Nänny–Fischer 2006, p.466. This figure, central to structuralist readings (cf. Lotman 1972 [1970], pp.133 ff.), has also been applied to classical texts. Cf. Hofmann–Szantyr (Traina) 2002, pp.283 f. (with bibliography). 29 Cf. Traina 20042, ad loc. and index s.v. ‘allitterazione antitetica’; Görler 1985, EV 2, p.276; Facchini Tosi 1988, EV 4, pp.503 f.; also Harrison 1991, ad Aen.10.735b haud furto melior sed fortibus

B) Iconicity 

 11

A diagrammatic acoustic icon also widely used in Latin poetry is that which springs from rhythm. A spondaic rhythm is known to reinforce the idea of slowness, effort or solemnity, while a dactylic rhythm expresses rapidity and lightness.30 The effect can be strengthened by the blurring of a main caesura, as at Aen.12.721 cornuaque obnixi infigunt et sanguine largo

where the idea of exertion and violence is highlighted by the conjunction of the spondaic rhythm and the double synaloepha, which makes the movement of the line iconically laborious.31 Or, on the other hand, at Aen.4.278 (= 9.658) et procul in tenuem ex oculis euanuit auram.

where the marked dactylic rhythm and the effect of prepositions placed before the metrical pauses32 come together to suggest fleetness, lightness and transience. Synaloepha in convergence with enjambement can reinforce iconically an idea of agitation and confusion expressed by the semantics of a passage, whereas the line-phrase and absence of synaloepha can reflect order and tranquillity.33 The disposition of caesurae in a line can also be iconic. Consider lines without a main caesura which reflect uncertainty or instability, as at Aen.5.591 frangeret indeprensus et inremeabilis error:

where the unusual rhythm underlines the sense of bewilderment expressed by the semantics of the verse. 34 In direct speech iconicity of a metrical type is used to reflect mimetically certain aspects of the speech. The synaloepha which blurs a caesura is iconic armis (‘furto . . . fortibus provides an effective jingle between polar opposites’); Hardie 1994, ad Aen.9.634 (uerbis uirtutem); Horsfall 2013, ad Aen.6.853 (subiectis . . . superbis). 30 Apart from individual notes in the main commentaries, see the coverage of Winbolt 1903, pp.118 ff.; Norden 19574, pp.418 ff.; Wilkinson 1963, pp.68 ff. (‘Metaphor from rhythm’); Gransden 1991, p.26; Tarrant 2012, pp.40 f.; and, particularly on the iconic effect of spondaic rhythm, von Albrecht 2006, p.165. 31 On this type of synaloepha see pp.164 ff. 32 Cf. pp 157 ff. 33 On the effect of the line-phrase see Austin 1977, ad Aen.6.17 (‘the lack of enjambement in the four lines 14–17 gives a curiously quiet, factual effect, each detail occupying a single line’); on the absence of synaloepha see p 172, n.517. 34 Cf. p.203.

12 

 Introduction

in this sense: interrupting the rhythm of the line can suggest the voice breaking (‘gasping synaloepha’), as at Aen.6.867 f. tum pater Anchises lacrimis ingressus obortis: ‘o gnate, ingentem luctum ne quaere tuorum;

where the semantics of the passage (lacrimis obortis) clearly confirms the iconicity of the metrical figure.35 Hypermetric synaloepha in direct speech can also have an iconic value, as at Aen.4.628 ff. litora litoribus contraria, fluctibus undas imprecor, arma armis: pugnent ipsique nepotesque.’ Haec ait, et

where the enclitic -que that extends the line at the close of the speech suggests the weakening of Dido’s voice and a pause full of pathos.36 In direct speech four-word lines can have an iconic value: they give the impression that the speaker enunciates the words slowly, with pathos, or solemnity, or sarcasm. A clear example is Aen.2.548b f. illi mea tristia facta degeneremque Neoptolemum narrare memento:

Neoptolemus is on the point of inflicting the mortal blow on the aged Priam, and sarcastically invites him, once he has descended to Hades, to relate to Achilles the dismal news of his son’s degeneracy.37 A further instance of iconicity can be the particular rhythm given to a line by a monosyllabic line-end, as at Aen.5.481 sternitur exanimisque tremens procumbit humi bos.

where the rhythm reflects the violent fall of the animal crashing to the ground.38

35 Cf. p 168. 36 Cf. p 183. 37 Cf. p.79, n.261. 38 Cf. p.212.

B) Iconicity 

 13

B) I b 2 Visual level In modern poetic texts the length of the lines can give an iconic reflection of a long object, as in Pope’s An essay on criticism (355 f.) A needless Alexandrine ends the Song, That like a wounded Snake, drags its slow length along

where the long Alexandrine line reflects the snake.39 It is important to specify that iconic diagrams of the visual type in Latin poetry – poetry intended in general to be listened to40 – are not really ‘visual’ but rather acoustic: they arise from how the reader perceives the length of the colon. The effect of a long line is brought about, for example, by the use of a framing hyperbaton: the reader, in order to join the adjective to its noun, is obliged to ‘listen’ to the line in its entirety and, as a result, perceives it as longer than the other lines in the context.41 A splendid instance of hyperbaton with iconic value is Culex 163 immanis uario maculatus corpore serpens

where the interval reflects the tapering form of the snake. The stretching of a word’s auditive mass can also be used to reflect iconically the magnitude of the object,42 as in Lucr. 3.906 ff. at nos horrifico cinefactum te prope bustum insatiabiliter deflevimus, aeternumque nulla dies nobis maerorem e pectore demet.’

where the three long words which alone make up the entire line 907 emphasize the idea of infinite mourning,43 while at Hor. Ars 139 39 On the iconicity of long lines in English poetry cf. Nänny 1999, pp.157–188. 40 We cannot, however, completely deny the spatial and typographic value of lines in ancient poetry. Cf. Adams–Mayer 1999, p.17: ‘It seems likely that some Latin poets had, up to a point, a spatial concept of the structure of their verses’. 41 Cf. p.243. 42 Cf. Marouzeau 19462, pp.96–106; Wilkinson 1963, pp.62 f., p.81; Hofmann–Szantyr (Traina) 2002, pp 117–121 (with bibliography). The stretching of the cola can also be iconic (cf. Demetrius, paras. 6 and 121 on the short description of the little river Teleboas in Xenophon). 43 Cf. Marouzeau 19462, p.102; and Traina 19912, PL 2, p.33, n.54, who, on Lucr. 4.1142b ff. in adverso vero atque inopi sunt, / prendere quae possis oculorum lumine operto, / innumerabilia, observes: ‘il rilievo di innumerabilis è ottenuto a livello fonico dall’eptasillabo iniziale, a livello sintattico dal lunghissimo iperbato, a livello ritmico dall’enjambement: il significante motiva il

14 

 Introduction

parturient montes, nascetur ridiculus mus.

the monosyllable mus, coming after a series of polysyllabic words, highlights iconically, with elegance and irony, the size of the tiny mouse brought forth from the mountains. Enjambement is another visual type of iconic diagram, and is used to good effect in modern poetry. The movement of the eyes that the beginning of the printed line lays down for the reader can be employed to reflect iconically the idea of a twisted or circular movement.44 Consider Ted Hughes’ poem Second Glance at a Jaguar where at lines 16 f. At every stride he has to turn a corner In himself and correct it

enjambement throws into relief the semantics of the expression to turn a corner in himself.45 In Latin poetry with enjambement we need to observe that the iconicity is not visual, but rhythmical. The syntactical pause which follows a verb run over to the beginning of a hexameter can have an iconic value, as at Aen.2.464b ff. conuellimus altis sedibus impulimusque: ea lapsa repente ruinam cum sonitu trahit et Danaum super agmina late incidit.

where the unexpected break in delivery has the clear effect of showing the immed­ iacy of the verb incidit.46

B) I b 3 Structural level The repetition of a term can also have an iconic value. Beside the more obvious instances such as repeated words reflecting the repetition of an action, there are notably sophisticated instances, as with enantiometria, the stylistic figure consisting of the repetition of a word with variations in the prosodic quantity of one

significato’ {the mise en relief of innumerabilis is created at the level of sound by the initial heptasyllable, at the level of syntax by the extended hyperbaton, at the level of rhythm by the enjambement. The signifier accounts for the signified}. 44 Cf. Menichetti 1993, p.503. 45 Cf. Nänny–Fischer 2006, p.467. 46 On the iconicity of the rejet of the compounds of cado see pp.64 ff.

B) Iconicity 

 15

syllable (which is therefore also iconic at the acoustic level).47 A typical example is B.6.43 f. his adiungit, Hylan nautae quo fonte relictum clamassent, ut litus ‘Hyla, Hyla’ omne sonaret;

where the repetition Hylā, Hylă, with the prosodic hiatus of the final syllable of the repeated word, reflects iconically the dying away of the name repeated by the echo. Among structural icons of a syntactical nature, the most frequently recurring is a verbal sequence which mirrors iconically the chronological sequence of the actions being described. This very natural form of iconicity can be reinforced by asyndeton, as in Caesar’s celebrated phrase ueni, uidi, uici, considered para­digm­atic of chronological iconicity.48 In Latin poetry we can find even more expressive forms, as at Aen.5.661 ff. pars spoliant aras, frondem ac uirgulta facesque coniciunt. furit immissis Volcanus habenis transtra per et remos et pictas abiete puppis.

where the run-over verb at the end of the period is followed by another verb, with the effect of indicating the immediate sequence of the two actions.49 Still at a syntactical level, the spatial relationship between words in a verse can be iconic. The juxtaposition of two words can, for example, underline the closeness of the two objects, as at Aen.10.466 tum genitor natum dictis adfatur amicis:

where the juxtaposition, here an icon of relationship, marks the tight parental bond; or at Aen.10.361b haeret pede pes densusque uiro uir.

47 Cf. pp 190 ff. 48 Müller 2001, pp.305 f. observes how the convergence of asyndeton, equal syllables, alliter­ ation, and assonance gives the expression ‘a sense of achievement, the consciousness of a series of actions swiftly and expertly performed’. On the iconicity of this phrase see also Marouzeau 19462, p.104 and Hofmann–Szantyr (Traina) 2002, p.241. On the iconic value of asyndeton, exploited to reflect an idea of haste or speed, see Thomas 1988, ad G.4.78; Hardie 1994, ad Aen.9.37; and Tarrant 2012, ad Aen.12.338 f. 49 Cf. p.135.

16 

 Introduction

where the polyptoton is an icon of contact,50 reflecting the closeness of the warr­ iors’ bodies in the crowded (densus) battle scene (a ‘battle polyptoton’).51 Chiasmus can also be used with iconic effect. It can convey the idea of a sequence that returns to its beginning, like the effect of echo at Aen.8.305 consonat omne nemus strepitu collesque resultant.

where the placing of verbs framing the line52 emphasizes the semantics of the expression.53 Chiasmus can also produce an icon of enclosure, of wrapping round or containing. For English poetry it is enough to cite Coleridge’s Frost at midnight (51b f.) For I was reared In the great city, pent ‘mid cloisters dim

where the poet, remembering his school as a prison, encloses the term cloisters between the words in phonetic chiasmus, mid and dim.54 In an inflected language the marked freedom to move words around allows a similar iconic effect to be obtained by means of hyperbaton. Aen.8.369 is para­ d­igmatic: nox ruit et fuscis tellurem amplectitur alis.

Here the hyperbaton fuscis . . . alis embraces the noun tellurem, reflecting icon­ ically the semantics of amplectitur.55 The ‘interlocking’ hyperbaton (ABAB) can also be used iconically.56 In many instances it actually strengthens the idea of blending expressed by the verb misceo, as at Aen.12.68b f. 50 Cf. p.226. 51 See Wills 1996, pp.194–202. 52 Cf. pp.221 ff. 53 See Conte 20072, p.30. 54 Cf. Nänny–Fischer 2006, p.469: ‘The reversal of letters in “mid” and “dim” presents a smallscale enclosure, perfectly framing the secluded enclosure of the “cloisters”’. 55 On this type of iconic hyperbaton see p.154. The instances in which the chiasmus may have been used to emphasize an idea of static symmetry (cf. Nänny–Fischer 2006, p.469) seem to me less convincing, as at B.4.4 Vltima Cumaei uenit iam carminis aetas, where Coleman 1977 notes, ad loc.: ‘The “golden line” pattern here, with ultima . . . aetas enclosing Cumaei . . . carminis and uenit iam in central position, suggests the cyclic symmetry of the ages’. It seems clear that to apply iconicity to abstract concepts can be both risky and open to argument. 56 Cf. pp.248 f.



C) Criteria for a stylistic analysis 

 17

aut mixta rubent ubi lilia multa alba rosa,

In other instances an extended hyperbaton can reflect the idea of a movement, as at Aen.9.632 ff. effugit horrendum stridens adducta sagitta perque caput Remuli uenit et caua tempora ferro traicit. ‘i, uerbis uirtutem inlude superbis!

where the interval between sagitta and traicit mirrors iconically the flight of the arrow which passes through the warrior’s head.57 A hyperbaton with a wide span can underscore the meaning of adjectives indicating great size, as at G.2.461 f. si non ingentem foribus domus alta superbis mane salutantum totis uomit aedibus undam,58

Equally iconic can be the placing of a noun or adjective in a position in the line which mirrors its meaning. In Herbert’s Paradise, for example, the word end is often placed at the end of a line or thematic section. The same type of iconicity is clearly used in Latin poetry if we consider the placing of adjectives in positions in the line which mirror the semantics, such as primus in initial position, medius in the centre of the line (or passage),59 or the preposition inter between the adjective and noun (or vice versa).60

C) Criteria for a stylistic analysis Dices, nec Virg. hoc cogitauit, et ridiculum praeceptum est. Apage hoc Lector, obruam te nube testimoniorum (La Cerda, ad Aen.12.249)

A sound stylistic analysis should aim at keeping as closely as possible to the reality of the text, seeking to reduce to the maximum that margin of subjectivity

57 Cf. p.77. 58 Cf. p.255, n.793. 59 Cf. Lateiner 1990, pp.209–214 (‘Verse Position of Ordering Words’); and Thomas 1983, p 178, on medius used at the centre of an ecphrasis. It is also right, however, to consider these colloc­ ations in the light of the prosodic shape of the words. 60 Cf. Marouzeau 1949, p.58; Eden 1975, ad Aen.8.32; Lateiner 1990, pp.211 f.; and, on the anastrophe of inter, here p.55, n.183.

18 

 Introduction

inevitable when interpreting a passage in terms of ‘effects’.61 Reading an author’s complete opus is an essential training to enable us to derive empirically a norm, on the basis of which the significance of divergence from the norm may be recognized. Before venturing into a stylistic interpretation it is necessary to find a significant number of parallel passages in the text. This comparison is indispens­ able for verifying whether a particular form of expression is used consistently in comparable semantic contexts. A stylistic figure does not actually always convey the same effect, but, inasmuch as it is a function of the meaning, it reinforces and underlines the semantics of the terms used in a given context.62 To this we must add that a stylistic figure must be measured only within the context in which it is found, and in the light of its convergence with the narrative, syntactical and metrical–rhythmical aspects with which it interacts. 63 Clearly, then, any classification of formal structures aimed uncompromisingly at also giving an account of the stylistic effects which those structures convey is inevitably doomed to be unsuccessful. Stylistic analysis cannot therefore restrict itself to a categorization of stylistic figures, but must perforce be translated into an act of hermeneutics, a reading of the text which is alert to its expressive and artistic values in a broad sense.

61 Cf. Nänny–Fischer 2006, p.463: ‘a similarity between form and meaning may be perceived intersubjectively’. 62 With reference to alliteration (but the same argument can be applied to other figures), see the astute note by Eden 1975, ad Aen.8.2: ‘Some Roman poets would be astonished at the discoveries of their hypersensitive modern critics. In particular one should bear in mind that the same sound may appropriately be associated with contexts of different feeling and content, and that sound-patterns are often not strictly onomatopoeic – they may accompany the sense without reinforcing it’. Reservations about the iconic value of alliteration are also found in Marouzeau 19462, pp.33 f. and Fordyce 1977, pp.289 ff., who recognizes in the figure an expressive function in a broad sense, and, in some instances, a literary function (it can be used, for example, to give an Ennian flavour to the verse). 63 Cf. Conte 20072, p.42: ‘un principio importante di ogni analisi stilistica […] afferma la convergenza dei fattori espressivi: spesso espedienti metrici ed espedienti retorici congiurano insieme a intensificare il senso, giacchè sia gli uni sia gli altri nascono generati appunti da quel senso, ne sono i confluenti effetti’ {An important principle of every stylistic analysis […] is to point out the convergence of expressive factors: often metrical devices and rhetorical devices work together to intensify the meaning, since both one and the other arise precisely from that meaning, and are its confluent effects}.

Chapter 1 

Poetry and verse A) Poetry, verse and enjambement in ancient and modern theory When assessing the expressiveness of a stylistic device in a classical text it is both useful and stimulating to examine modern interpretations, which in many instances can offer fruitful hermeneutic viewpoints. It is, however, methodologically necessary first to analyse classical literary theory and to give due consideration to the obvious differences between Latin poetry, meant essentially for recitation, and modern poetry, in which the typographical aspect also plays a not unimportant role. Take enjambement. This figure, which, as is well known, arises from the absence of correspondence between syntactical and metrical units, is also indic­ ated in modern poetry by the typographic device of a new line, while in ancient poetry it is perceived only as a rhythmical variation, a breaking of that ‘iterativity’ of equal rhythmical structure which is by definition poetic discourse.64 This marked ‘metricality’, not necessary in modern poetry – to think of free verse – is actually considered the very essence of poetry in many ancient sources.65 Aristotle, in Rhet.3.1408 b 29 ff. advises against the use of verses in prose, because they would turn it into poetry: ῥυθμὸν δεῖ ἔχειν τὸν λόγον, μέτρον δὲ μή· ποίημα γὰρ ἔσται.

The verse is also the characteristic feature of poetry for Dionysius of Halicarnassus, who in the last chapter of his De compositione verborum copies a stanza in strophe of Simonides’ Danae, abandoning the strophic division, to show that in the absence of division into metrical cola – in other words, of verses – poetry is no longer poetry and corresponds in every way to pure prose.66 The verse is also 64 Sufficient here to quote Hopkins 1959, p.179: ‘speech wholly or partially repeating the same figure of sound’. This definition of poetry is taken up by Jakobson 1960, p.358, who also observes: ‘Measure of sequences is a device which, outside of poetic function, finds no application in language. Only in poetry with its regular reiteration of equivalent units is the time of the speech flow experienced, as it is – to cite another semiotic pattern – with musical time’. 65 For a discussion of ancient literary theories on the relationship between prose and poetry see Lomiento 2004, pp.103–117. 66 Dion. Halic. De comp.verb. pp.278–280, Rhys Roberts. It is interesting to note that an experiment identical to that of Dionysius was put forward by Tynjanov 1968 [1924], p.49 (writing in

20 

 Chapter 1 Poetry and verse

the distinguishing characteristic of poetry in numerous other ancient sources, including, for example, Plato, Isocrates and Gorgias.67 These ancient depositions allow us to approach the poetic text with a more conscious view. We cannot really reconstruct the recitation and performance aspects of classical poetry, but some textual evidence provides us with clear indic­­ations of the means by which the poet marks the end of the verse. This comprises a well-known range of rhythmical factors: the correspondence of arsis and word accent in the final positions of the hexameter;68 the tendency to avoid a long monosyllable + a spondaic word after the caesura at penthemimeral (2½) (Marx’s law);69 or a trochaic caesura contemporaneously in fourth and fifth feet (giving the effect of an anticipated line-ending).70 We must ask, therefore, what the effect of enjambement in ancient poetry is. If the ancient sources lack a specific term for enjambement,71 Dionysius (De Comp. 26.1) describes it clearly, indicating it as a means for bringing poetry closer to prose. The poets, in order to eliminate the regularity and repetitiveness of the metre, and so push us to forget it (εἰς λήθην ἐμβάλλουσιν ἡμᾶς τοῦ μέτρου), observes Dionysius, need to ‘cut up’ the verse (διατέμνοντα τὸ μέτρον), bringing

prose several free verses, to underline that in the absence of new lines the poetic range no longer existed) and its opposite, by Cohen 1966, pp.76 f., who, breaking a newspaper extract into a carefully prepared series of new lines of type, showed how this minor step was enough to make the text ‘no longer prose’. Prose (from prorsus) – observes Cohen (p.55) – is marked by moving in a linear fashion, while verse (from uersus) is such because it forms a new paragraph (such etymological distinctions are also taken up by Eco 1982, p.10, who ironically defines poetry as ‘quella cosa che va a capo prima che la pagina sia finita, e la prosa quella che continua sino a che si possa sfruttare una porzione di carta, riducendo al massimo i margini, perché la carta costa’ {that thing which starts a new paragraph before the page is finished, and prose is that which continues as far as it can make use of the piece of paper, reducing the margins to a minimum, because paper is expensive}. 67 Cf. Plat. Rep.10.601 b (the verses of the poets, if deprived of metre, are unrecognizable in the same way as the young without beauty, once the flower of their youth has been lost), Isocr. Evag. 11 (poetry owes its expressive power to discourse in verses) and Gorg. Hel.enc. 9 (poetry is ‘prose with metre’). 68 Cf. p 199, n.608. 69 Cf. p 199, n.609. 70 Cf. p 199, n.610. 71 We need, however, to remember the expression εἶδος Σοφόκλειον (Choerob. ad Hephaest. pp.225, 16 and 226, 25 Consbruch), which does not really indicate enjambement, but only epi-synaloepha, a phenomenon, very common in Sophocles, consisting of synaloepha between the final syllable of a line and the initial syllable of the next.



A) Poetry, verse and enjambement in ancient and modern theory 

 21

together cola of different lengths (ἄνισα καὶ ἀνόμοια) and thereby not matching the phrase to the metrical unit (μὴ συναρπαντίζοντα τοῖς στίχοις).72 Although Dionysius’ description does not exhaust all the expressive possibilities of enjambement, it grasps one aspect which will be central to several modern definitions: the effect of ‘breaking’ metrical units in recitation. Tasso, noting enjambement in the sonnets of Della Casa, speaks, not by chance, of ‘rompimenti di versi’ {rupture of verses} and of ‘versi spezzati’ {broken verses};73 In the same way Foscolo observes, also in Della Casa, the ‘verseggiar rotto’ {to write broken verses} and the habit of ‘spezzare la melodia dei versi’ {breaking the melody of the verses}, 74 and indeed from the nineteenth century the term ‘spezzatura’ {breakage} is used to define the device.75 Further definitions highlight, on the other hand, the syntactical aspect. Consider the sixteenth-century definition put forward by Minturno (Arte poetica, p.363), who underscores the idea of syntactical continuity (‘catena’ or ‘legamenti di versi’ {sequence or skein of verses}), or the better known and more successful definition of Boileau, who uses the verb enjamber, legal and regulatory in origin (it is used of a beam or rafter which ‘trespasses’ onto the house of a neighbour), to underline, while deploring it, the escape of the phrase into the next line.76 The abundance of terms which scholars of different countries77 have produced over time indicates the uncertainty in identifying with clarity enjambe72 On enjambement as a means of bringing poetry closer to prose see Žirmunskij 1966 [1925], p 167. 73 Tasso, Lezione recitata nell’Accademia Ferrarese sopra il sonetto «Questa vita mortal, etc.» di Monsignor Della Casa, in Guasti 1875, vol. II, p.125 and Discorsi dell’arte poetica, in Mazzali 1959, p.399. 74 Cf. Foscolo 1816, p.42. 75 The term ‘spezzatura’ (break) is considered ambiguous by Valesio 1971, p.61 (who observes that it is not the verse that is broken, but the phrase), but the statements of Tasso and Foscolo, alluding to the breaking, not of verses, but of their melody, make unequivocally clear the meaning of the term. See also Lomiento 2008, p.16, n.8, who specifies that the term ‘rompimento’ (rupture) refers ‘all’effetto acustico durante un esecuzione vocale (o immaginata tale) del testo, dove il ripetersi periodico di misure eguali è interrotto (di qui la nozione di ‘rompimento’) proprio in coincidenza dell’enjambement’ {to the auditory effect during a vocal (or conceived as such) performance, where the repetitive recurrence of equal measures is interrupted (hence the idea of ‘rupture’) in coincidence with enjambement}. 76 Cf. Boileau 1674 (Art poétique, 1, 138), who, considering enjambement an affectation of sixteenth-century Italian poetry – it was still absent from French poetry – praises Malherbe in these terms: ‘et le vers sur le vers n’osa plus enjamber’ {and the verse upon verse dare not trespass}. 77 For Italian, see Affò 1777, pp.222 f., who classes enjambement under the term of ‘intralciamento’ also calling it ‘ingambamento’ – the similar term ‘accavalciamento’, a loanword from the Spanish encabalgamiento proposed by Marouzeau 19513 and Monteverdi 1969, p.129 (‘accavallamento’) for the Italian, is not attested elsewhere. See also Fubini 1947, pp.257 f., who suggests

22 

 Chapter 1 Poetry and verse

ment’s distinguishing characteristics. It seems to have a double nature, or rather is used by a poet to highlight the ‘double shape’78 peculiar to poetic writing, in which two different levels are known to coexist, the syntactical, which answers the need for clarity in communication, and the metrical, which, with its rhythm­ ical limitations, indicates the marks by which poetry may be recognized. What is important in a discussion on expressiveness is to establish a crit­­erion for assessing the stylistic importance of a device. Not all enjambements have the same ‘temper’;79 alongside more neutral instances, attributable to the normal articulation of the period, we find others which are intended artistically.80 There is no doubt that the stylistic level of an enjambement depends first on the position of the syntactical pause in the line. It will be useful here to take up the terminology introduced by Grammont, who defines as rejet the syntac­ tical element run over to the next line,81 stressing that its length is not devoid of stylistic relevance: a longer rejet will actually have less expressiveness than one consisting of a single word.82 The agreement of verse and phrase is also broken for the sake of effect in the presence of contre-rejet, a particular form of enjambement in which a period begins close to the line-end, to run on into the next.83 In my analysis, beside those two forms of enjambement, I also consider important the syntactical passage which follows the rejet, used with precise styl­

the word ‘inarcatura’, a term which has found some favour. German scholars have concentrated on the breaking of the verse (Versbrechung) and Anglophone scholars on syntactical continuity (run-on line). On this terminology see Menichetti 1993, pp.481 f. 78 On this aspect see the observations of Jakobson 1960, p.366. 79 The metaphor (‘temperatura’) is from Cremante 1967, p.380. 80 Cf. Žirmunskij 1966 [1925], p.166. 81 Cf. Grammont 19132, p.35: ‘Le rejet est un effet de contraste produit par le fait que la phrase syntaxique ne cadre pas avec le mètre. Il y a discordance entre les deux. Quand le mètre est fini, la phrase ne l’est pas et déborde en partie sur le mètre suivant; ou bien la phrase est terminée avant que le mètre le soit, et alors une nouvelle phrase commence avec la fin d’un mètre pour se dérouler dans le suivant. Dans le premier cas on dit qu’il y a rejet, dans le second qu’il y a contre-rejet’ {The rejet is an effect of contrast produced by the fact that the syntactical phrase does not coincide with the metre. There is a discordance between the two. When the metre is finished, the phrase has not, and so encroaches in part on the following metre; or the phrase finishes before the metre has, and so a new phrase begins with the end of the metre to roll over into the following metrical foot. In the first case we say there is a rejet, in the second that there is a contre-rejet}. 82 This purely spatial criterion is also adopted to measure expressive impact by Alonso 1950, p.71 (who distinguishes between “rough and broken” and “smooth” enjambements) and also by Hollander 1973, p.215 (‘hardness and softness of enjambements’). See Robaey 1983, p 115, n.6. 83 See n.81.



A) Poetry, verse and enjambement in ancient and modern theory 

 23

istic effects. For this I propose to adopt the term après-rejet, which echoes and supplements Grammont’s terminology. Alongside these spatial and quantitative criteria, the importance of enjambement will also be measured on the basis of the degree of syntactical cohesion between the parts of the broken syntactical unit. This is the area of the phonet­ ician Antonio Quilis’ pioneering work; he analyses enjambement in Spanish poetry and provides a useful method of typology for the device, based on the typology of sirremi – very nearly the same term as ‘syntagma’84 – split in enjambement. To assess correctly the expressiveness of enjambement, we need to combine syntactical85 and spatial–quantitative analysis. Not unimportant, for example, is the type of line in which enjambement is used: obviously a rejet will be more evident in a long line like the hexameter than in a shorter line like the senarius.86 Along with these factors we must also consider the rhythm of the verse and coincidence with other stylistic figures – such as hyperbaton – which can have the effect of weakening or strengthening enjambement. There are, of course, no fixed parameters or formulae for assessing the expressiveness of a stylistic figure. Analysis of the context and above all of its rhythmical, syntactical and semantic aspects will always be the means of providing the reader with valuable indications of possible deviations from the norm.

84 The concept of sirrema had already been propounded, in the Madrid school of phonetics headed by Quilis, by de Balbín 1962, p 132, to indicate ‘un miembro de oración […] o sea unidad sintáctica intermedia entre la palabra y la frase’ {a part of speech […] that is, a syntactical unit between the word and the phrase}. Quilis 1964, p.78 by ‘sirrema’ meant ‘una unidad gramatical perfecta, unidad tonal y unidad de sentido’ {a single grammatical unit, united in sound and sense}, and referred specifically to the groups: substantive–adjective; substantive–complement; verb– adverb; the parts of the compounds of a verb and those of a verbal periphrasis. On the basis of this distinction, there are three principal typologies of enjambement: ‘lexical’, or cutting off the word at line-end – also in this category is epi-synaloepha, the fusion into one metrical syllable of the final syllable of a line with the first syllable of the next; ‘sirrematic’ or ‘infrasyntagmatic’, the fragmenting of the parts of a sirrema (especially of adjective–substantive and substantive–verb); ‘syntactical’ or ‘clausal’ – breaking between the main clause and relative clause (this is the less obvious type since the extension of the rejet in these instances is rather longer). See Cremante 1967, p.382. 85 Another syntactical interpretation is that of Matjaš 1996, pp.189–203, according to whom enjambement occurs when the ‘vertical links’ (the syntactical connections which occur between the end of a line and the beginning of the next) are stronger than the ‘horizontal links’ (those within the line). 86 Cf. Traina 1998, PL 5, p.164: ‘la frequenza dell’enjambement è inversamente proporzionale alla lunghezza del metro’ {the frequency of enjambement is inversely proportional to the length of the verse}.

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 Chapter 1 Poetry and verse

Reading aloud will allow us to grasp the effects of enjambement and other styl­ i­stic devices,87 while remaining subject all the while to the meaning of the text. The method of reading poetry aloud, in particular lines with enjambement, is a controversial question which has led to heated debate. For some proponents the reading must be expressive, to convey precisely the syntactical value and meaning of the verses, while others prefer a metrical or musical reading, which makes obvious the pause at line-end.88 A correct recitation must reflect as faithfully as possible the communicative approach adopted by the poet. It will therefore be necessary from time to time to interpret the expressiveness of enjambement, distinguishing conventional instances, more neutral or casual, in which the pause at line-end is less marked, from those intended for effect, which need to be given due weight when reading aloud. Some interesting views on the stylistic value of enjambement already exist in sixteenth-century theory, which consider the device to be a mark of a dignified or grand style, tracing its model back to heroic Latin verse.89 This is particularly valu­­ able for our discussion because these views bear witness to the central position of Virgil’s poetry, for enjambement also, in the panorama of European literature. If in sixteenth-century theory enjambement seems bound up with the idea of dignity, with the passage of time a changing artistic sensibility leads to a perception of different stylistic effects. Particularly significant is the case of Foscolo, 87 Cf. Gransden’s 20042 suggestion, p.51, and Tarrant 2012, p.42. 88 For a summary of the question cf. Cremante 1967, pp.383 f. (above all n 10). The expressive or syntactical reading, much in vogue in the twentieth century, is supported by Quilis, according to whom, since the strict syntactical cohesion of the sirrema does not allow the introduction of a breathing space, encabalgamiento constitutes a ‘vulneración de la estructura de las pausas métricas’ {breach of the structure of metrical pauses}. The metrical or musical reading is supported by Grammont 19132, p.35, who has strongly influenced succeeding scholarship: ‘C’est par une véritable aberration qu’on enseigne aux comédiens à dire les vers comme de la prose [...] Quand il y a conflit entre le mètre et la syntaxe, c’est toujours le mètre qui l’emport, et la phrase doit se plier à ses exigences’ {it is by means of a true aberration that actors are taught to speak verse as though it were prose [...] when there is conflict between metre and syntax, the metre always takes precedence, and the syntax must bend itself to the metre’s demands}, and by many others (cf. e.g. Jakobson 1960, pp.366 f. and Cohen 1966, pp.93 ff.). 89 See the position of Girolamo Ruscelli in his Trattato del modo di comporre in versi nella lingua italiana, chap. 145, almost paraphrased from Herrera 1580, chap. 68 (complete citation in Cremante 1967, p.385, n.14). Similar expressiveness in enjambement is recognized by Tasso (Lezione recitata nell’Accademia Ferrarese sopra il sonetto «Questa vita mortal, etc.» di Monsignor Della Casa, in Guasti 1875, vol. II, p.125), who, commenting on the sonnets of Della Casa, observes: ‘il rompimento de’ versi ritiene il corso dell’orazione, ed è cagione di tardità, e la tardità è propria della gravità’ {the rupture of the lines retains the flow of the speech, and is the means of slowing it down, and slowness is the characteristic of dignity}.



A) Poetry, verse and enjambement in ancient and modern theory 

 25

reader of the sonnets of Della Casa, who, in Vestigi della storia del sonetto italiano, interprets the text according to his own sensibility, associating enjambement with a sense of anguish and apprehension in an approach entirely romantic.90 The observations of Mario Fubini are clearly valuable in the field of stylistic criticism, where he achieves a fine grasp of enjambement’s very being in Tasso’s poetry.91 In drawing attention to a stylistically motivated use of enjambement, which, associated with ‘momenti di maggior commozione lirica’ {moments of the greatest lyrical emotion}, has the function of throwing into relief the two elements of the syntagma, Fubini also provides us with indications as to its delivery: it is as if enjambement ‘introducesse nel discorso una pausa irrazionale, poiché mentre il senso congiunge le due parole, inevitabilmente la voce deve, sia pure per un istante brevissimo, posare’ {introduced an irrational pause in the speech, since while the sense joins the two words, the voice must inevitably pause, even if only for the briefest of moments}. The pauses, therefore, have the function of stressing a word and, sometimes, of suggesting a break in speech;92 in other words they acquire an expressive value, a quasi-semantic function, and ‘tendono a farsi valere non meno o più delle parole esplicite’ {are inclined to have a value no less nor greater than explicit words}. It is correct to note that, beside these effects, which we also find in Virgil, enjambement can have other, notably different, if not opposite, effects.93 In some instances, rather than a pause, the device can underscore an idea of excitement, inviting us to blur the confines of the verse in our recitation; in others it can reflect 90 Foscolo 1816, p.42 observes that the expressiveness of Della Casa’s poetry depends ‘nel collocare le parole e spezzare la melodia de’ versi con tale ingegnosa sprezzatura da far risultar l’effetto che i maestri di musica ottengono dalle dissonanze, e i pittori dalle ombre assai risentite’ {on placing the words and fragmenting the melody with such ingenious studied carelessness as to give the effect which musical maestros achieve through dissonance and painters through bold shadows}, and in obtaining ‘un verseggiare sì rotto’ {a making of verse so interrupted} as to ‘ti fa sentire l’angoscia’ {cause you to feel the anguish}. Foscolo’s reading seems to anticipate Morier’s (1961, p 159) interpretation, according to which enjambement provokes in the reader ‘un phénomène d’intense curiosité [...] qui est un espoir ou une appréhension, un désir ou une angoisse’ {a phenomenon of intense curiosity, [...] which is either hope or apprehension, desire or anxiety}. 91 Fubini 1947, pp.256–270. 92 An evocative instance is found in the lines of Tasso (Ger.3.20) which describe the love-sick longing of Erminia, secretly enamoured of Tancred: Egli è il prence Tancredi: oh prigioniero / mio fosse un giorno! {He is the Prince Tancred; would he were my / thrall for one day}, where, according to Fubini 1947, p.262, ‘ci par di sentire il sospiro della patetica Erminia’ {we seem to hear the breath of poor Erminia}. 93 This is noted by Giachery 1990, pp.13 ff., who puts forward the analysis of enjambement in a lyric of Montale (Arsenio), to show how the device, if joined to expressions with different meanings, can have opposite effects even in the course of a few lines.

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 Chapter 1 Poetry and verse

iconically a sudden action.94 As has been said so often, in the end the semantics of the context must guide the reader towards a given stylistic interpretation.

B) Enjambement in the Aeneid “All the charm of all the Muses often flowering in a lonely word” (Tennyson, To Vergil)

The notable freedom in word position in inflected languages makes it possible to develop enjambement in a profusion of different forms.95 Leaving aside the more neutral instances – the conventional diversions from the norm used simply to avoid the monotony of the phrase-line and allow a freer structure of the period – I concentrate on those enjambements which appear more clearly aimed at expressiveness. Reading the texts we cannot but notice a significant frequency and a usage that is stylistically motivated: a device evid­ ently associated with recurrent words, which prove to be related from a semantic point of view, or develop an identical function in the text. The analysis which I put forward is, therefore, inevitably structural and semantic at the same time: the passages which present the same devices are subdivided and analysed on the basis of the semantics of the terms used. Clearly an analysis of this kind must be founded on systematic readings and not on occasional and impressionist observations. Stylistic interpretation of a 94 The effect is also met in Dante’s Commedia, as is clear for example at Inf 13.44b f. ond’io la­ sciai la cima / cadere, e stetti come l’uom che teme {whereat I let the top / fall, and stood like one who is afraid} and at Purg.5.100 ff. Quivi perdei la vista e la parola; / nel nome di Maria fini’; e quivi / caddi, e rimase la mia carne sola {There I lost vision and words; / in the name of Mary I finished; and there / I fell, and my flesh alone was left}. Cf. Fubini 1947, p.259: ‘si avverte lo schianto della caduta e della morte’ {we feel the crash of falling and of death}. 95 On enjambement in Virgil see Büchner 1936 (a comparison of Lucretius and the Aeneid); Westreicher 1946 (a categorization with a collection of material); Lahnam 1970, pp.179–187 (on enjambement in Ennius and Virgil); Dangel 1985, pp.72–100 (on the metrical and syntactical aspects) and Squillante Saccone 1985, EV 2, pp.310 ff. (with further bibliography). On the rejet as a stylistic figure, other than in the main commentaries on the Aeneid (generally defined as run-over word), see Henry 1878, ad Aen.2.246; Norden 19574, pp.399 f. (on rejet of an adjective); Marouzeau 19462, pp.307–309 (on the iconic character of the rejet); Lucot 1960, pp.165–170 (on the iconic rejet of verbs indicating throwing) and 1967 (b), pp.81–112 (on molossic words in rejet); Wilkinson 1963, pp.79 f. (a number of instances of a dactylic rejet in the Georgics); Hellegouarc’h 1970, pp.27–32 (on throwing a single word into relief); La Penna 2005, pp.480–489 (on ‘enjambement lirico’ in the Aeneid); Kollman 1982, pp 117–134 (a statistical enquiry from Catullus to Statius); Robaey 1983, pp.113–128 (on rejet, contre-rejet and in particular on the ‘chiusa epica’).



B) Enjambement in the Aeneid 

 27

device, to avoid being arbitrary and subjective, must begin from the semantics of the text and, in the same text – in a significant number of parallel passages – find confirmation, if not of a rule, at least of an evident tendency. To understand the specific nature of Virgilian enjambement a comparative analysis of preceding hexameter poetry, both Greek and Latin, has also been necessary. The reading of sample texts has looked at the Iliad, Ennius, Lucretius, Catullus 64 and the Aeneid. 96 Brief incursions into later hexameter poetry serve to assess how Virgil’s technical lessons set a model for the poets who followed him.

B) I Interlinear juxtaposition: Virgil’s primary device We begin with the most common form of enjambement in modern languages, the break of adjective and noun (normal order) or vice versa (inverted order) between end and beginning of a line.97 The parts of the syntactical unit in enjambement do not in this instance constitute hyperbaton, but, juxtaposed from a syntactical point of view, are separated only by the pause at line-end. For this aspect we might use the term ‘interlinear juxtaposition’, thereby distinguishing this type of enjambement both from simple juxtaposition at line-end, a prosaic feature of the hexameter,98 and from other types of enjambement associated with hyperbaton. It is necessary, however, to specify that interlinear juxtaposition with inverted order (noun–adj.) and followed by a syntactical pause is comparable in terms of stylistic effect to rejet of an adjective, while with normal order it is comparable to an adjective ‘suspended’ at line-end and in hyperbaton with a noun in the next line.

96 To avoid the data being invalidated by chance density of enjambement in given sections or books, the sample from the Iliad (edd. Monro–Allen) has looked at vv.51–75, 151–175, 251–275, 351– 375 of books 1, 6, 9, 12, 18, 24 (600 lines); from De rerum natura (ed. Bailey) lines 1–30, 201–230, 401–430, 601–630, 801–830 in each of the six books (600 lines); for the Annals (ed. Skutsch) 100 lines (by necessity I selected only those fragments of two or more verses); the whole of carmen 64 (ed. Mynors); and the whole Aeneid (ed. Conte). My analysis covers both adjectives with attrib­u­ tive value (qualifying, demonstrative, interrogative, pronominal, etc.) and those with predicative value and also participles, while I have not considered the instances in which two adjectives qualify the substantive. 97 On this type of enjambement in Virgil see Squillante Saccone 1985, EV 2, p.311. On the pos­ ition of the adjective see here pp.217 f. 98 I allude here in particular to the rare juxtaposition at line-end of words ending in -ă (16 instances in the Aeneid) of the type discordia taetra. Cf. Harrison 1991 (b), pp.138–149.

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 Chapter 1 Poetry and verse

The following percentages of use emerge from analysis of the texts: Homer (six instances in 600 lines = 1%),99 Ennius (three instances in 110 lines = 2.7%),100 Catullus 64 (three instances in 408 lines = 0.7%),101 Lucretius (fifteen instances in 900 lines = 1.7%),102 and Virgil (160 instances in 9896 lines = 1.6%).103 99 Il.6.53; 9.74, 368; 12.51, 52, 55. The reference is to the first of the two lines included in the interlinear juxtaposition. 100 Ann.44 Sk. gerendae / aerumnae; 281 uerbum / paucum; 304 suauiloquenti / ore. 101 86 uirgo / regia; 280 magnis / montibus; 307 uestis / candida. 102 1.620 omnis / summa; 2.400 ferique / centauri, 406 nostris / sensibus, 410 acerbum / horrorem; 3.23 ulla / res, 425 minutis / corporibus, 600 potestas / omnis; 616 unis / sedibus; 4.24 omnem / naturam, 207 eodem / tempore, 212 serena / sidera, 812 omni / tempore; 5.14 liquoris / vitigeni, 814 omnis / impetus. 103 The instances in the Aeneid are: 1.99 ingens / Sarpedon, 170 omni / ex numero, 180 omnem / prospectum, 275 laetus / Romulus, 327 uultus / mortalis, 341 longae / ambages, 363 auari / Pygmalionis, 416 Sabaeo / ture, 546 aura / aetheria, 589 decoram / caesariem, 610 amicum / Ilionea, 623 urbis / Troianae, 745 soles / hiberni (13 instances in 756 lines = 1.5%); 2.19 cauernas / ingentis, 143 laborum / tantorum, 206 iubaeque / sanguineae, 272 cruento / puluere, 274 ab illo / Hectore, 299 parentis / Anchisae, 325 ingens / gloria, 341 Coroebus / Mygdonides, 352 urbi / incensae, 463 labantis / iuncturas, 464 altis / sedibus, 491 ipsi / custodes (12 instances in 804 lines = 1.4%); 3.1 gentem / immeritam, 2 superbum / Ilium, 109 arces / Pergameae, 214 ulla / pestis, 282 urbes / Argolicas, 504 utramque / Troiam, 585 aethra / siderea (7 instances in 718 lines = 0.9%); 4.42 furentes / Barcaei, 63 reclusis / pectoribus, 211 urbem / exiguam, 366 horrens / Caucasus, 445 ad auras / aetherias, 579 ensem / fulmineum, 665 ad alta / atria, 669 omnis / Karthago, 682 patresque / Sidonios (9 instances in 705 lines = 1.2%); 5.140 clamor / nauticus, 156 ingens / Centaurus, 311 sagittis / Threiciis, 327 sub ipsam / finem, 340 ora / prima, 392 per omnem / Trinacriam, 459 heros / creber, 517 in astris / aetheriis, 596 primus / Ascanius, 614 profundum / pontum, 624 gens / infelix, 672 uester / Ascanius, 680 uires / indomitas, 693 atra / tempestas, 706 ira / magna, 722 parentis / Anchisae, 806 repleti / amnes (17 instances in 871 lines = 1.9%); 6.30 magnam / partem, 64 ingens / gloria, 138 omnis / lucus, 143 alter / aureus, 208 opaca / ilice, 240 atris / faucibus, 413 cumba / sutilis, 492 uocem / exiguam, 496 raptis / auribus, 502 suprema / nocte, 599 sub alto / pectore, 761 ad auras / aetherias, 843 potentem / Fabricium, 885 inani / munere (14 instances in 901 lines = 1.5%); 7.75 coronam / insignem, 83 sacro / fonte, 98 nostrum / nomen, 102 silenti / nocte, 104 per urbes / Ausonias, 271 nostrum / nomen, 304 gentem / immanem, 327 sorores / Tartareae, 456 atro / lumine, 533 udae / uocis, 639 trilicem / loricam, 676 ingens / silua, 682 Gabinae / Iunonis, 706 magnum / agmen, 746 multo / uenatu, 757 cantus / somniferi (16 instances in 817 lines = 1.9%); 8.5 iuuentus / effera, 161 ipsum / Laomedontiaden, 195 recenti / caede, 228 omnemque / accessum, 241 ingens / regia, 287 laudes / Herculeas, 353 nigrantem / aegida, 481 superbo / imperio, 628 futurae / stirpis, 671 imago / aurea, 691 reuulsas / Cycladas, 700 Mauors / celatus, 721 superbis / postibus (13 instances in 731 lines = 1.7%); 9.177 Ida / uenatrix, 303 ensem / auratum, 304 Lycaon / Cnosius, 324 superbum / Rhamnetem, 349 mixta / uina, 441 ensem / fulmineum, 454 ad ipsa / corpora, 521 Etruscam / pinum, 561 ipsum / pendentem, 593 minorem / germanam, 617 per alta / Dyndima, 619 matris / Idaeae, 627 iuuencum / candentem, 644 ab alto / aethere, 699 sub altum / pectus, 700 undam / spumantem, 732 cristae / sanguineae (17 instances in 818 lines = 2%); 10.21 secundo / Marte, 161 opacae / noctis, 215 curru / noctiuago, 231 nos / praecipitis, 464 sub imo / corde, 535 reflexa / ceruice, 602 ductor / Dardanius, 625 istis / sub precibus (8 instances in 908 lines = 0.8%);



B) Enjambement in the Aeneid 

 29

If the statistical data are certainly important for a stylistic analysis, in that the rarity of a device gives evidence of the status of the digression from the norm, in terms of ‘effects’, however, analysis of the contexts and semantics of the words used is also necessary. Only then is it possible to single out the stylistically motiv­ ated use of a device and the resulting imitations on the part of the poets who come after. We begin with Homer. A study of Virgil’s collocation of words in the Aeneid cannot, in fact, leave out an analysis, even if only a sample one, of the Homeric model. We know that it is from Homer that Virgil takes not only themes and images, but also metrical–rhythmical structures, syntactical movements and semi-formulaic conclusions.104 What appears clear from the sample reading of the Iliad is the tendency to use interlinear juxtaposition in a noun–adjective sequence, as, typically, at Il.12.49 ff. ὣς Ἕκτωρ ἀν’ ὅμιλον ἰὼν ἐλίσσεθ’ ἑταίρους τάφρον ἐποτρύνων διαβαινέμεν· οὐδέ οἱ ἵπποι τόλμων ὠκύποδες, μάλα δὲ χρεμέτιζον ἐπ’ ἄκρῳ χείλει ἐφεσταότες· ἀπὸ γὰρ δειδίσσετο τάφρος εὐρεῖ’, οὔτ’ ἄρ’ ὑπερθορέειν σχεδὸν οὔτε περῆσαι ῥηϊδίη· κρημνοὶ γὰρ ἐπηρεφέες περὶ πᾶσαν ἕστασαν ἀμφοτέρωθεν, ὕπερθεν δὲ σκολόπεσσιν ὀξέσιν ἠρήρει,

In a few lines we have a density, apart from other types of enjambement, of three interlinear juxtapositions, with the effect of underlining the agitation of the horses, spurred on by the Trojans to leap the huge enemy trench. In this context the device powerfully throws into relief the adjectives εὐρεῖα and ὀξέσιν: the trench is too wide, and the large and numerous stakes planted in the ground arise menacingly sharp. This type of verbal–metrical expressiveness will be a distinctive feature of Virgil’s poetry. Also typologically interesting is also Il.9.368 f.

11.25 supremis / muneribus, 55 pudendis / uulneribus, 57 quantum / praesidium, 91 Turnus / uictor, 143 longo / ordine, 593 arma / inspoliata, 610 tela / crebra, 642 fulua / caesaries, 673 Amastrum / Hippodaten, 677 armis / ignotis, 679 iuuenco / pugnatori, 732 inertes / Tyrrheni, 778 arma / Troia, 876 atra / puluis (14 instances in 915 lines = 1.5%); 12.19 feroci / uirtute, 43 parentis / longaeui, 99 crinis / uibratos, 118 aras / gramineas, 125 ipsi / ductores, 185 rebelles / Aeneadae, 254 ipso / pondere, 338 caesis / hostibus, 339 rores / sanguineos, 375 bilicem / loricam, 391 Iapyx / Iasides, 482 magna / uoce, 500 caedes / diuersas, 558 urbem / immunem, 690 fuso / sanguine, 702 niuali / uertice (16 instances in 952 lines = 1.6%). 104 On this aspect see the indispensable Knauer 1964, the observations of Conte 20072, pp.157– 163 and, on the literary effects of Virgil’s Homeric imitation, the fine analysis of Barchiesi 20152.

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αὖτις ἐφυβρίζων ἕλετο κρείων Ἀγαμέμνων Ἀτρεΐδης·

where the interlinear juxtaposition emphasizes the patronymic (another stylistic use taken up by Virgil). A further striking feature is the rejet in the next line of the predicate of the object at Il.1.408 ff. αἴ κέν πως ἐθέλῃσιν ἐπὶ Τρώεσσιν ἀρῆξαι, τοὺς δὲ κατὰ πρύμνας τε καὶ ἀμφ’ ἅλα ἔλσαι Ἀχαιοὺς κτεινομένους,

In these words of Achilles, who, insulted by Agamemnon’s scorn in their confrontation, hopes that Zeus will help the Trojans to massacre the Greeks, the participle, thrown strongly into relief by the rejet, underlines the ruthlessness and indomitable hatred of Peleus’ son. In Latin we obviously begin with Ennius, adopting the caution appropriate to the fragmentary state in which his work has come to us. In the lines which remain interlinear juxtaposition does not seem to be stylistically motivated. The only instance worthy of note is Ann.304 f. Sk. Additur orator Cornelius suauiloquenti Ore

which is clearly imitated by Lucretius at 1.945 f. (= 4.20 f.) vulgus abhorret ab hac, volui tibi suaviloquenti carmine Pierio rationem exponere nostram

but is important above all for the pentasyllabic line-ending. In Lucretius as well interlinear juxtaposition, as with other forms of enjambement, does not seem to carry any particular stylistic effect, but is simply one of a number of strat­­egies for constructing a period beyond the limits of the line. The adjectives used actually have a weak emotive charge – they are often pronominal, demonstrative or numeral – and among the descriptive adjectives which recur more than once none is indicative of a particular stylistic effect. Catullus is the Latin poet who, for this stylistic figure, seems to influence Virgil most. As with Ennius, in Catullus 64 interlinear juxtaposition is used only three times (in 408 lines), but in a poet as markedly inclined to the line-phrase as Catullus, the effect of ‘throwing into relief’ is notably more marked. Here interlinear juxtaposition is not in fact used to leap over the line-end, but has the clear function of emphasizing the adjective. Typical is Cat. 64.86 ff.



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hunc simul ac cupido conspexit lumine uirgo regia, quam suauis exspirans castus odores lectulus in molli complexu matris alebat,

Here the young Ariadne’s royal status is highlighted by the mise en relief of the dactylic adjective regia, isolated in the next line before the syntactical expansion quam . . . alebat. Also clearly intended for effect is Cat. 64.307 ff. his corpus tremulum complectens undique uestis candida purpurea talos incinxerat ora, at roseae niueo residebant uertice uittae,

where the colouring of the adjective candida, run over to the following line, is highlighted by juxtaposition with the other colour word purpurea, placed chiastically before the noun (the other colour-word juxtaposition roseae niueo is also notable in the elegant silver-line construction).105

B) I a Stylistic effects of interlinear juxtaposition: adjective–noun Virgil exploits to the full the expressive potential of interlinear juxtaposition. This is evident from the typical recurrence of the adjectives used: it emerges from reading the Aeneid that they present semantic affinities and in many instances are characterized by marked poetic colouring. Interlinear juxtaposition, apart from breaking the monotony of the linephrase, at times with marked iconic effect (it can emphasize, like other types of enjambement, an idea of rapidity or excitement), often has the function of bringing a particularly significant adjective into prominence. The emphatic character of line-end position106 is actually married to the effect of the break: the adjective is highlighted by its position at the line-end and by its separation from the noun. It is not fortuitous, for example, that we find among the adjectives with the highest frequency ingens, a word known to be dear to Virgil.107 In stylistic terms it must be noted that the pause at line-end in coincidence with an adjective indicating bulk, like ingens, has the effect of reinforcing the semantics.108 105 On golden and silver lines see pp.239 f.; on the colour-word juxtaposition, pp.236 f. 106 See pp.218 ff. 107 Cf. Aen.1.99; 2.325; 5.156; 6.64; 7.676; 8.241. On ingens, besides the main commentaries, see Henry 1889, ad Aen.5.118; Skutsch 1985, ad Ann.205; Lunelli–Kroll 19883, p.52; Grillo 1988, EV 4, pp.968–9 and Traina 1994, PL 4, p.126, n.12 (with ample bibliography). 108 The effect may also be found in instances of hyperbaton in which the adjective ingens is placed at line-end and the noun in the next line (cf. p.250 and 252).

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We should note that each stylistic figure does not always carry the same effect per se, but must be measured in the light of the semantics of the passage and of significant convergence with other stylistic features. An excellent example here is Aen.1.94b ff. ‘o terque quaterque beati, quis ante ora patrum Troiae sub moenibus altis contigit oppetere! o Danaum fortissime gentis Tydide! mene Iliacis occumbere campis non potuisse tuaque animam hanc effundere dextra, saeuus ubi Aeacidae telo iacet Hector, ubi ingens Sarpedon, ubi tot Simois correpta sub undis scuta uirum galeasque et fortia corpora uoluit!’

Aeneas, prey to anguish, would have exchanged his lot for that of the valiant Trojans fallen on the field of battle; in his lament, the interlinear juxtaposition ingens / Sarpedon is only one of a number of stylistic figures which converge to indicate a passage of strong pathos. In the first lines the juxtaposition of the adverbs terque quaterque amplifies the paradoxical μακαρισμός,109 the synaloepha at the syntactical pause (oppetere ! o) suggests, here as elsewhere, a break in the speaker’s voice,110 while the initial position of the vocative, run over into the next line,111 loads the patronymic Tydides with effect – as Aeneas, again paradoxically, calls upon his foe Diomedes. In the next lines the tricolon, orchestrated by the repeated ubi, emphasizes the valour and number of the warriors fallen on the plain of Troy. It is within this construction that the stylistic effect of the interlinear juxtaposition ingens / Sarpedon comes to be weighed. Line 99 is elegantly framed, following a process dear to Virgil, between two ‘corresponding’ elements,112 the adjectives saeuus and ingens (two observations on the quality of the Trojan heroes); the anastrophe of the first adverb ubi and the interlinear juxtaposition ingens / Sarpedon come together to realize this symmetry. But there is more. The pause at line-end invites the reader to dwell for a moment on the adjective ingens, which underlines the terrifying might of Sarpedon. The poet, having evoked the nature (saeuus) and 109 On models of this particular μακαρισμός see Horsfall 2006, ad Aen.3.321 ff. ‘o felix una ante alias Priameia uirgo, / hostilem ad tumulum Troiae sub moenibus altis / iussa mori, a clear instance of self-echo (see also Aen.5.623 f. ‘o miserae, quas non manus’ inquit ‘Achaica bello / tra­ xerit ad letum patriae sub moenibus!). 110 On this type of synaloepha see pp.166 ff.; on the very rare synaloepha between fifth and sixth foot (ubi ingens) see Norden 19574, p.456 and Soubiran 1966, p.543. 111 On rejet of the vocative see pp.121 ff. 112 On corresponding terms framing the line see pp.221 ff.



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the scale (ingens) of the heroes, and the number (tot) of the warriors fallen at Troy, concludes with a deeply poignant image: the warriors, once so strong and brave, no longer fight, but are by now at the mercy of Simois’ waves. The last line, with the single masculine caesura at the trihemimeral (1½), has a languid rhythm, almost narcotic, which seems to suggest the abandonment of the bodies to the slow and rhythmical swell of the waves.113 Virgil’s technical virtuosity becomes clear if we compare the passage to the Homeric model of Od.3.109 ff. ἔνθα μὲν Αἴας κεῖται Ἀρήϊος, ἔνθα δ’ Ἀχιλλεύς, ἔνθα δὲ Πάτροκλος, θεόφιν μήστωρ ἀτάλαντος, ἔνθα δ’ ἐμὸς φίλος υἱός, ἅμα κρατερὸς καὶ ἀμύμων, Ἀντίλοχος, πέρι μὲν θείειν ταχὺς ἠδὲ μαχητής

Virgil takes from Homer the emphasis on the proper name but reduces the fourfold anaphora of the adverb of place to the more supple tricolon and elegantly frames the line (99) between the two adjectives. It is interesting to note that ingens in interlinear juxtaposition underscores movingly the sense of an empty and perished greatness in the face of the events of history again at Aen.2.325b ff. fuimus Troes, fuit Ilium et ingens gloria Teucrorum; ferus omnia Iuppiter Argos transtulit; incensa Danai dominantur in urbe.

In Panthus’ despairing words, the great glory of the Trojans now belongs to the past, as is made clear by the tenses of the verbs (fuimus . . . fuit).114 Virgil will borrow the phrasing at Aen.6.64 f. dique deaeque omnes, quibus obstitit Ilium et ingens gloria Dardaniae.

113 For similar effects see p.202. The self-echo at Aen.8.538 ff. quas poenas mihi, Turne, dabis! quam multa sub undas / scuta uirum galeasque et fortia corpora uolues, / Thybri pater! is significant as it highlights the change in Aeneas’ status: the hero, once a victim, is now ready to become a conqueror. Cf. Moskalew 1982, p.128 and Conte 20072, p 109, n.21. 114 The rare synaloepha in Ilium et is worth noting – a cretic word (cf. Austin 1971, ad Aen.1.599 with further references) and at fifth trochee (cf. Norden 19574, pp.455 f.; Williams 1960, ad Aen.5.19) on which see particularly Soubiran 1966, pp.222–226. On the perfect in the sense ‘was and is no more’ see Austin 1964 and Horsfall 2008, ad loc. (with bibliography); and Fordyce 1977, ad Aen.7.413 sed fortuna fuit (with other examples from hexameter poetry).

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in a clear example of self-echo.115 In other instances the interlinear juxtaposition of ingens is not markedly pathetic, but, through powerful convergence with other stylistic figures, lends the verse a marked expressiveness, as, for example, at G.1.379 ff. saepius et tectis penetralibus extulit oua angustum formica terens iter, et bibit ingens arcus,

In a verse where the infinitely tiny (the ants’ path) and the infinitely huge (the rainbow’s arc) are both clear signs of imminent storm for the farmer, the juxtaposition ingens / arcus not only reinforces the semantics of ingens (note also the pause at bucolic diaeresis) but has the added functions of (i) framing the line between the two polarities angustum–ingens,116 and (ii) of placing last, with an effect of surprise,117 the noun arcus, elegantly personified (bibit). The extreme stylistic elegance of this line becomes evident if we simply invert the sequence of the interlinear juxtaposition: *angustum formica terens iter, et bibit arcus ingens

Another striking instance is Aen.8.241 ff. at specus et Caci detecta apparuit ingens regia, et umbrosae penitus patuere cauernae, non secus ac si qua penitus ui terra dehiscens infernas reseret sedes et regna recludat pallida,

115 The closeness of these two passages is clear: the same sequence Ilium et ingens / gloria is in both instances followed by a defining genitive (Teucrorum and Dardanidae) and by a strong syntactical pause. On this self-echo see pp.5 f. 116 Cf. p.224. Similar expressiveness also at Aen.1.546 f. quem si fata uirum seruant, si uescitur aura / aetheria neque adhuc crudelibus occubat umbris, where the line is framed between the adjective aetheria, which expresses an idea of vertical height, and the noun umbris, which alludes to the Underworld (the same contrast, but without the structure framing the line, is found at Aen.4.445 f. ipsa haeret scopulis et quantum uertice ad auras / aetherias, tantum radice in Tartara tendit). On the pause after the bucolic diaeresis see p.37, n.126. 117 On this effect see Thomas 1988, ad loc.; Marouzeau 19462, p.307; Traina 20042, ad Aen.12 941b f. infelix umero cum apparuit alto / balteus (‘L’apparizione è iconicamente evidenziata dal lungo iperbato e dall’enjambement’ {the revelation is iconically highlighted by lengthy hyperbaton and enjambement}).



B) Enjambement in the Aeneid 

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Here the extraordinary, monstrous size of Cacus’ abode is highlighted by interlinear juxtaposition and dicolon abundans, the stylistic method dear to Virgil of expressing a concept or image only to restate it from a different perspective (often a graphic or pathetic addition follows a simple statement of fact).118 The expression apparuit ingens regia (where the last word is pleonastic after specus) is really a variation, a further specification of the equivalent umbrosae patuere cauernae: to the notion of immensity (ingens) is added that of darkness (umbrosae); the regia is none other than an umbrosa cauerna (even here two equivalent terms frame the line). The comparison between the realm of Cacus and the abode of the dead is further underscored by the repeated word (the adverb penitus in identical metrical position) and by the use of another dicolon abundans (infernas reseret sedes et regna recludat / pallida); the similarity of themes is powerfully reflected in the similarity of structure.119 The stylistic effect of interlinear juxtaposition at Aen.7.675 ff. is, however, different: descendunt Centauri Homolen Othrymque niualem linquentes cursu rapido; dat euntibus ingens silua locum et magno cedunt uirgulta fragore.

Here the idea of speed prevails over that of size, as is evident from the semantics of the passage, which presents many expressions of movement (descendunt–linquentes cursu rapido–euntibus).120 The ordo uerborum is, not fortuitously, different from the instances just described: alongside interlinear juxtaposition, the hyperbaton which encloses it (dat . . . locum) also has the effect of inviting the reader to leap over the line-end, highlighting the idea of rapidity. The rhythm then contributes to reinforce the meaning of the passage: the heavy molossic verbs (descendunt, linquentes), in initial position in two successive lines, seem

118 On dicolon abundans, known also as interpretatio, or, in a metaphor taken from music, as ‘theme and variation’, see Henry 1873–1892, index s.vv. ‘Theme and Variation’ (he considers it a characteristic feature of Virgil’s style); Winbolt 1903, pp.261–266 (with verse-writing exercises on the figure); Quinn 1968, pp.423–8 (with examples and typology); and above all Conte 20072, pp.97 f. For instances of dicolon abundans with corresponding terms framing the verse see p.222 and 225. 119 Cf. Eden 1975, ad loc. On this passage see here pp.107 f. 120 An idea of rapidity can be suggested by the semantics of the terms, as for example in Hor. Carm.1.11.7b f. dum loquimur, fugerit invida / aetas: carpe diem, quam minimum credula postero (on these lines see Nisbet 1999, p 147: ‘not only does the emphatic aetas balance diem, but the enjambment seems to underline the speed of time’) and above all by the placing at line-end of unimportant words (cf. p.219).

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to reflect the ponderous tread of the Centaurs,121 while the monosyllable dat, after the break at hephthemimeral (3½) and at the beginning of the contre-rejet, emphasizes the immediacy of the action.122 To the visual image of the woods yielding space to the descent of the Centaurs is further added, still through dicolon abundans, the auditory observation magno fragore.123 From an expressive point of view the passage can be compared to Aen.11.142 ff. Arcades ad portas ruere et de more uetusto funereas rapuere faces: lucet uia longo ordine flammarum et late discriminat agros.

The verb lucet, placed at the beginning of the new syntactical unit, after the break at hephthemimeral (3½) and in a rare line-end of three bisyllables,124 underscores the immediate spread of light from the funeral torches to the fields, while the interlinear juxtaposition longo / ordine invites the reader to run beyond the limits of the line, thus lending power to the marked energy of the scene.125 121 Cf. Horsfall 2000, ad loc. On the expressiveness of a molossic word in rejet see here p.64, n.206. 122 Cf. Horsfall 2000, ad loc. and 1995, p.237. The monosyllable after the hephthemimeral (3½) is relevant for its rarity (cf. Hellegouarc’h 1964, pp.235 ff., and for statistical data De Neubourg 1986, p.203), but its iconic value here depends on the fact that it is a form of the verb placed at the opening of the contre-rejet (the instances in which it is a conjunction are less expressive); the effect is to stress the immediate results of the two actions: the destruction of the forest results from and immediately follows the descent of the Centaurs (see here p.135). A monosyllabic verbal form can also be placed iconically at the beginning of the line, as it (cf. Skutsch 1985, ad Ann.431; Fordyce 1977, ad Aen.8.557; Horsfall 2003, ad Aen.11.90; and Tarrant 2012, ad Aen.12.452) and stat (cf. p.214, n.661), the latter also iconic at line-end (cf. p.213). 123 Virgulta is the same as silua, and cedunt is equivalent to dat locum. Cf. Fordyce 1977, ad loc. 124 On line-ends consisting of monosyllable+bisyllable+bisyllable see Winbolt 1903, pp.137 ff.; Norden 19574, pp.446 ff.; Austin 1971, ad Aen 1 199 and 1977, ad Aen.6.138 (this sequence is usually associated with heavy bucolic punctuation, on which see here p.37, n.126). On three bisyl­ lables (as at 11.143b lucet uia longo), much rarer and mostly used in the later books of the Aeneid, in addition to the references quoted above, see also Harrison 1991, ad Aen.10.301 f.; Fordyce 1977, ad Aen.8.382. This line-end seems to be used in particularly solemn or pathetic contexts. At Aen.5.730b ff. gens dura atque aspera cultu / debellanda tibi Latio est. Ditis tamen ante / infernas accede domos the shade of Anchises shows Aeneas the future; at 8.382 f. ergo eadem supplex uenio et sanctum mihi numen / arma rogo, genetrix nato Venus speaks with reverence to her husband Vulcan, asking him for arms for her son (the juxtaposition genetrix nato highlights the parental relationship. Cf. p.230); and at 10.442 f. solus ego in Pallanta feror, soli mihi Pallas / debetur the triple anaphora and the solemn rejet highlight Turnus’ stubborn insistence in killing the young Pallas (cf. pp.123 f.). 125 The expressiveness is different at Aen.1.340 ff. imperium Dido Tyria regit urbe profecta, / germanum fugiens. longa est iniuria, longae / ambages; sed summa sequar fastigia rerum, where, in



B) Enjambement in the Aeneid 

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Turning to ingens, a similar effect of agitation is found at G.3.259b ff. nempe abruptis turbata procellis nocte natat caeca serus freta, quem super ingens porta tonat caeli, et scopulis inlisa reclamant aequora;

Here the love-smitten youth challenges the fury of the stormy sea, and his passion and exertion are expressed in line 260 by the staccato effect, achieved through a series of bisyllables (nocte natat caeca serus freta), which iconically add effort to the articulation of the line, while the interlinear juxtaposition, apart from emphas­­izing the terrifying might of the sky – coinciding with the syntactical beginning after the bucolic diaeresis126 and the following enjambement of aequora – augments the marked momentum of the passage. As well as the instances of ingens, other adjectives indicating mass are thrown into relief by interlinear juxtaposition. A clear example is the prominence of the adjective magnus at Aen.6.29 ff. Daedalus ipse dolos tecti ambagesque resoluit, caeca regens filo uestigia. tu quoque magnam partem opere in tanto, sineret dolor, Icare, haberes: bis conatus erat casus effingere in auro, bis patriae cecidere manus.

Here the apostrophe, which follows the syntactical pause after the bucolic diaeresis, seems to suggest a moment of pensive reflection on Aeneas’ part in front of the golden door sculpted by Daedalus: in such a great work, equally great would have been the image of the beloved Icarus, if only his father had not been overcome by grief in portraying it. At Aen.12.481 ff. haud minus Aeneas tortos legit obuius orbes uestigatque uirum et disiecta per agmina magna uoce uocat.

Aeneas’ words, his endless wanderings are highlighted by the repetition of the adjective longus, placed after the hephthemimeral (2½) and again after a pause at the fifth foot (repetition of a word is common after this type of pause. Cf. p.252, n.787). 126 On the effect of this pause, adopted in unusual, moving or tragic contexts, over and above notes in the main commentaries (Horsfall 2013, ad Aen.6.30 lists all the main notes), see Winbolt 1903, pp.45–49; Perret 1956, pp.146–158; Soubiran 1959, pp.23–56; Lucot 1965, pp.261–274 (on the effect in direct speech). See also here p.253, n.789 on the placing of a dactylic word such as armaque after this pause.

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the interlinear juxtaposition not only brings into prominence the adjective magna – Aeneas calls aloud to his foe – but isolates the figura etymologica, uoce uocat.127 The same effect is also found at Aen.7.706 f. Ecce Sabinorum prisco de sanguine magnum agmen agens Clausus magnique ipse agminis instar,

The entry of Clausus on the scene is greeted in majestic tones, as appears evident not only from the semantics of the passage but also from the convergence of a number of stylistic dispositions which lend formality to the language. To the interlinear juxtaposition, which puts into relief the adjective magnum and, as we also remarked in the instance above, isolates in the next verse the figura etymologica, agmen agens, is added the co-ordinated polyptoton (magnum agmen – magnique agminis).128 To this instance we can add another passage characterized by considerable artistry, Aen.11.55 ff. haec mea magna fides? at non, Euandre, pudendis uulneribus pulsum aspicies nec sospite dirum optabis nato funus pater. ei mihi, quantum praesidium Ausonia, et quantum tu perdis, Iule!’ Haec ubi defleuit,

Here, in a deeply moving context – Aeneas feels responsible for the death of the young Pallas – repeated recourse to enjambement underscores the agitation and emotion in his words. The first interlinear juxtaposition highlights the gerundive pudendis – Pallas’ wounds are not dishonourable – while the next indicates the magnitude of the hero, expressed by quantum,129 also repeated in the following line. The syntactical beginning after the bucolic diaeresis also contributes to underlining the pathos of Aeneas’ words,130 while the double synaloepha (praesi­ dium Ausonia et) seems to mirror the sobbing of the speaker (haec ubi defleuit).131

127 On the figura etymologica, an archaic feature which Virgil normally uses to convey solemnity and lend an elevated tone to the diction, see Wills 1996, pp.243 ff.; on uoce uocat, a combination found exclusively in poetry, see ibid., pp.247 f.; Horsfall 2013, ad Aen.6.247 (with bibliography). 128 On the figura etymologica (agmen agens) see Wills 1996, p.245 and Horsfall 2000, ad loc.; on the co-ordinated polyptoton, relatively rare in Latin poetry, see Wills 1996, pp.255 ff. 129 On the expressiveness of unimportant words, like quantus, at line-end, see pp.219 f. 130 Cf. Lucot 1965, p.266 and here p.37, n.126. 131 On the expressiveness of this type of synaloepha see pp.166 ff.



B) Enjambement in the Aeneid 

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In other instances interlinear juxtaposition underscores the semantics of omnis,132 as at Aen.1.180 ff. Aeneas scopulum interea conscendit et omnem prospectum late pelago petit, Anthea si quem iactatum uento uideat Phrygiasque biremis

where the care with which Aeneas searches the expanse of the sea for his companions is stressed.133 The passage can be compared to Aen.8.228 ff. ecce furens animis aderat Tirynthius omnemque accessum lustrans huc ora ferebat et illuc, dentibus infrendens.

To the effect of interlinear juxtaposition is added here the impression made by the hypermetric syllable, which, lengthening the pause at line-end, brings into further relief the adjective omnem: the raging Hercules seeks everywhere Cacus, who has dared to take from him his cattle.134 Another highly expressive instance is at Aen.6.136b ff. latet arbore opaca aureus et foliis et lento uimine ramus, Iunoni infernae dictus sacer; hunc tegit omnis lucus et obscuris claudunt conuallibus umbrae.

Here a sequence of stylistic features converges to load with expressiveness the Sibyl’s words as she describes to Aeneas the Golden Bough, a necessary talisman for descent to the Underworld. Particularly powerful and stylistically motivated, for example, is the framing hyperbaton aureus . . . ramus, a structure often used by Virgil to highlight the description of miraculous objects and prodigious appar­ itions, or to imitate oracular style (aspects co-existing in this passage).135 The colour contrast is also significant, between the adjective opaca at line-end and

132 The line-end also adds strength to the semantics of omnis in instances of hyperbaton with a noun in enjambement (see p.250) and in cases of vertical hyperbaton (see p.252). 133 A similar effect is found at Aen.5.613 ff. at procul in sola secretae Troades acta / amissum Anchisen flebant cunctaeque profundum / pontum aspectabant flentes, where the interlinear juxtaposition highlights the vastness of the sea, which, in the eyes of the tired and sorrowing Trojan women, appears both deep and menacing. 134 On hypermetric verses see pp.178 ff. 135 Cf. p.242.

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aureus in prominent position at the beginning of the next136 (adjectives of mater­ ial are normally placed after the noun):137 the glitter of gold stands out from the dark colour of the plant. At line 138 the syntactical start after the bucolic diaer­­esis coincides with the interlinear juxtaposition to emphasize the adjective omnis, while the next verse, framed by the substantives lucus and umbrae and domin­ ated by the mournful ‘u’ sound, seems to underline the darkness of the place: in such gloom it is not easy for Aeneas to find the Golden Bough. 138 Omnis is again made prominent by interlinear juxtaposition 139 at Aen.4.667 ff. lamentis gemituque et femineo ululatu tecta fremunt, resonat magnis plangoribus aether, non aliter quam si immissis ruat hostibus omnis Karthago aut antiqua Tyros, flammaeque furentes culmina perque hominum uoluantur perque deorum.

a highly emotional passage characterized by powerful convergence of stylistic dispositions. In the first line the auditory representations are underscored icon­ ically by the stylistic hiatus femineo ululato, which seems to imitate the women’s shrieking,140 while in the next line we find juxtaposition of the verbs (fremunt, resonat), which has the effect of emphasizing the idea of immediate result: from the palace the shrieks rise as far as the heavens.141 In this strongly emotional context interlinear juxtaposition highlights the adjective omnis, which expresses here a sense of loss:142 the women weep, despairing at the death of Dido, almost as though the whole city of Carthage were falling, devoured by flames. In Virgil’s mind the death of Dido is comparable to the end of her city.143

136 Cf. Austin 1977, ad loc. 137 Cf. p.217, n.671. 138 The syntactical start after the bucolic diaeresis (see p.37, n.126) here helps to convey an atmosphere of mystery (cf. Lucot 1965, p.264). On the effect of the ‘u’ sound see p.128, n.414. 139 Another important example is at Aen.5.392b f. ubi fama per omnem / Trinacriam et spolia illa tuis pendentia tectis?’, where Acestes, to spur on Entellus, asks him what has happened to his renown, once so great and spread throughout the whole of Sicily. 140 On this hiatus see p.188. 141 See p.136. 142 Cf. Horsfall 2000, ad Aen.7.635. The same uis elatiua is also found at Aen.3.3b omnis humo fumat Neptunia Troia (cf. p.44) and Aen.3.709 f. heu, genitorem, omnis curae casusque leuamen, / amitto Anchisen (cf. p.125). 143 Cf. Lyne 1989, pp.41 f. Through ‘transfusion of metaphor’ – the phenomenon by which the image expressed in a simile is used in a metaphorical sense in a corresponding narrative passage (for the term see West 1969, pp.48 f.) – Dido’s death is described by Virgil at Aen.4.663 f. with the verb collabor, generally used for the collapse of buildings: dixerat, atque illam media inter talia



B) Enjambement in the Aeneid 

 41

We also have a rich series of instances in which an indication of colour is strikingly isolated at line-end and separated from its reference.144 In four of these instances the pause at line-end strengthens the sense of disquiet suggested by the adjective ater.145 At Aen.5.693 ff. uix haec ediderat, cum effusis imbribus atra tempestas sine more furit, tonitruque tremescunt ardua terrarum et campi: ruit aethere toto turbidus imber aqua densisque nigerrimus Austris,

the interlinear juxtaposition atra tempestas not only highlights the indication of colour (see also turbidus, nigerrimus), but, together with two further enjambements in the following lines, brings into prominence the violence of the storm.146 The acoustic colouring of the alliteration in ‘t’, ‘r’ (v. 694 f.) and ‘s’ (v. 696) seems to lend itself iconically to the sense of the passage.147 Another interesting instance is at Aen.6.237 ff. spelunca alta fuit uastoque immanis hiatu, scrupea, tuta lacu nigro nemorumque tenebris, quam super haud ullae poterant impune uolantes tendere iter pinnis: talis sese halitus atris faucibus effundens supera ad conuexa ferebat

ferro / conlapsam aspiciunt comites. This implicit comparison is made explicit a few lines further on in the simile. 144 Aen.5.693; 6.208, 240; 7.456; 8.219, 353; 10.161; 11.642. The same stylistic effect in instances of hyperbaton with adjective at line-end and noun in enjambement (see p.249) and in cases of vertical hyperbaton (see p.251). 145 On the strong emotional content of ater see Pease 1935, ad Aen.4.384 (especially on its connection with the flames of the funeral pyre); Fordyce 1977, ad Aen.7.525; and for further biblio­­­g­raphy Harrison 1991, ad Aen.10.77. See also p.43, n.151. 146 Cf. Sil. 7.723 f. tum demum, Tyrium quas circumfuderat atra / tempestas, Stygiae tandem fugere tenebrae. The interlinear juxtaposition more than the indication of colour throws into re­ l­ief the agitation at Aen.8.219 ff. hic uero Alcidae furiis exarserat atro / felle dolor: rapit arma manu nodisque grauatum / robur et aërii cursu petit ardua montis, where the two consecutive enjambements and the doubling of the syllable in arma manu augment the idea of urgency and haste (cf. p.77, n.254). 147 Cf. Williams 1960, ad loc. On iconic value of devices of sound in Virgil see particularly Marouzeau 19462, pp.24 ff.; Knight 19662, pp.302–308, Facchini Tosi 1988, EV 4, pp.502 f.; and von Albrecht 2006, pp.159 f. (for further bibliography see Horsfall 1995, p.224).

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where interlinear juxtaposition contributes to the description of Avernus, a gloomy place dominated by shadows, giving it the attributes of a wild beast, which kills with noxious vapour from its ‘dark maw’.148 Ater has again a negative connotation (it is the colour of a dying horse’s blood) in the only occurrence in the Georgics of interlinear juxtaposition, at G.3.507 f. ilia singultu tendunt, it naribus ater sanguis, et obsessas fauces premit aspera lingua.

whereas it is an evocative oxymoron, referring to the noun lumen, at Aen.7.456 f. sic effata facem iuueni coniecit et atro lumine fumantis fixit sub pectore taedas.

where shadows and light merge in the image of the hellish torch. A further specific colour-based suggestion is traceable in the interlinear juxtaposition at Aen.8.352b ff. Arcades ipsum credunt se uidisse Iouem, cum saepe nigrantem aegida concuteret dextra nimbosque cieret.

where the uncertainty of the vision (credunt se uidisse Iouem) is rendered through the disposition, which isolates at line-end the less precise adjective nigrans, placing before the reader’s eyes for a moment a darkening – that is the real signifi­ cance of nigrans, preferred to the more definite niger – not yet identified better. The expressiveness is also notable at Aen.11.876 f. uoluitur ad muros caligine turbidus atra puluis,

where the adjective atra is isolated in powerful juxtaposition with turbidus, which expresses simultaneously movement and colour;149 and at Aen.10.160b ff. Pallasque sinistro adfixus lateri iam quaerit sidera, opacae noctis iter, iam quae passus terraque marique. 148 The new syntactical start and the adjective talis have here an analeptic value in that they clarify what has been said in the preceding passage (cf. pp.148 f.). 149 The passage is imitated by Val. Fl. 1.81 f. ‘omnipotens regina,’ inquit ‘quam, turbidus atro / aethere caeruleum quateret cum Iuppiter imbrem. There is also a similar stylistic effect at Stat. Theb.1.107b ff. igneus atro / ore uapor, quo longa sitis morbique famesque / et populis mors una uenit.



B) Enjambement in the Aeneid 

 43

where the careful placing of the apposition opacae / noctis sidera, with the adjective at line-end, allows the significant juxtaposition of two contrasting terms (sidera and opacae), further underscored by synaloepha at a syntactic pause (sidera, opacae): the brightness of the stars shines in the darkness of the night.150 A similar stylistic effect is found at G.2.71 f. castaneae fagus ornusque incanuit albo flore piri, glandemque sues fregere sub ulmis.

where the pause at line-end throws into relief the juxtaposition of incanuit and albo, and at Aen.2.270 ff. in somnis ecce ante oculos maestissimus Hector uisus adesse mihi largosque effundere fletus, raptatus bigis ut quondam aterque cruento puluere perque pedes traiectus lora tumentis.

Here the juxtaposition of the colour observations ater–cruento, isolated at lineend,151 lends a note of pathos to Aeneas’ words, as he recalls the disfigured body of his valiant kinsman Hector.152 In a series of instances interlinear juxtaposition emphasizes superbus, an adjective especially dear to Virgil.153 We can see that for a word like superbus, used almost exclusively at line-end, – the only exception in a total of 44 occurrences in Virgil is B.2.15 – a certain number of interlinear juxtapositions are to be expected. This might imply a fortuitous use of the disposition, but from anal150 The stylistic effect is more delicate at Aen.7.102 f. haec responsa patris Fauni monitusque silenti / nocte datos non ipse suo premit ore Latinus, where the interlinear juxtaposition puts into relief the adjective silenti, powerfully placed beside the noun monitus: the word of the oracle is heard in the silence of the night. 151 Here ater (see p.41, n.145) ‘is not simply “black”, but gives a picture of corruption’ (see Austin 1964, ad loc. with further examples). Cruentus is powerfully emphasized at line-end and in hyperbaton with the substantive in the next line at Aen.3.631b ff. iacuitque per antrum / immensus saniem eructans et frusta cruento / per somnum commixta mero, where together with the adjective immensus in rejet (see p.109) it strongly frames the line: the Cyclops remembered by Achaemenides was immense and stained with blood. Also strongly expressive is Aen.11.668 f. sanguinis ille uomens riuos cadit atque cruentam / mandit humum moriensque suo se in uulnere uersat, with the equivalent terms sanguinis and cruentam framing the line, the enclosing word order with iconic value suo se in uulnere (see pp.245 ff.), the polyptoton suo se, and the alliteration at line-end uulnere uersat. 152 The violence of the wounds is also expressed through the phonic effect of the consonant ‘r’ joined to occlusives (cruento, traiectus). Cf. von Albrecht 2006, p.159. 153 G.3.226; Aen.2.556; 3.2; 8.481; 9.324. On superbus cf. Traina 1988, EV 4, pp.1072–1076.

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ysis of the passages certain constants, symptomatic of a stylistically motivated employment, clearly emerge. Aen.3.1 ff. is paradigmatic in this sense: Postquam res Asiae Priamique euertere gentem immeritam uisum superis, ceciditque superbum Ilium et omnis humo fumat Neptunia Troia,

Here interlinear juxtaposition is only one of a number of stylistic dispositions which lend expressiveness to Aeneas’ words. The hero, in recalling the end of Priam’s reign, emphasizes with pride and grief its greatness, as made evident by repeated use of dicolon abundans, which, used here twice in three lines (res Asiae – Priamique gentem and cecidit Ilium – fumat Troia), adds a moving solemnity to the words, while the two interlinear juxtapositions (gentem / immeritam and superbum / Ilium) come together to frame the verse elegantly between two highly emotionally charged adjectives, immeritam and superbum. The first adjective, placed after the noun and made prominent in rejet in the next line, seems to convey Aeneas’ judgement on the city of Ilium, which did not deserve its sad end, while superbum, at the other end of the verse – the position of adjectives perhaps marking opposition (‘opposition by position’) – seems to make explicit the fault of Priam’s reign through the lens of the gods: its great power, in the view of the gods, is arrogance.154 In each instance the adjective is strongly thrown into relief by its position; superbum is isolated at line-end and placed after the verb cecidit, to which it is in marked semantic contrast.155 We need to note that the interlinear juxtaposition superbum / Ilium also frames the third verse between equiv­ alent terms (Ilium and Troia are synonyms).156 The dicolon abundans, which, here as elsewhere, is joined to the framing construction, adds to the idea of falling expressed by cecidit, a powerful pictorial note which intensifies the pathos of the scene: before Aeneas’ eyes the whole city is still smouldering.157 154 Cf. Fowler 1990, pp.48 ff., who considers this passage an instance of ‘deviant focalisation’, also observing the framing of the line by two significantly opposing adjectives (see here p.224, n.687). 155 This is the interpretation of Traina 1988, EV 4, p.1072, who does not recognize a negative connotation in the adjective but notes a ‘patetico contrasto metaforico tra il verbo e l’epiteto’ {pathetic metaphorical contrast between the verb and the epithet}. 156 Cf. also Aen.2.624 f. Tum uero omne mihi uisum considere in ignis / Ilium et ex imo uerti Neptunia Troia. 157 Also noteworthy is the weight of omnis (see p.40, n.142) and the present tense (fumat) which is used here to lend animation to events which have passed but are recalled to the mind or whose effects are still continuing in the present (see Austin 1964, ad Aen.2.663; Fordyce 1977, ad Aen.7.363). The two uses are considered to be related (cf. Görler 1985, EV 2, p.272 with examples). In other instances a ‘registering’ or ‘annalistic’ present is employed in lists and with verbs relat-



B) Enjambement in the Aeneid 

 45

This passage presents clear analogies in both theme and form to Aen.2.554 ff. haec finis Priami fatorum, hic exitus illum sorte tulit Troiam incensam et prolapsa uidentem Pergama, tot quondam populis terrisque superbum regnatorem Asiae. iacet ingens litore truncus auulsumque umeris caput et sine nomine corpus.

To fill Aeneas’ words with solemnity and pathos, as he recalls here the fall of Troy and Priam’s tragic end, Virgil turns again to duplication (Troiam incensam, prolapsa Pergama)158 and interlinear juxtaposition, which isolates and brings into prominence the lofty heights of superbum, in stark contrast to the semantics of the next line (iacent ingens litore truncus). The apposition (tot quondam populis terrisque superbum / regnatorem Asiae) also presents a markedly poignant value.159 ing to birth or nurture (cf. Eden 1975 and Fordyce 1977, ad Aen.8.141; Harrison 1991, ad Aen.10.517 ff.; and for further bibliography Horsfall 2000, ad Aen.7.363). 158 Cf. Horsfall 2008, ad loc.: ‘majestic duplication’. 159 Appositions in Virgil often carry ‘un’idea marginale e riflessa che aggiunge alle parole pre­ cedenti un’ombra pensosa […] completano il senso con una nota intensa di pathos’ {a marginal and reflective idea which adds to the preceding words a thoughtful shadow […] they complete the sense with an intense note of pathos} (Conte 20072, p.97). The other instances of ‘apposition of pathos’– as they might be defined – in the Aeneid are 1.30 Troas, reliquias Danaum atque immitis Achilli, where the ‘copulative inclusion’ (cf. Hahn 1930, p.228 with examples and Hardie 1994, ad Aen.9.811–12) – the atque adds someone (Achilles) who is already included in the first noun (Danai) – marks a striking climax; 1.598 quae nos, reliquias Danaum, terraeque marisque; 2.348 f. incipio super his: ‘iuuenes, fortissima frustra / pectora; 2.448 auratasque trabes, ueterum decora illa parentum; 2.503 quinquaginta illi thalami, spes tanta nepotum; 2.796 ff. atque hic ingentem comitum adfluxisse nouorum / inuenio admirans numerum, matresque uirosque / collectam exilio pubem, miserabile uulgus; 3.86b f. serua altera Troiae / Pergama, reliquias Danaum atque im­ mitis Achilli; 3.303b ff. manisque uocabat / Hectoreum ad tumulum, uiridi quem caespite inanem / et geminas, causam lacrimis, sacrauerat aras (the apposition is here thrown into relief between adjective and noun, following the so-called Schema Cornelianum. Cf. p.102, n.330); 3.709 f. heu, genitorem, omnis curae casusque leuamen / amitto Anchisen (the uis elatiua of the adjective omnis contributes to increasing the pathos. Cf. p.125); 4.646 f. conscendit furibunda rogos ensemque recludit / Dardanium, non hos quaesitum munus in usus; 5.389 ‘Entelle, heroum quondam fortissime frustra; 6.220b ff. tum membra toro defleta reponunt / purpureasque super uestes, ue­ lamina nota, / coniciunt. pars ingenti subiere feretro / triste ministerium, where the adjective notus has a pathetic value (cf. Fordyce 1977, and Horsfall 2000, ad Aen.7.491; and, for further references, Horsfall 2003, ad Aen.11.195) and triste ministerium is an ‘internal accusative in apposition’ (on this syntactical Graecism see Austin 1977, ad loc. and Harrison 1991, ad Aen.10.310 f.); 7.243 f. dat tibi praeterea fortunae parua prioris / munera, reliquias Troia ex ardente receptas; 8.581 dum te, care puer, mea sola et sera uoluptas (the same pathetic note, if not exactly in appos­ ition, in 9.481 ff. ‘hunc ego te, Euryale, aspicio? tune ille senectae / sera meae requies, potuisti linquere solam, / crudelis? and at 12.56 ff. ‘Turne, per has ego te lacrimas, per si quis Amatae / tangit

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Priam’s greatness belongs by now to the past: on the beach lies only a great trunk and a head separated from the body. The present tense iacet, as in the preceding passage (fumat), suggests that Aeneas still has the tragic image before his eyes. Superbus is again used in interlinear juxtaposition at Aen.9.324 ff. sic memorat uocemque premit, simul ense superbum Rhamnetem adgreditur, qui forte tapetibus altis exstructus toto proflabat pectore somnum, rex idem et regi Turno gratissimus augur, sed non augurio potuit depellere pestem.

where particular emphasis is given to the adjective, which here seems to entail an anticipation of death: the haughty Rhamnes, for all that he is of royal stock and endowed with the faculty of foretelling the future – notable placing of rex and augur to frame the verse – does not succeed in avoiding his destiny. 160 Interlinear juxtaposition with superbus is also artistically motivated at Aen.8.481 f. hanc multos florentem annos rex deinde superbo imperio et saeuis tenuit Mezentius armis.

where it not only highlights Mezentius’ arrogance – a quality which shall carry him to his death – but also combines to frame the verse between the two corres­ ponding nouns imperio and armis.161 honos animum – spes tu nunc una, senectae / tu requies miserae, decus imperiumque Latini / te penes.); 10.470 f. tot gnati cecidere deum; quin occidit una / Sarpedon, mea progenies (on the pathetic tone of occidit et see p.70, n.228; on the passage, pp.103 f.); 11.60b ff. toto lectos ex agmine mittit / mille uiros qui supremum comitentur honorem / intersintque patris lacrimis, solacia luctus / exigua ingentis, misero sed debita patri (with striking juxtaposition of opposing adjectives cf. p.233); 11.371 ff. scilicet ut Turno contingat regia coniunx / nos animae uiles, inhumata infletaque turba / sternamur campis. In addition to apposition, relative clauses can also add a note of pathos (cf. Conte 20072, p.98, n.5), as is clear at Aen.2.196b ff. captique dolis lacrimisque coactis / quos neque Tydides nec Larisaeus Achilles, / non anni domuere decem, non mille carinae; 2.248 f. nos delubra deum miseri, quibus ultimus esset / ille dies, festa uelamus fronde per urbem; 2.426b ff. cadit et Ripheus, iustissimus unus / qui fuit in Teucris et seruantissimus aequi / (dis aliter uisum); 7.531 ff. hic iuuenis primam ante aciem stridente sagitta, / natorum Tyrrhi fuerat qui maximus, Almo, / sternitur; 12.43 ff. respice res bello uarias; miserere parentis / longaeui, quem nunc maestum patria Ardea longe / diuidit (cf. p.118); Aen.12.544 f. occidis, Argiuae quem non potuere phalanges / sternere nec Priami regnorum euersor Achilles, a clear self-echo of the quoted Aen.2 196 ff. (cf. Tarrant 2012, ad loc.); and in those instances where the relative clause follows the rejet of infelix or demens (cf. p.111, n.358). 160 The polyptoton rex … regi is also noteworthy. See p.227, n.700. 161 On placing corresponding nouns to frame the verse see pp.224 f.



B) Enjambement in the Aeneid 

 47

B) I b Stylistic effects of interlinear juxtaposition: noun–adjective In this type of interlinear juxtaposition the adjective is thrown strongly into relief both by its position after the noun, an order which in many cases is emphatic,162 and by being placed first in the succeeding line. The disposition gives the words a high level of expressiveness, as can be clearly seen at Aen.2.18 ff. huc delecta uirum sortiti corpora furtim includunt caeco lateri penitusque cauernas ingentis uterumque armato milite complent.

Aeneas, recalling the moment, fatal to Troy, when the Greeks had secretly placed their best warriors inside the Wooden Horse, dwells upon the enormous dimensions of the terrifying war-machine. The ample dicolon abundans brings powerfully into prominence, in Aeneas’ words, the quality (delecta corpora) and danger (armato milite) of the enemy, and, above all, the huge size of the Horse, whose dark belly (caeco lateri) seems to be an immense cavern (cauernas / ingentis). This is the context within which the expressiveness of the interlinear juxtaposition needs to be assessed. The molossic adjective ingentis,163 positioned after the noun and isolated in the next line, seems almost a pathetic addition: Aeneas lingers for a moment, in wonder mixed with fear, at recalling the measureless bulk of the Horse. We should also note that the idea of speed expressed by the sequence furtim / includunt in strong enjambement is followed by the idea of completion of the action (penitus complent): the Greeks send their heroes in and completely fill the Horse’s belly, dark and enormous like a cavern. Similar expressiveness, again in direct speech, also characterizes Aen.7.302 ff. quid Syrtes aut Scylla mihi, quid uasta Charybdis profuit? optato conduntur Thybridis alueo securi pelagi atque mei. Mars perdere gentem immanem Lapithum ualuit,

where, in Juno’s words, as she bewails having been unable to thwart the Trojans, the adjective immanem is made prominent as a run-over word in the next line and by inverted order: Mars has destroyed the Lapiths, albeit they were terrifyingly gigantic.164 162 See pp.217 f. 163 On the rejet of molossic words meaning great size see Lucot 1967 (b), p.85. Cf. p.64, n.206. 164 On the word immanis see Fordyce 1977, ad loc.; Austin 1955, ad Aen.4.199; Harrison 1991, ad Aen.10.318. Similar emphasis, again in direct speech (Iris, in disguise, incites the Trojan women)

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While in those instances interlinear juxtaposition underlines an idea of immense size, it is important to see how in a different metrical and semantic context the stylistic effect can be noticeably different. See, for example, Aen.6.491b ff. pars uertere terga, ceu quondam petiere rates, pars tollere uocem exiguam, inceptus clamor frustratur hiantis.

The ghosts of the Greek warriors have just recognized Aeneas in the Underworld: some of them flee before their ancient foe, others try to raise a shout, but their voice is faint and strangled. When the colon with the noun uocem at line-end seems complete, we are surprised by the adjective exiguam in rejet in the next line: unexpected, it specifies a quality of the voice, which the ghosts themselves, who evidently forget for a moment their incorporeal nature, did not expect. To this we can add that the interlinear juxtaposition coincides with the evocative synaloepha (exiguam, inceptus), which, at the point of the syntactical pause and blurring the trihemimeral (1½), interrupts the smooth reading of the verse, reinforcing iconically the idea of the voice breaking.165 Analysis of this passage makes it clear that stylistic figures cannot be analysed separately: it is from their interaction and convergence that the particular expressiveness of the passage springs.

at Aen.5.623 ff. ‘o miserae, quas non manus’ inquit ‘Achaica bello / traxerit ad letum patriae sub moenibus! o gens / infelix, cui te exitio Fortuna reseruat? (cf. p.214), where the effect of interlin­ ear juxtaposition is strengthened by the rare syntactical start in the sixth foot, a stylistic expedient used by Virgil to underscore agitation or pathos (cf. p.87, n.286). Notable also the expressiveness of Aen.2.141 ff. quod te per superos et conscia numina ueri, / per si qua est quae restet adhuc mortalibus usquam / intemerata fides, oro, miserere laborum / tantorum, miserere animi non digna ferentis’ with pathetic anaphora in asyndeton (cf. p 128, n.418) – Sinon seeks to move the Trojans to pity with false words recalling his great sufferings – to which we can add Aen.12.43 ff. respice res bello uarias; miserere parentis / longaeui, quem nunc maestum patria Ardea longe / diuidit’ – Latinus, to dissuade Turnus from fighting with Aeneas, begs him to have pity on his father, aged and sad, far from his dear son, as is indicated by the relative clause with clear pathetic value (see p.45, n.159; on the rejet of the verb marking the end of the direct speech see p 118). Also strongly expressive is Aen.3.613 ff. ‘sum patria ex Ithaca, comes infelicis Vlixi, / nomine Achaemenides, Troiam genitore Adamasto / paupere (mansissetque utinam fortuna!) profectus, where the parenthesis underlines the adjective paupere and seems to break the flow of thought and stress a note of emotion in Achaemenides’ words. Cf. Hahn 1930, p.77 on this passage (‘the jerkiness of the mode of expression accentuates the anguish of the speaker’) and p.120, n.485 for similar examples of iconic syntax (on this effect of parenthesis see also Tarrant 2012, ad Aen.12.452–454 and 798). 165 Cf. Austin 1977, ad loc., and here p.166.



B) Enjambement in the Aeneid 

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On this point it is interesting to note that the stylistic effect of the same adjective in interlinear juxtaposition can, in different metrical–syntactical and semantic contexts, be noticeably different. Consider Aen.4.211 ff. femina, quae nostris errans in finibus urbem exiguam pretio posuit, cui litus arandum cuique loci leges dedimus, conubia nostra reppulit ac dominum Aenean in regna recepit.

Iarbas, stung by the refusal he has received from Dido, turns to Jupiter; in the words he uses the prominence given to the adjective exiguam, run over to the next line, suggests a note of contempt, as though the word should be said with a certain sneering emphasis (again marked in the alliteration pretio posuit): it is to found only a tiny city that Dido has refused the offer of her suitor. The placing of the adjective nostra at the end of the hexameter also emphasizes Iarbas’ pride,166 while in the next line the emphatic rejet of the verb reppulit, which frames the verse with the verb recepit – alliterative and in significant contrast – makes evident Dido’s disdainful behaviour: she has refused marriage with the noble Iarbas to surrender herself to a stranger. We come now to those instances in which interlinear juxtaposition highlights indications of colour. Typical is Aen.2.206 f. pectora quorum inter fluctus arrecta iubaeque sanguineae superant undas,

The first verse, framed between pectora and iubae, underscores the physicality of the enormous sea snakes, while sanguineae, run over to the next line, anticipates the image of blood which will shortly dominate the scene (v. 221 perfusus sanie uittas atroque ueneno). The adjective contributes, moreover, to realizing a powerful σιγματισμός, alliteration of the sibilants, here iconic both of the hissing of the snakes and of the sound of the waves.167 166 Cf. Austin 1955, ad loc. The emphasis is due not only to placing a possessive at the end of a hexameter (cf. pp.200 f.) but also to the rarity of juxtaposition of a noun and adjective ending in -ă in this position (cf. p.27, n 98). 167 Cf. Austin 1964, ad loc. On choice of words on the basis of effects of sound in the succeeding lines of the passage (in particular on the participle suffecti in place of infecti) see the analysis of Conte 20072, pp.13 ff., in particular n.13 on σιγματισμός (see also Conte 1974, ad Phars.6.151). This type of alliteration (on which see Marouzeau 19462, pp.28 f.; and Wilkinson 1963, p.54) can be exploited to imitate the sound of the waves (cf. Thomas 1988, ad G.4.370; Horsfall 2008, ad Aen.2.209; Williams 1960, ad Aen.5.866, and 1962, ad Aen.3.534; Fordyce 1977, ad Aen.8.420 f.), a whisper (cf. Traina 20042, ad B.1.55 and here p.128, on Aen.5.838 ff.); a raging voice (cf. Soubiran

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The stylistic effect of the other instance of sanguineus in interlinear juxtapos­ ition must, however, be interpreted within the long simile comparing Turnus to Mars at Aen.12.331 ff. qualis apud gelidi cum flumina concitus Hebri sanguineus Mauors clipeo increpat atque furentis bella mouens immittit equos (illi aequore aperto ante Notos Zephyrumque uolant, gemit ultima pulsu Thraca pedum circumque atrae Formidinis ora Iraeque Insidiaeque, dei comitatus, aguntur): talis equos alacer media inter proelia Turnus fumantis sudore quatit, miserabile caesis hostibus insultans; spargit rapida ungula rores sanguineos mixtaque cruor calcatur harena.

Virgil, to underline the similarity in the warlike violence of Turnus and the god Mars, uses repeated enjambement in both elements of the simile: the closeness of the themes is reflected here as elsewhere in the structural similarity.168 The energy of the scene is underscored in the first part of the simile by the large number of verb forms, by asyndeton169 and by the series of enjambements, and in the second part by the double interlinear juxtaposition caesis / hostibus and rores / sanguineos (we recall sanguineus Mauors in line 332), which also has the effect of strengthening the colouring of the scene. The ordo uerborum is also strongly expressive at Aen.9.698b ff. uolat Itala cornus aëra per tenerum stomachoque infixa sub altum pectus abit; reddit specus atri uulneris undam spumantem, et fixo ferrum in pulmone tepescit.

Here the violence of the scene is highlighted by repeated use of enjambement and the syntactic start with juxtaposition of verbs (abit; reddit), which marks the 1961, pp.38 f., ad Aen.4.379 ff.); the hissing of a snake (cf. Williams 1960, ad Aen.5.84; Traina 20042 and Tarrant 2012, ad Aen.12.848) or of the flight of a spear (cf. Conte 20072, p.53, on Aen.12.267). 168 Cf. Aen.10.602 ff. talia per campos edebat funera ductor / Dardanius, torrentis aquae uel turbinis atri / more furens, where a further enjambement – in the complement of the comparison – corresponds to the alliterative interlinear juxtaposition: the warlike fury of Aeneas cannot be contained, like that of a river in spate or of a storm. On similar structures in similes see also the analysis of Aen.8.241 ff. at pp.34 f. 169 Cf. Tarrant 2012, ad loc., who observes: ‘the asyndeton (again with gemit in 334), together with the profusion of verb forms in the previous phrase (increpat, furentis, mouens, immittit), creates a sense of fevered activity’. On this iconic value of asyndeton see p.15, n.48.



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instant succession of the two actions: the javelin pierces the warrior’s breast and a copious stream of blood gushes forth from the wound.170 In this context the interlinear juxtaposition undam / spumantem is far from neutral, but contributes to the graphic expressiveness of the passage. Aen.8.671 f., on the other hand, is typical of a liking for symmetry and balance: haec inter tumidi late maris ibat imago aurea, sed fluctu spumabant caerula cano,

Here a form of ἐπιδιόρθωσις,171 the rhetorical figure which corrects what has been said before, is made clear by the ordo uerborum. The adjective aurea – conventionally placed after the substantive, as is normal in classical Latin for adjectives indicating material – is, however, thrown into relief by its position in the next verse before the syntactical pause, and is balanced at the other end of the line by the colour-word cano, placed beside the alliterative noun caerula, of etymological colouring: on Aeneas’ shield the image of the sea is gold but the detail of the surf of the waves is white. Expressiveness and balance of the verse are also found at Aen.9.626 ff. ipse tibi ad tua templa feram sollemnia dona, et statuam ante aras aurata fronte iuuencum candentem pariterque caput cum matre ferentem,

In Ascanius’ prayer to Jupiter, the line which describes the quality of the sacrif­ icial victim – a white bull-calf the size of its mother – is powerfully emphasized, framed between the adjective candentem and the rhyming isosyllabic participle ferentem.172

170 On the expressiveness of this syntactic start see p.134. 171 On this figure, also known as correctio rei superioris, see Harrison 1991, ad Aen.10.301 f. Other instances in the Aeneid are: 5.320 f. proximus huic, longo sed proximus interuallo, / insequitur Salius; 9.344 f. Fadumque Herbesumque subit Rhoetumque Abarimque, / ignaros, Rhoetum uigilantem et cuncta uidentem (with the line framed by the semantically opposite terms ignaros and cuncta uidentem. Cf. p.224); 10.301b f. sedere carinae / omnes innocuae, sed non puppis tua, Tarchon (on three bisyllables at line-end see p.36, n.124). 172 On Virgil’s fondness of grammatical rhyme see Austin 1955, ad Aen.4.55; on participial ‘jingles’, Harrison 1991, ad Aen.10.572 f. and Horsfall 2006, ad Aen.3.657 (with bibliography); on rhyming participles framing the verse, Austin 1964, ad Aen.2.568 and Tarrant 2012, ad Aen.12.410; on ‘leonine’ verse (disyllabic internal rhyme, before penthemimeral (2½) and at line-end), Austin 1955, ad Aen.4.260 and Eden 1975, ad Aen.8.649; on the rhyming effect of two endings in -ere within one line, Horsfall 2008, ad Aen.2.53 (ad Aen.2.566 on the triple rhyme in -ere, with bibliography).

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We may note three, strongly expressive, instances in which a colour reference is made to the noun ensis. First at Aen.4.579b f. dixit uaginaque eripit ensem fulmineum strictoque ferit retinacula ferro.

where the adjective fulmineum, thrown into relief by the caesura at trihemimeral (1½), suggests an idea of flashing, and speed.173 The sound effects here also mark the expressiveness of the line, articulated by ‘arching’ alliteration (fulmineum . . . ferit . . . ferro), which seems to have an iconic value: it suggests the noise of the blade striking the retinacula.174 The sequence ensem / fulmineum returns at Aen.9.440 ff. quem circum glomerati hostes hinc comminus atque hinc proturbant. instat non setius ac rotat ensem fulmineum, donec Rutuli clamantis in ore condidit aduerso et moriens animam abstulit hosti.

Here the sense of agitation in Nisus’ final desperate moments, as he is set upon by the enemy, is achieved through a studied series of stylistic features. The pos­ ition of the adverb hinc at the end of line 440 (also noteworthy the synaloepha in atque hinc) has the effect of strengthening the enjambement,175 emphasizing the idea of violence expressed by the verb proturbant. Nisus’ reaction is powerfully expressed by the new syntactical start with juxtaposition of the verb instat and the change of subject, and, in the next line, by the rejet of the verb condidit, which highlights the fleeting moment of the blow compared with the sense of protraction in the present participle clamantis.176 In this strongly dramatic context the adjective fulmineum suggests the last flash of light before the unfortunate Nisus faces the darkness of death.177

173 Cf. Austin 1955, ad loc. 174 Cf. Hofmann–Szantyr (Traina) 2002, p.34, n.50: ‘l’allitterazione […] “a pilastro” (A . . . A . . . A) quando ai lessemi iniziali e finali se ne aggiunge uno mediano’ {arching […] alliteration (A . . . A . . . A) when an intermediate word is added to the first and final}. The alliteration of the sound ‘f’, according to Quint. 12.10.29 unpleasant to Roman ears, is quite rare and can have a powerful effect. Cf. Austin 1955, ad Aen.4.218; Williams 1962, ad Aen.3.145; and, for a similar iconic value, Harrison 1991, ad Aen.10.348 f. 175 On placing colourless words at line-end see p.219; on the synaloepha see p 177, n.536. 176 On this contrast see p.83; on the verb run-over following a line with two present participles see pp.88 f. 177 Cf. Hardie 1994, ad loc.



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Directed towards an elegant symmetry, on the other hand, is the ordo uerborum at Aen.9.303b ff. umero simul exuit ensem auratum, mira quem fecerat arte Lycaon Cnosius atque habilem uagina aptarat eburna.

The molossic adjective auratum, isolated in emphatic position at the beginning of the verse and thrown into relief by the pause in the meaning, frames elegantly, with the other adjective indicating material (eburna), the two lines containing the digression upon ensis, an object of wondrous craftsmanship (mira quem fecerat arte).178 The symmetry found in the passage should be seen as a formal echo of a similar description of a shield at Od.8.403 ff. δώσω οἱ τόδ’ ἄορ παγχάλκεον, ᾧ ἔπι κώπη ἀργυρέη, κολεὸν δὲ νεοπρίστου ἐλέφαντος ἀμφιδεδίνηται

where the complements of material, however, only frame a single line.179 Virgil also takes from Homer the interlinear juxtaposition, which emphasizes the adjective ἀργυρέη, which in Virgil is altered into auratum. In the Virgilian passage the exceptional nature of the object is underscored by the relative clause which gives its provenance, following a stylistic use dear to Virgil. Think of Aen.5.258 ff. at qui deinde locum tenuit uirtute secundum, leuibus huic hamis consertam auroque trilicem loricam, quam Demoleo detraxerat ipse uictor apud rapidum Simoenta sub Ilio alto, donat habere, uiro decus et tutamen in armis.

where the relative clause, in addition to ennobling the language by means of the Graecising prosodic hiatus Ilio alto – powerfully used in a verse of Homeric subject 178 Syntactical expansion (in this instance a relative clause) which follows interlinear juxtaposition has the function of adding solemnity to the language. The stylistic effect is comparable to that of epanalepsis (cf. pp.104 f.), which, for example at Aen.12.89 ff. ensemque clipeumque et rubrae cornua cristae, / ensem quem Dauno ignipotens deus ipse parenti / fecerat et Stygia candentem tinxerat unda throws into relief the sword’s divine origin. 179 Hardie 1994, ad Aen.9.303–5: ‘The two adjectives frame the two lines 304–305, a formal echo of Od.8.404 (in the description of the sword given to Odysseus by Euryalos), a line framed by ἀργυρέη “silver” and ἐλέφαντος “of ivory”, the materials respectively of the hilt and the scabbard’.

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matter180 – also separates widely the indirect object huic from donat habere, isolated in enjambement before the syntactical pause at second trochee.181 The apposition which closes the period illustrates further the importance of the lorica, both ornament and defence for the hero. Another instance in which interlinear juxtaposition and a relative clause combine to indicate the exceptional nature of an object – again an accessory of war – is at Aen.5.311 ff. alter Amazoniam pharetram plenamque sagittis Threiciis, lato quam circumplectitur auro balteus et tereti subnectit fibula gemma;

In addition to the lengthy relative clause which underscores the outstanding craftsmanship of the quiver – note the emphatic placing of the nouns auro and gemma at two consecutive line-ends – this passage is also noticeable for the rare juxtaposition of words in homoeoteleuton with a syllable in arsi (Amazoniam pharetram plenamque)182 and the hyperbaton lato . . . auro which iconically

180 On the Graecising hiatus see pp.185 ff. 181 See p.67, n.220. 182 The juxtaposition of words linked by homoeoptotes (similar case endings – for a defin­ition of the figure, see Traina 1999, p.75 with bibliography) is used by Virgil less than by Ennius and Lucretius and often with emphatic value (above all when the homophone syllables are both in arsi). Cf. Wagner 1832, 33.8, who notes the stylistic importance (‘singularis captatur ex ea re gravitas’); Marouzeau 19462, pp.51–58, with examples from both prose and poetry and some ancient rhetor­ical evidence; Norden 19574, pp.405 ff.; Williams 1960, ad Aen.5.81; Eden 1975, ad Aen.8.15. and for a detailed enquiry in Latin dactylic poetry Shackleton Bailey 1994 (pp.100–106 on Aeneid, with a full list of examples). From analysis of the instances (not considering monosyllables) a marked repetition (signifying deliberate use) emerges of adjectives indicating mass, as latus (1.225 latos populos; 2.721=11.679 latos umeros; 9.725 latis umeris; 5.376 umeros latos; 6.887 campis latis), magnus (G.3.219 magna Sila; Aen.1.569 Hesperiam magnam; 2.251 umbra magna; 4.345 Italiam magnam; 6.812 imperium magnum; 11.234 concilium magnum) and tantus (6.93=10.510=11.480 mali tanti; 9.256 meriti tanti) compared with one single instance of a significantly contrasting adjective (3.349 paruam Troiam). For a similar interpretation of homoeoptotes by Pascoli see Traina 1989, PL 3, p.103, n.49.



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embraces the relative pronoun (postpositioned),183 reinforcing the meaning of complectitur.184 Finally we note a series of instances in which, as also in the preceding passage, interlinear juxtaposition brings patronymics into prominence. Virgil, who knows well the expressive potential of ‘poetry of names’, – think of the memorable instances of name-lines185 – has recourse to interlinear juxtaposition to

183 On anastrophe in Latin poetry see the comprehensive study of Schünke 1906. On postpos­ ition of a relative pronoun, which, like a conjunction or preposition, has the function of emphasizing the word immediately preceding, see Norden 19574, ad Aen.6.792 f., Marouzeau 1949, pp.121 ff., Williams 1960, ad Aen.5.22 (who notes greater emphasis if the relative pronoun – or conjunction – is placed after a verbal form), Harrison 1991, ad Aen.10.531 and Horsfall 2013, ad Aen.6.793. On the stylistic effect of anastrophe of conjunctions and particles see Norden 19574, pp.402 ff., Marouzeau 1949, pp.70 ff. and the analysis of Eden 1975, ad Aen.8.22; on postposition of et and nec, a neoteric mannerism, see also Ross 1969, pp.67 ff., Harrison 1991, ad Aen.10.448, Horsfall 1995, p.243; on the rare postposition of -que after the third word cf. Horsfall 2013, ad Aen.6.817–823 (it is more common when attached to iam or to avoid its use immediately after a monosyllabic preposition. Cf. Horsfall 2008, ad Aen.2.227); on nam (postpositioned on the model of the enclitic γὰρ), see Fordyce 1977, ad Aen.7.122 and in particular Harrison 1991, ad Aen.10.584 f. (with bibliography); on dum, Harrison 1991, ad Aen.10.381 (if dum is placed after a verb, the verb comes immediately before it); on deinde, Gransden 1976, ad Aen.8.481 (usually postpositioned in second position and in the fifth foot), Fordyce 1977, ad Aen.7.135; on interjected ecce, a Plautine device suggesting dramatic surprise, Harrison 1991, ad Aen.10 133; on postquam after a relative pronoun and on ne (putting emphasis on the succeeding word), Harrison 1991, ad Aen.10.298 f. and ad Aen.10.372 f. respectively; on quippe, Austin 1955, ad Aen.4.218 (always at the beginning of the line); on the interjection o positioned after the personal pronoun uos, Tarrant 2012, ad Aen.12.646; on heu, Horsfall 1995, p.242. For anastrophe of prepositions we should note that monosyllabic prepositions are placed after the noun less frequently than bisyllabic prepos­ itions and in general only when they also qualify a second noun (which follows them), as in the cases of anastrophe of per (cf. Williams 1960, ad Aen.5.663 and Fordyce 1977, ad Aen.7.234). On the anastrophe of inter see Pease 1935, ad Aen.4.256, Marouzeau 1949, p.58, Harrison 1991, ad Aen.10.237; on its postposition after the object, Fordyce 1977, ad Aen.7.441b f. et arma / regum inter; on circum, Horsfall 2000, ad Aen.7.379 (it tends to be placed at line-end); on sine, Tarrant 2012, ad Aen.12.883 and Clausen 1994, ad B.10.48; on propter, Austin 1955, ad Aen.4.320; on contra, often placed at line-end, Harrison 1991, ad Aen.10.566 f.; on the collocation of a preposition before the second of two paired nouns, Williams 1960, ad Aen.5.512, Eden 1975, ad Aen.8.143 f., Fordyce 1977, ad Aen.7.296b medias acies mediosque per ignis, Austin 1977, ad Aen.6.692. It is interesting to note that there is no lack of instances of double anastrophe in one line (cf. Horsfall 2000, ad Aen.7.673 et primam ante aciem densa inter tela feruntur), or of postposition in fourth position (cf. Aen.11.509b f. est omnia quando / iste animus supra, which also has hyperbaton (cf. Horsfall 2003, ad loc.) or even in sixth position, as at Aen.10.366 aspera quis natura loci dimittere quando (cf. Horsfall 2003, ibid. and for other examples Maurach 1983, pp 94 f.). 184 On this type of iconic hyperbaton see pp.245 ff. 185 On name-lines see p.57, n 191.

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throw into relief high-sounding, polysyllabic patronymics, already strongly evocative.186 A shining example is at Aen.8.161 ff. mirabarque duces Teucros, mirabar et ipsum Laomedontiaden; sed cunctis altior ibat Anchises: mihi mens iuuenali ardebat amore compellare uirum et dextrae coniungere dextram;

where Evander’s wonder at Priam is emphasized by the anaphora of mirabar, and by the rejet of the polysyllabic patronym Laomedontiaden, which, stretching all the way to the caesura at penthemimeral (2½), evokes a sense of monumental greatness.187 Likewise the rejet of Anchises’ name in the next line is emphatic and reflects Evander’s respect for the Trojan hero (sed cunctis altior ibat). Another particularly expressive instance is at Aen.3.345b f. cum sese a moenibus heros Priamides multis Helenus comitantibus adfert,

where the words heros / Priamides, split between two verses, underscore Helenus’ lineage: he is a hero and descended from Priam. Interlinear juxtaposition also confers solemnity on the language at Aen.8.340 f. uatis fatidicae, cecinit quae prima futuros Aeneadas magnos et nobile Pallanteum.

where the patronymic is run over into the next line as a requisite for symmetry and balance. The words Aeneadas and Pallanteum frame the spondaic line in a chiastic construction with solemn cadence, underlining the stature of the characters, already expressed in the adjectives magnos and nobile.188 Another notable instance of expressiveness is at Aen.11.673b ff. his addit Amastrum Hippodaten, sequiturque incumbens eminus hasta Tereaque Harpalicumque et Demophoonta Chromimque;

186 On the stylistic value of polysyllabic names see Marouzeau 19462, pp 96–103 and von Al­ brecht 2006, p.167. 187 The same effect at Aen.8.158 Laomedontiaden Priamum, Salamina petentem, a solemn fourword line which underscores Evander’s admiration for Priam (cf. von Albrecht 2006, p.167). 188 The spondaic clause further underlines the solemnity of the verse. Cf. pp.196 ff.



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In the epic figure of ‘Todeskette’ or catalogue of victims – the listing of warriors killed in battle in order to exalt the name of the slayer, in this instance Camilla,189 – interlinear juxtaposition brings into prominence, with a pathetic note,190 the patronymic of a virtually unknown character, Amastrus, while the following line is a name-line completely Homeric in tone.191 In a number of instances the patronymic emphasized by interlinear juxtaposition is followed by a syntactical expansion – either parenthesis or a relative clause – as at Aen.2.341b ff. iuuenisque Coroebus Mygdonides – illis ad Troiam forte diebus uenerat insano Cassandrae incensus amore et gener auxilium Priamo Phrygibusque ferebat, infelix, qui non sponsae praecepta furentis audierit!

189 Cf. Dewar 1991, ad Stat. Theb.9.127 f.: ‘The so-called “Todeskette”, or chain of the names of those slain by a great warrior, is a frequent device in ancient epic. As well as suggesting swiftness of action, such piling up of names stresses the glory of the victor’. 190 Cf. Dewar 1991, ibid.: ‘Such techniques as naming insignificant characters, distinguishing them with epithets, and describing the horrific death of one, usually the last mentioned, in detail, also help avoid monotony and communicate pathos’. 191 On these lines, which in addition to the content also recall the Homeric models in both syntax (use of double-que) and metre (feminine caesurae and occasional lengthening of -que) see Winbolt 1903, p.163 (‘musical use of proper names’); Austin 1955, ad Aen.4.146; Harrison 1991, ad Aen.10.123; Hardie 1994, ad Aen.9.574; Horsfall 2003, ad Aen.11.675; Tarrant 2012, ad Aen.12.363; and especially Miniconi 1951 and Kiriakidis 2007. Name-lines, which are normally also four-word lines (see p.79, n.261), can be constructed with four proper names, as at Aen.9.767 Alcandrumque Haliumque Noemonaque Prytanimque; 11.675 Tereaque Harpalycumque et Demophoonta Chromimque; and 12.363 Chloreaque Sybarimque Daretaque Thersilochumque; or with three proper names and one patronymic (or adjective of provenance), as at 10.749 Messapus Cloniumque Lycaoniumque Erichaeten; or with two proper names and two patronymics, as at 10 123 Asius Imbrasides Hicetaoniusque Thymoetes. Less expressive, on the other hand, are the instances in which there is a verb (and/or qualifying adjectives), as at 1.510 Anthea Sergestumque uidet fortemque Cloanthum; 1.744=3.516 Arcturum pluuiasque Hyadas geminosque Triones; 2.263 Pelidesque Neoptolemus primusque Machaon; 4.58 legiferae Cereri Phoeboque patrique Lyaeo; 4.288 Mnesthea Sergestumque uocat fortemque Serestum. The instances with five proper names are exceptional; see Aen.9.574 Turnus Ityn Cloniumque, Dioxippum Promolumque, where the closely following sequence of the names of those killed reflects Turnus’ warlike fury, following the ‘Todeskette’ model (see n.189).

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Here the patronymic Mygdonides emphasizes Coreobus’ noble descent (Mygdon was king of the Phrygians) and is followed by a lengthy parenthesis, a touching focus on the hapless youth.192 A further instance which is analogous in both structure and choice of words is found at Aen.12.391 ff. iamque aderat Phoebo ante alios dilectus Iapyx Iasides, acri quondam cui captus amore ipse suas artes, sua munera, laetus Apollo augurium citharamque dabat celerisque sagittas.

where the interlinear juxtaposition of the patronymic is again followed by a syntactical expansion, in this instance a relative clause. Those instances where interlinear juxtaposition closes direct speech will be discussed in the following section, on rejet of a single word, since the stylistic effect is the same.

B) II Rejet By the term rejet we mean exclusively those instances of a run-over word, where enjambement consists of a single word run over to the next line, placed in initial position and before a syntactical pause.193 The rarity of a pause in meaning at the beginning of a hexameter indicates a deliberate diversion from the norm which signals clearly to the reader its exceptional nature, used in many instances, as we shall see, for ends that are clearly expressive.194 For the rejet also stylistic interpretations of individual passages should preferably be combined with statistical analysis and compared with hexameter poetry before Virgil: only in this way is it possible to highlight the rarity of rejet and trace its development in the panorama of poetic language. In my analysis the instances of rejet are divided first according to the part of speech of the words used: the difference in expressiveness between the rejet of 192 Cf. Austin 1964, ad loc.: ‘the parenthetic explanation, and the word forte, add a pathetic simplicity’. Also strongly expressive is the rejet of the verb audierit (see p.127) and of infelix, often followed, as here, by a pathetic relative clause (see p.45, n.159). For incomplete lines (58 cases in the Aeneid), such as Aen.2.346, see Sparrow 1931 and the notes (with bibliography) of Austin 1977, ad Aen.6 94; Fordyce 1977, ad Aen.7.129; Harrison 1991, ad Aen.10 16 f.; Horsfall 2006, ad Aen.3.218 and 1995, pp.167 f. 193 For a definition of rejet see p.22, n.81. 194 For bibliography on stylistic interpretations of rejet in Latin poetry see p.26, n.95.



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a verb and of an adjective, or of noun and adverb, seems obvious. Within these large categories a further distinction – necessary for interpreting the expressiveness – is made on the basis of the words’ semantics. It appears from the analysis that for rejet also there is a recurrence which is characteristic of deliberate and stylistically motivated use. First, throwing a run-over adjective into relief is expressive: the adjective, isolated in the next line before a syntactical pause, gains a particular emphasis. An iconic expressiveness, on the other hand, is found when verbal forms expressing momentary action are placed in rejet: the word order in those instances supports and reinforces powerfully the semantics of the phrase. Finally, the rejet may assume a mimetic value in direct speech: it is used to confer a solemn, serious or resolute tone to the close of a discourse, or to highlight the peremptory nature of a command.

B) II a Stylistics effects of the rejet of a verb We begin with the verb, the part of speech used with greatest frequency in rejet, which is clearly due to the marked tendency of the Latin language to place the verbal form in the last position of a phrase.195 The expressiveness of the rejet does not, therefore, spring from a marked order, but simply from the rarity of a pause in meaning close to the start of a verse.196 195 For instances in which the verb is placed in first position of the phrase see Devine–Stephens 2006, pp.145 ff. who formulate particular categories of verb, among which are the ‘unaccusative’ verbs, of ‘existence’ (sum, sto, maneo), ‘occurrence’ (fit) or ‘appearance’ (appareo, pateo), ‘change of location’ (subeo, uenio, accedo), and ‘change of state’ (madesco, cresco); the passive verbs; the ‘psych verbs’; verbs indicating momentary action (conclamat, dat signum); a series of verbs in a narrative sequence (often with an adverb indicating the sequentiality, such as deinde, statim, subito); verbs which together with a preceding phrase indicate result, cause, explanation (often associated with enim), ‘scene setting’, or opposition (often made clear by the adverb tamen). 196 Rejet of verbal forms and participles is used in the Aeneid in 3.6% of lines: 1.11 impulerit, 62 imposuit, 79 concilias, 152 conspexere, 202 experti, 203 mittite, 206 ostendunt, 237 pollicitus, 241 insequitur, 268 additur, 312 occulit, 404 spirauere, 444 monstrarat, 447 condebat, 451 leniit, 456 miratur, 515 ardebant, 525 oramus, 538 dispulit, 549 paeniteat, 554 tendere, 581 ardebant, 585 submersum, 616 insequitur?, 638 instruitur, 652 extulerat, 700 conueniunt, 708 conuenere (28 instances = 3.7%); 2.13 incipiam, 52 contorsit, 61 obtulerat, 70 accipere?, 80 finxit, 90 gessimus, 115 mittimus, 124 flagitat, 191 conuertant!, 194 uenturam, 237 intendunt, 253 conticuere, 257 extulerat, 305 incidit, 317 praecipitat, 327 transtulit, 330 insultans, 333 oppositis, 346 audierit!, 353 incensae, 385 sternimus, 390 aptemus, 398 conserimus, 417 confligunt, 422 apparent, 426 procumbit, 449 deuoluunt, 467 incidit, 487 miscetur, 505 procubuere, 530 insequitur, 545 coniecit, 560 obstipui, 573 praemetuens, 606 caligat, 612 eruit, 618 sufficit, 633 expedior, 648 demoror, 665 eripis, 706 auditur, 720 abluero (end of direct speech), 733 prospiciens, 739 substitit, 743 ueni-

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mus, 759 uoluitur, 766 congeritur, 778 eueniunt (48 instances = 5.9%); 3.25 conatus, 28 uellitur, 79 accipit, 82 occurrit, 150 extuleram, 187 crederet?, 199 abstulit, 206 uisa, 210 excipiunt, 235 edico, 243 accipiunt, 252 praedixit, 260 deriguit, 318 excipit?, 351 agnosco, 398 effuge, 430 cessantem, 460 expediet, 487 sint, 497 quaerenda, 552 cernitur, 584 perferimus, 608 haerebat, 609 hortamur, 618 deseruere, 640 rumpite, 653 addixi, 681 constiterunt, 700 radimus, 708 accipit, 711 deseris (31 instances = 4.3%); 4.23 impulit, 29 abstulit, 57 exquirunt, 83 incubat, 85 detinet, 100 exercemus?, 125 deuenient, 141 incedunt, 161 incipit, 166 deueniunt, 185 stridens, 190 gaudens, 217 subnexus, 231 proderet, 253 constitit, 261 conspicit, 264 fecerat, 267 extruis?, 275 respice, 276 debetur (end of direct speech), 291 dissimulent, 297 praesensit, 301 bacchatur, 321 odere, 335 promeritam, 358 detulit, 380 sollicitat, 391 dicere, 421 exsequere, 476 exigit, 531 accipit, 535 experiar, 601 spargere?, 619 tradiderit, 629 imprecor, 649 conspexit, 689 deficit (27 instances = 3.8%); 5.6 polluto, 18 spondeat, 22 sufficimus, 107 excierat, 120 impellunt, 153 consequitur, 198 procumbunt, 224 consequitur, 242 impulit, 400 uenissem, 402 proiecit, 444 extulit, 448 concidit, 472 accipiunt, 484 persoluo, 494 consequitur, 662 coniciunt, 668 ducebat, 717 delige, 751 deponunt, 788 insequitur, 836 contigerat (22 instances = 2.5%); 6.39 praestiterit, 54 conticuit, 89 defuerint, 109 contingat, 143 instituit, 155 aspicies (end of direct speech), 157 ingreditur, 162 diceret, 182 scinditur, 222 coniciunt, 366 inice, 368 ostendit, 407 agnoscas (end of direct speech), 421 obicit, 483 ingemuit, 514 egerimus, 524 emouet, 530 instaurate, 532 attulerint, 593 contorsit, 597 porrigitur, 622 imposuit, 675 incolimus, 693 accipio!, 779 educet, 811 fundabit, 829 attigerint, 831 descedens (28 instances = 3.1%); 7.30 prospicit, 48 accipimus, 265 adueniat, 303 profuit?, 370 dissidet, 390 uociferans, 400 clamat, 416 exuit, 424 abnegat, 530 erigit, 533 sternitur, 569 monstrantur, 735 fertur (13 instances = 1.5%); 8.33 uisus, 62 persolues, 100 aequauit, 137 edidit, 147 insequitur, 188 imposuit, 208 auertit, 227 pendebat, 239 impulit, 246 cernatur, 265 protrahitur, 293 pertulerit, 323 maluit, 332 diximus, 343 rettulit, 410 impositum, 430 addiderant, 434 instabant, 445 sortiti, 449 impediunt, 477 ostentat, 513 ingredere, 517 adsuescat, 559 haeret, 583 uulneret (end of direct speech), 584 fundebat, 637 addide­ rat, 643 distulerant, 650 aspiceres, 665 extuderat, 695 spargitur, 726 finxerat (32 instances = 4.3%); 9.7 auderet, 78 auertit?, 92 uincantur, 158 procurate, 162 delecti, 190 procubuere, 193 exposcunt, 218 persequitur, 237 conticuere, 240 erigitur, 260 obtestor, 276 insequitur, 336 luserat, 366 induit, 400 eripere?, 411 conicit, 441 proturbant, 445 confossus, 494 conicite, 504 increpuit, 527 ediderit, 533 certabant, 567 tollitur, 577 strinxerat, 624 constitit, 634 traicit, 701 spumantem, 708 sustinuit, 737 effatur, 748 effugies, 763 excipit, 770 occupat, 785 ediderit?, 789 consistunt, 803 sufficere, 808 obruitur (36 instances = 4.4%); 10.61 redde, 73 egit?, 89 conamur?, 90 obiecit?, 101 infit, 117 surgit, 147 contulerant, 152 edocet, 186 transierim, 222 iusserat, 234 quaerimus, 322 praebuit, 330 coniciunt, 361 concurrunt, 400 traicit, 443 debetur, 456 aduolat, 494 largior, 505 oderit, 548 crediderat, 562 persequitur, 634 misit, 646 conicit, 675 accipio?, 706 occubat, 735 contulit, 744 uiderit (end of direct speech), 753 deicit, 777 iecit, 799 sustinuit, 804 praecipitant, 842 flentes, 862 uiximus, 879 terres?, 889 uellere (35 instances = 3.8%); 11.23 mandemus, 111 oratis?, 117 apparat, 147 uiderunt, 221 testatur, 263 exulat, 268 oppetiit, 309 ponite, 329 praecipiant, 344 consulis, 354 adicias, 361 proicis, 393 arguet, 409 amittes, 424 deficimus?, 442 deuoui, 446 certantes, 474 subuectant, 497 luxurians, 500 desiluit, 513 praemisit, 549 ruperat, 562 immittit, 568 accepere, 574 institerat, 609 substiterat, 665 deicis?, 698 congeminat, 787 pascitur, 806 suscipiunt, 821 adloquitur, 824 conficit, 889 uoluitur (33 instances = 3.6%); 12.42 prodiderim, 45 diuidit (end of direct speech), 46 flectitur, 51 spargimus, 95 uociferans, 133 obsedere, 140 praesidet, 153 perge, 204 auertet, 237 cogemur, 242 sperabant, 261 corripite, 267 procurrens, 322 attulerit, 406 subuenit, 417 detulit, 421 ignorans, 424 excidit, 428 proueniunt, 458 adglomerant, 466 insequitur, 503 expediat?, 564 deponunt, 642



B) Enjambement in the Aeneid 

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Such a pause, unexpected and coming early in light of the norm, causes a break in the flow, particularly suitable for a sense of rapidity, violence or agit­ ation. It is not therefore fortuitous that a significant recurrence emerges from analysis of verbs placed in rejet: in many cases they express momentary actions, like the falling of a body, the throwing of a javelin or other violent and sudden moves.197 To interpret such types of rejet is not a hermeneutic operation sullied by a modern viewpoint and foreign to the ancient reader’s sensibility. It is enough to cite Dionysius of Halicarnassus, who, referring to Od.9.289 f. σὺν δὲ δύω μάρψας ὥς τε σκύλακας ποτὶ γαίῃ κόπτ’· ἐκ δ’ ἐγκέφαλος χαμάδις ῥέε, δεῦε δὲ γαῖαν.

observes the iconic expressiveness of the passage, underlining how the difficult articulation of the sequence κόπτ’· ἐκ highlights a sense of disgust and horror.198 This strongly expressive rejet is not an isolated example in Homer. Consider, for instance, Il.1.51 f. αὐτὰρ ἔπειτ’ αὐτοῖσι βέλος ἐχεπευκὲς ἐφιεὶς βάλλ’· αἰεὶ δὲ πυραὶ νεκύων καίοντο θαμειαί.

where a verbal rejet, again monosyllabic due to synaloepha, underscores the semantics of the passage, while the new syntactical start describes the effect of the action: Apollo lets fly his arrows; and the pestilence rages through the Greek camp. aspiceret, 644 perpetiar, 714 congeminant, 739 suffecit, 741 dissiluit, 771 sustulerant, 852 molitur, 911 succidimus, 931 protendens, 941 coeperat (33 instances = 3.4%). A verbal form in rejet is rarely (only 17 instances) followed by synaloepha at the point of a syntactic pause: Aen.1.554; 2.70; 3.206, 235, 497; 4.321, 421; 5.484, 717; 8.513; 9.400, 494, 803; 10.61, 889; 12.133, 261. For the Iliad, from a sample of 600 lines (my reading looked at lines 51–75, 151–175, 251–275, 351–375 of books 1, 6, 9, 12, 18, and 24) there are 22 instances (3.6%) of verbal rejet (1.52, 251, 356; 6.69, 157, 267, 353; 9.255, 260, 272, 352, 367; 12.59, 155, 262, 268, 358; 18.62, 67, 270, 366; 24.52); in Ennius, 6 instances (1.2%) in 478 lines analysed (71 occiduntur, 80 volt, 148 prodinunt, 263 consequitur, 334 sensit, 367 laetantes); in Lucretius, 19 instances (2.1%) in 900 lines (1.4 concelebras, 810 adiuvet, 816 sunt, 821 constituunt; 2.215 concursant; 3.17 discedunt, 22 integit, 612 dissolvi, 619 sunt, 802 desiperest; 4.34 attinet, 212 ponitur; 5.202 possedere, 221 apportant?, 601 confluit, 827 destitit; 6.210 concipere, 403 descendit, 412 mittere?). In Cat. 64 there are 7 (1.7%) instances in 408 lines (32 aduenere, 108 eruit, 117 commemorem, 122 uenerit, 150 eripui, 230 annuit, 237 agnoscam). 197 Cf. Marouzeau 19462, p.307, who observes that ‘un verbe de mouvement, exprimant une action soudaine, violente’ {a verb of movement, expressing a sudden, violent action} is often placed in rejet. 198 De comp.16. See Wilkinson 1963, p.43.

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Turning to Latin poetry, Ennius already exploits the iconic potential of the verbal rejet in several verses which form, as we shall see, a clear model for Virgil. Exemplary instances are where the figure underlines the momentary nature of the compounds of iacio as at Ann.67 f. Sk. Hinc campum celeri passu permensa parumper Conicit in siluam sese

(here, although the enjambement extends to the hephthemimeral (3½), the effect is clear); of cado as at Ann.411 Sk. Concidit et sonitum simul insuper arma dederunt

(the verb here is probably in rejet); and of sentio199 as at Ann.333 f. Sk. Apta dolet si forte feras ex nare sagaci Sensit, uoce sua nictit ululatque ibi acute

Catullus also uses the rejet iconically to underline the momentary nature of a verb. We recall 64.105 ff. nam uelut in summo quatientem brachia Tauro quercum aut conigeram sudanti cortice pinum indomitus turbo contorquens flamine robur, eruit (illa procul radicitus exturbata prona cadit, late quaeuis cumque obuia frangens),

where the rejet highlights the violence of the verb eruit, while the shift from accus­­ative to nominative, realized through pronominal reference (pinum . . . illa), marks the immediate consequence between the two actions (eruit . . . cadit).200 If we compare the passage to G.2.207 ff. aut unde iratus siluam deuexit arator et nemora euertit multos ignaua per annos antiquasque domos auium cum stirpibus imis eruit: illae altum nidis petiere relictis,

199 Similar expressiveness at G.4.333 f. At mater sonitum thalamo sub fluminis alti / sensit, and at Aen.5.867 f. cum pater amisso fluitantem errare magistro / sensit et ipse ratem nocturnis rexit in undis. 200 On this outline see p.131, n.425.



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it becomes clear that Virgil takes from the model not only the theme – here again dealing with destruction of plants – but also the construction.201 Also worth quoting is Cat. 64.149 ff. certe ego te in medio uersantem turbine leti eripui, et potius germanum amittere creui,

which not only has a verbal rejet, but also two verbs framing the verse202 and poignant juxtaposition of the two personal pronouns,203 both figures of style which Virgil will exploit fully. As for Lucretius, his use of the verbal rejet seems rather to be neutral: the verbs used do not describe a momentary action and are in general not partic­u­ larly expressive. After having shown the expressiveness of the verbal rejet in hexameter poetry before Virgil, it only remains for us to analyse the large number of instructive instances in the Aeneid. As explained previously, those instances of rejet shall be subdivided on the basis of the semantics of the verb.

B) II a 1 Falling The immediate aspect of a verb indicating a fall, ruin or collapse, generally expressed by verbs compounded with prefixes stressing the momentary aspect of the action, can be further reinforced, as we said above, by being placed in rejet. The prosodic structure of the verbal form is not irrelevant from a stylistic viewpoint: dactylic forms, especially if isolated by a syntactical pause – which we can define as ‘diaeresis of first dactyl’204 – seem especially suitable for expressing

201 On this passage see also p.81. 202 Cf. pp.221 ff. 203 Cf. pp.237 f. 204 A dactylic word in first foot occurs in the Aeneid in 14.5% of lines (I have calculated this value on the basis of De Neubourg’s (1986, p.207) data. The instances of rejet of a dactylic verb – not including those instances with synaloepha at the point of a syntactical pause – add up to 115 (1.1% of total lines): 1.203, 268, 312, 451, 538; 2.90, 115, 124, 305, 327, 385, 467, 612, 618, 648, 665, 739, 743, 759; 3.28, 79, 187, 199, 318, 398, 552, 640, 700, 708, 711; 4.23, 29, 83, 85, 161, 231, 253, 261, 264, 267, 275, 358, 391, 476, 531, 601, 629, 689; 5.18, 242, 444, 448; 6.162, 182, 366, 421, 524, 779; 7.30, 303, 370, 416, 424, 530, 533; 8.137, 239, 323, 332, 343, 583, 695, 726; 9.336, 366, 411, 567, 577, 624, 634, 763, 770; 10.152, 222, 234, 322, 400, 456, 494, 505, 646, 706, 735, 744, 753, 862; 11.117, 263, 309, 344, 361, 393, 549, 665, 787, 824, 889; 12.45, 46, 51, 140, 406, 417, 424, 941.

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a sense of rapidity,205 whereas those which extend to the pause at trihemimeral (1½), or to the diaeresis of second trochee, express heaviness or exertion.206 The stylistically motivated use of this type of rejet is confirmed by a rich series of instances comprising both compounds of cado and other significantly similar verbs.207 –– Compounds of cado and diaeresis after first dactyl The position in rejet of the dactylic compounds of cado clearly has an expressive function.208 In terms of stylistic effect the pause in sense after the first dactyl separates the verb, iconically throwing into relief its instantaneous aspect. This is evident at Aen.2.464b ff. conuellimus altis sedibus impulimusque: ea lapsa repente ruinam cum sonitu trahit et Danaum super agmina late incidit. ast alii subeunt, nec saxa nec ullum telorum interea cessat genus.

Here the expressiveness of the rejet of incidit must be measured in the light of significant convergence with other stylistic factors. First we see that the dactylic rhythm which characterizes the passage (two lines and a hemistich) culminates with a metrical–syntactical pause in coincidence with the verb incidit, underscoring the final moment of the unstoppable and ruinous fall of the tower.209 205 See Winbolt 1903, pp.13 ff.; and Lucot 1955, p.34 on the effect of dactylic rejet followed by three spondees. 206 Cf. Lucot 1960, pp 165–170, who in his contribution to the study of rejet of verbs indicating throwing – these observations can also clearly be extended to verbs indicating falling – notes (p.167) the difference, in terms of effect, between the dactylic verbal forms, particularly suitable for suggesting the speed of what is thrown, and the molossic forms, which seem rather to suggest the effort behind the action (‘Le dactyle est rapidité, le molosse lenteur et peine, effort’ {the dactyl expresses rapidity, the molossus sluggishness and weight, effort}). On the effect of the rejet of a molossic word see Lucot’s article 1967 (b), pp.81–112. 207 On this iconic value of enjambement in Ovid see Lateiner 1990, pp.231 f. (desilio, excido, concido); for a similar effect in Dante’s Commedia see here p.26, n.94. 208 Marouzeau 19462, p.307, reports six instances in which a position in rejet reinforces the importance of compounds of cado. 209 Austin’s (1964, ad loc.) acute note is worth quoting in full: ‘The words are carefully chosen to show both the sight and sound of the falling tower […]. The rhythm of lapsa / repente / ruinam […] suggests the initial leaning movement, and in the next line, as the tower gathers speed, the rhythm hurries quickly from et to Danaum, and from Danaum to super agmina, so that the caesura, though formally present, is barely felt; both lines have the maximum possible number of



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In addition, the change of subject in the new syntactical start (impulimusque: ea) in convergence with synaloepha at the point of syntactical pause 210 underscores the relation of direct consequence between the two actions.211 These stylistic effects also characterize Aen.5.446 ff. Entellus uires in uentum effudit et ultro ipse grauis grauiterque ad terram pondere uasto concidit, ut quondam caua concidit aut Erymantho aut Ida in magna radicitus eruta pinus.

which describes Entellus’ thunderous fall during a boxing match. Here also the rejet of the verb is made even more expressive by the rhythmical–syntactical structure of the context in which it is found. The series of spondees at line 446 reflect Entellus’ futile effort – his blows are delivered to the wind – while the reeling of the huge warrior, whose might is expressed by semantic duplication (grauis, grauiter, pondere uasto), is also rendered by the blurring of third-foot caesura and by the synaloepha of the enclitic -que (grauiterque ad terram) which appear to express a sense of suspense, reflecting metrically the swaying of the unbalanced body before its final collapse.212

dactyls, and are in marked contrast with the sledge-hammer rhythm of adgressi ferro circum in 463. The run-over in incidit, with the long pause to follow, lets us hear and see the final thunderous fall, and the tower lying motionless above the crushed bodies of innumerable Greeks’. On the iconic rhythm of line 467 (two anapaestic words after a dactylic rejet and a monosyllable) expressing rapidity see Lucot 1967 (a), p.74; and here p.160, n.484. 210 On this synaloepha see p.178. 211 See the section ‘Stylistic effects of the après-rejet’. This passage can be compared, for similarity of theme and structure, to Aen.2.626 ff. ac ueluti summis antiquam in montibus ornum / cum ferro accisam crebrisque bipennibus instant / eruere agricolae certatim, illa usque minatur / et tremefacta comam concusso uertice nutat, / uulneribus donec paulatim euicta supremum / congemuit traxitque iugis auulsa ruinam, where the metrical–syntactical effects converge to load the passage with iconic expressiveness. The synaloepha in certatim, illa, at the point of a syntactical pause, highlights the result of the actions (on the expressive value of the change of subjects between the two clauses see p 131, n.425) and reinforces iconically the idea of the tree’s swaying, while in paulatim euicta it underscores the gradual nature of the adverb paulatim: the tree leans little by little, then to crash thunderously down (the placing of congemuit in rejet highlights the immediacy). 212 The enclitic -que, which is not necessary from a semantic viewpoint, has the function, apart from its rhythmical effect, of emphasizing the adverb. Cf. Williams 1960, ad loc., who, after linking the expression grauis grauiterque to Il.16.776 κεῖτο μέγας μεγαλωστί (on this borrowing see Traina 1994, PL 4, pp.197–204) observes: ‘The effect of -que, which is not grammatically necessary, is to emphasize graviter; cf. 12.289 f. regem regisque insigne gerentem / Tyrrhenum Aulesten, Aen.3.329 me famulo famulamque Heleno transmisit habendam, 11.673 praecipites pariterque

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Other instances where dactylic compounds of cado are placed in rejet, but not followed by a strong syntactical pause, nevertheless confirm the expressiveness of this usage. Consider Aen.5.331 ff. hic iuuenis iam uictor ouans uestigia presso haut tenuit titubata solo, sed pronus in ipso concidit immundoque fimo sacroque cruore.

where, as well as the rejet, other important features are the assonance (iuuenis, uictor, ouans uestigia), which perhaps underscores the youth’s joy on the point of winning the contest, and the homoeoteleuton in juxtaposition (immundoque fimo sacroque), usually avoided in poetry, but which here links in cacophony three ablatives in -o, as if to emphasize the sense of disgust for the mire mixed with blood into which the young athlete has fallen.213 The verbal rejet has again an iconic value at Aen.12.423 f. iamque secuta manum nullo cogente sagitta excidit, atque nouae rediere in pristina uires.

(the arrow falls unexpectedly from the wound); at Aen.2.304 ff. in segetem ueluti cum flamma furentibus Austris incidit, aut rapidus montano flumine torrens sternit agros,

(the fire rages across the fields); and above all at Aen.2.531 f. ut tandem ante oculos euasit et ora parentum, concidit ac multo uitam cum sanguine fudit.

where the verse is framed between two verbs.214

ruunt’. On the pleonastic -que see also Facchini Tosi 1988, EV 4, p.503 and Horsfall 2006, ad Aen.3.329. 213 Here the figure probably has a ‘literary’ value (cf. ‘Introduction’, pp.4 f.): Virgil wants to reproduce the effect of the Homeric model of homoeoteleuton at Il.23.774 f. (Aias slips on the dung of the sacrificial animals): ἔνθ’ Αἴας μὲν ὄλισθε θέων –βλάψεν γὰρ Ἀθήνη – / τῇ ῥα βοῶν κέχυτ’ ὄνθος ἀποκταμένων ἐριμύκων. The three-part homoeoteleuton is also used by Virgil at Aen.5.404b f. tantorum ingentia septem / terga boum plumbo insuto ferroque rigebant in the description of the immense gauntlets of combat belonging to the hero Eryx. 214 Cf. pp.221 ff.



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–– Other verbs Besides the compounds of cado, other verbs indicating falling are also placed iconically in rejet. A moving example is at Aen.4.688 f. illa grauis oculos conata attollere rursus deficit; infixum stridit sub pectore uulnus.

where Dido’s effort, at the end of her life, when she wearily tries to raise her gaze to the sky, is highlighted by the semantics of the terms (grauis, conata) and by the pause at line-end, while the dramatic final collapse is powerfully expressed by the rejet of the dactyl deficit.215 The rejet is also iconic at Aen.11.498 ff. Obuia cui Volscorum acie comitante Camilla occurrit portisque ab equo regina sub ipsis desiluit, 216

and at Aen.7.531 ff. hic iuuenis primam ante aciem stridente sagitta, natorum Tyrrhi fuerat qui maximus, Almo, sternitur: haesit enim sub gutture uulnus

Here, after the long hyperbaton iuuenis . . . Almo, which closes the postponed ‘pathetic’ relative clause217 (Tyrrhus’ eldest son has been the one to die), the verbal rejet has dramatic prominence.218 Also important in this instance is the juxtaposition of the verbs (sternitur: haesit), an expressive arrangement dear to Virgil,219 recurring often in instances of rejet of verbs which extend to the rare diaeresis after second trochee.220 A typical example is at Aen.2.503 ff. 215 Cf. Austin 1955, ad loc.: ‘the run-over word, and the pause, are eloquent’. 216 The iconic expressiveness of the rejet of desilio is emphasized by Lateiner 1990, p.231 (he quotes Ov. Met. 1.674, 7.378, 10.722, 12.129). For a similar iconic use also see Stat. Theb.8.599 and Val.Fl. 6.424. 217 On the ‘pathetic’ relative clause see p.45, n.159. 218 Although not followed by a strong syntactical pause, the verbal rejet at Aen.11.85 ff. is equally expressive: ducitur infelix aeuo confectus Acoetes, / pectora nunc foedans pugnis, nunc unguibus ora, / sternitur et toto proiectus corpore terrae. There is also no shortage of iconic instances in poetry after Virgil (cf. for example Stat. Theb.6.903 and Sil. 17.442). 219 See pp.131 and 146 f. 220 On the effect of the pause after the second trochee see Winbolt 1903, pp.25 ff. In the Aeneid it is used in 12 instances joined to verbal rejet: 1.152 conspexere, 404 spirauere, 708 conuenere; 2.253

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quinquaginta illi thalami, spes tanta nepotum, barbarico postes auro spoliisque superbi procubuere; tenent Danai qua deficit ignis.

a strongly pathetic passage which registers its own ἀκμή in the emphasis on the verb in rejet. The power of Priam’s house is highlighted in the first two lines by the pathetic apposition221 spes tanta nepotum and by the complement barba­rico postes auro spoliisque superbi, which underlines the monumental nature and magnificence of the royal palace, now close to a miserable end. The verb procubuere is in stark semantic contrast to the sense of height expressed by the adjective superbi222 and describes, in a lapidary and dramatic way, the ruinous collapse of the splendid Trojan palace. The juxtaposition of the two verbs (procubuere; tenent), with variation of both subject and time, then underlines the swift result of the two actions: Priam’s house has scarcely fallen and is already occupied by the foe. This passage is recalled in the self-echo at Aen.9.189b f.223 procubuere, silent late loca;

somno uinoque soluti

where the dynamic verb procumbo does not speak of simply falling asleep, but rather suggests an instantaneous and violent action, the crashing collapse to the ground of soldiers overcome by wine,224 in harsh contrast to the consequent, almost unreal, quiet of the place, expressed by the static verb sileo. We should conticuere, 505 procubuere; 3.618 deseruere; 4.100 exercemus?; 6.530 instaurate; 9.158 procurate, 190 procubuere, 237 conticuere; 11.568 accepere. 221 On pathetic apposition see p.45, n 159; for a fine analysis of this passage and its relationship with the Homeric model (Il.6.244) see Conte 20072, pp.96 and 155. 222 See the analysis of Aen.3 1 ff. at p.44. 223 See also Aen.9.236b f. Rutuli somno uinoque sepulti / conticuere. Taking account only of these two passages; of Aen.2.265 inuadunt urbem somno uinoque sepultam; and of the Ennian model at Ann.288b Sk. hostes uino domiti somnoque sepulti (see Skutsch 1985, ad loc. for a full discussion of the imitations of the passage) the reader will be able to understand the meaning of an expression as boldly dense and briefly stated as custode sepulto at Aen.6.424: Cerberus is sepultus from the soporific effect of the offa. For this and other examples of brevity susceptible of interpretation in the light of self-echoes see Knight 19662, pp.253 ff. 224 Again a soldier’s death is described by the verb procumbo in rejet at Aen.6.502b ff. mihi fama suprema / nocte tulit fessum uasta te caede Pelasgum / procubuisse super confusae stragis aceruum. Here the stylistic effect is weakened, in that the rejet, not followed by a syntactic pause, extends to line-end, but the hyperbaton (super . . . aceruum) between preposition and noun is noteworthy (cf. Horsfall 2013, ad loc. with bibliography) as is the enallage (confusae stragis acer­ uum=confusum stragis aceruum) on which see Conte 20072, p.52.



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note that both these instances have not only an identical rejet, but also a similar new syntactical start with change of subject and a present tense verb of second conjugation indicating the state resulting from the action (silent, tenent). This disposition is also used at G.2.143 f. sed grauidae fruges et Bacchi Massicus umor impleuere, tenent oleae armentaque laeta.

which recalls Aen.2.505 in use of the syntactical start with the verb tenent, and again at Aen.1.151 f. tum, pietate grauem ac meritis si forte uirum quem conspexere, silent arrectisque auribus adstant;

where the juxtaposition of the verbs underscores the sudden fall into silence of a crowd at the appearance of a commanding and respected man. More frequent are rejets of verbs which extend to the trihemimeral (1½) (molossi225 or choriambs226). Forms of the verb procumbo recur several times in rejet, as at Aen.9.539b ff. dum se glomerant retroque residunt in partem quae peste caret, tum pondere turris procubuit subito et caelum tonat omne fragore.

where the immediacy of the fall is rendered by the rejet and the choice of the perfect tense, which in a context of historic presents marks the suddenness of 225 In the Aeneid molossic words are placed at the beginning of the hexameter in 11.7% of lines (I have calculated this value on the basis of De Neubourg’s (1986, p.209) data). There are 97 instances (0 9% of total lines) of rejet of a molossic verb (excluding those cases with synaloepha): 1.202, 206, 444, 447, 456, 515, 525, 581, 585; 2.52, 191, 237, 330, 353, 390, 417, 422, 426, 449, 487, 545, 606, 706; 3.25, 82, 252, 351, 430, 608, 609, 653; 4.57, 141, 217, 276, 297, 301, 649; 5.6, 120, 198, 400, 402, 668, 751; 6.109, 368, 407, 593, 811, 831; 7.569; 8.62, 100, 208, 227, 246, 434, 445, 477, 517, 584; 9.7, 78, 92, 162, 193, 260, 441, 445, 533, 701, 737, 789; 10.89, 90, 361, 443; 11.23, 111, 147, 221, 409, 442, 446, 474, 513, 562; 12.204, 237, 242, 267, 421, 564, 739, 852, 931. 226 In the Aeneid choriambic words are placed at the beginning of the hexameter in 8.4% of lines (I have calculated this value on the basis of De Neubourg’s (1986, p.211) data). There are 118 instances (1.1% of total lines) of rejet of a choriambic verb: 1.11, 62, 79, 237, 241, 549, 615, 638, 652, 700; 2.13, 61, 257, 317, 333, 346, 398, 530, 560, 573, 633, 720, 733, 766, 778; 3.150, 210, 243, 260, 460, 584, 681; 4.125, 166, 291, 335, 380, 535, 619; 5.22, 107, 153, 224, 472, 494, 662, 788, 836; 6.39, 54, 89, 143, 155, 157, 222, 483, 514, 532, 597, 622, 675, 693, 829; 7.48, 265, 390; 8.147, 188, 265, 293, 410, 430, 449, 637, 643, 650, 665; 9.218, 240, 276, 504, 527, 708, 748, 785, 808, 10.147, 186, 330, 548, 562, 675, 799, 804; 11.268, 329, 354, 424, 497, 500, 574, 609, 698, 806, 821; 12.42, 95, 322, 428, 458, 466, 503, 642, 644, 714, 741, 771, 911.

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the action.227 A similar change of verb tense associated with the rejet of the verb procumbo is found at Aen.11.149b f. feretro Pallanta reposto procubuit super atque haeret lacrimansque gemensque,

Also strongly expressive is Aen.2.424 ff. ilicet obruimur numero, primusque Coroebus Penelei dextra diuae armipotentis ad aram procumbit; cadit et Ripheus,

where the heavy molossus procumbit, thrown into relief by the syntactical pause, reflects the heavy fall of the warrior, who is felled before the altar like a sacrificial victim, while the juxtaposition of the other verb highlights the pressing rhythm of the slaughter.228 The verbal rejet is further separated from its subject229 through the insertion of a line which identifies the slayer and the place of the death, as also at Aen.11.266 ff. ipse Mycenaeus magnorum ductor Achiuum coniugis infandae prima inter limina dextra oppetiit: deuictam Asiam subsedit adulter.

We need to observe that the idea of falling is not suggested here by the semantics of the choriambic verb oppetiit (‘he died’), but rather by its position in rejet.

B) II a 2 Throwing The instantaneous force of verbs indicating throwing can be iconically reinforced by being placed in rejet. As we already observed with verbs indicating falling, the 227 Cf. Hardie 1994, ad loc. 228 On the ‘pathetic apposition’ mea progenies see p.45, n.159; on the effect of the rejet of a molossic word, p.64, n.206. Also important is the topos of occidit et (‘he died also’) which returns in the variant quin occidit at Aen.10.469b ff. Troiae sub moenibus altis / tot gnati cecidere deum; quin occidit una / Sarpedon, mea progenies; (cf. Harrison 1991, ad loc.). 229 The same separation of the iconic rejet of a choriambic verb is found at Aen.11.615b ff. excussus Aconteus / fulminis in morem aut tormento ponderis acti / praecipitat longe et uitam dispergit in auras. The rejet of the verb praecipito highlights the violence of the fall at Aen.10.803 f. ac uelut effusa si quando grandine nimbi / praecipitant, omnis campis diffugit arator; while at Aen.2.314 ff. arma amens capio; nec sat rationis in armis, / sed glomerare manum bello et concurrere in arcem / cum sociis ardent animi; furor iraque mentem / praecipitat, pulchrumque mori succurrit in armis it highlights the agitation of the scene.



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prosodic structure of words in rejet is not without stylistic importance. Dactylic verb forms are better suited to expressing the sense of swiftness in the action of throwing, while those which stretch to the trihemimeral (1½) (molossi and choriambs) rather suggest toil or effort.230 –– Compounds of iacio The iconic expressiveness of the rejet of compounds of iacio is clear. Consider Aen.9.410 f. dixerat et toto conixus corpore ferrum conicit. hasta uolans noctis diuerberat umbras

where the rejet, used in a dactylic hemistich (conicit. hasta uolans), acquires particular prominence from the metrical–semantic contrast with the preceding line (toto conixus corpore): the warrior gathers all his strength before hurling the spear.231 The metrical–rhythmical context of another strongly expressive passage is similar – Aen.10.645 f. instat cui Turnus stridentemque eminus hastam conicit: illa dato uertit uestigia tergo.

to which we can add Aen.10.776b f. dixit stridentemque eminus hastam iecit. 232

230 Cf. p.64, n.206. 231 Cf. Hardie 1994, ad loc.: ‘The effort put into the throw is suggested by the repetition of the intensive suffix con- and by the strong pause after the first dactyl in 411; after the spondees of 410 the dactyls of 411 convey the speed of the spear’. The passage is analysed from a stylistic viewpoint by Gransden 20042, pp.55 ff., who, on the rejet, observes (p.56): ‘the effort of hurling the spear is enacted in the abruptness of ferrum / conicit – an effect further emphasized in the assonance conixus conicit and the alliteration of these words with corpore’. On alliteration of prefixes see p.108, n.349. For a probable model see Liv. Andr. carm. frg. 40 Blänsdorf at celer hasta uolans perrumpit pectora ferro. 232 Harrison 1991, ad loc., referring to the rejet in this passage and at 10.645 f., observes: ‘both verbs of effort similarly isolated in enjambment’.

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where the rejet of the verb is further highlighted by the rare diaeresis at first trochee.233 Also strongly expressive is Aen.6.419 ff. cui uates, horrere uidens iam colla colubris, melle soporatam et medicatis frugibus offam obicit. ille fame rabida tria guttura pandens corripit obiectam atque immania terga resoluit

where the energy of the rejet of the dactylic obicit is particularly clear after an elegant descriptive line.234 The other rejet in the following verse accentuates the famished snatching of the infernal monster (corripit), while the double synaloepha, blurring the caesura at penthemimeral (2½), suggests direct result between the two actions: Cerberus devours the offa and immediately falls asleep.235 Less clear, but still expressive, are the instances in which the verb is not followed by a strong syntactical pause, as at Aen.7.346 f. huic dea caeruleis unum de crinibus anguem conicit inque sinum praecordia ad intima subdit,

with the verbs framing the line, and at Aen.7.479 f. hic subitam canibus rabiem Cocytia uirgo obicit et noto naris contingit odore,

where, apart from the verbal rejet, the excitement of the scene is highlighted by the rhythm of the rare sequence of three anapaestic words (subitam canibus rabiem).236 233 On the stylistic effect of the syntactical pause at first trochee, used above all in the second half of the Aeneid (cf. Gransden 1991, ad Aen.11 175), see Winbolt 1903, pp 10 ff., and Eden 1975, ad Aen.8.33, who observe an intentional and expressive use (underscoring the idea of rapidity expressed by the verb). There are eight instances of verbal rejet with a pause at first trochee in the Aeneid: 7.400; 8.33, 559; 10.73, 101, 634 (for analysis of the passage see p 95), 777; 12.153. 234 Cf. Austin 1977, ad loc. 235 On the expressiveness of corripit see Horsfall 2013, ad loc. (‘the run-on dactyl to convey C. “snapping up” the offa’); on the effect of the double synaloepha see here p.159; on the ‘participial resumption’ (obicit–obiectam), here marking ‘the simultaneous reaction’ (Austin 1977, ad loc.), see Wills 1996, pp.311 ff. 236 Norden 19574, ad Aen.6.290 (also on the sequence of two anapaestic words); Fordyce 1977, ad loc.; Austin 1977, ad Aen.6.634 and Wilkinson 1963, p.82 with a complete list of the instances in Virgil (2 in the Bucolics, 4 in the Georgics and 10 in the Aeneid). The rhythm is clearly not expres-



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Those instances where the diaeresis after first dactyl separates the rejet of iacio preceded by a conjunction merit a separate discussion. At Aen.10.335b f. tum magnam corripit hastam et iacit: illa uolans clipei transuerberat aera

the expectation and effect of suspense, which generally culminate in a verb in rejet, are less marked because of the presence in the preceding line of another verb. The verb in rejet seems here to indicate, rather than a sudden and violent action, the conclusion and culmination of a process already in action (corripit . . . et iacit), while the syntactical pause after the first dactyl mirrors the release of tension after exertion.237 To this passage we can add Aen.5.641 ff. haec memorans prima infensum ui corripit ignem sublataque procul dextra conixa coruscat et iacit. arrectae mentes stupefactaque corda Iliadum.

a clear self-echo (the same verbal rejet; the expression corripit ignem as a var­ iation of corripit hastam), and also Aen.12.728 ff. Emicat hic impune putans et corpore toto alte sublatum consurgit Turnus in ensem et ferit: exclamant Troes trepidique Latini,

Here the spondaic rhythm of line 729 highlights Turnus’ tension, as his whole body rises threateningly, while the rejet of the verb ferit underlines the culminating moment of the blow,238 and the new syntactical start with the verb in initial position stresses the immediate reaction of both Trojans and Latins. A different expressiveness characterizes the instances of rejet of molossic and choriambic verbs. The pause at trihemimeral (1½), together with these verbs,

sive per se, but adds to the sense of the phrase. For a similar stylistic effect to the one described see Aen.3.259 f. at sociis subita gelidus formidine sanguis / deriguit (again the adjective subitus and the verbal rejet) and Aen.6.290 corripit hic subita trepidus formidine ferrum; for a clear idea of speed and rapidity see also Aen.4.310 (mediis properas), Aen.7.479 (subitam canibus rabiem), Aen.11.805 (trepidae comites), Aen.11.869 (fugiunt Rutuli). At Aen 9.554 f. haud aliter iuuenis medios moriturus in hostis / inruit the effect is also highlighted by the iconic rejet of inruit (cf. p.96). 237 Cf. Harrison 1991, ad loc. and, on the new syntactical start, see here pp.131 f. 238 Cf. Tarrant 2012, ad loc.

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actually seems to underscore, rather than an idea of speed, the exertion required in throwing. An excellent example is at Aen.5.400b ff. sic deinde locutus in medium geminos immani pondere caestus proiecit, quibus acer Eryx in proelia suetus ferre manum duroque intendere bracchia tergo.

where the figure highlights Acestes’ effort in throwing before the eyes of Entellus the enormous gauntlets of combat (immani pondere caestus) belonging to the mythical hero Eryx – the relative clause has here as elsewhere the function of marking the exceptional nature of the object prominent.239 A sense of exertion is also highlighted by the rejet of the molossic verb at Aen.2.544 ff. sic fatus senior telumque imbelle sine ictu coniecit, rauco quod protinus aere repulsum et summo clipei nequiquam umbone pependit.

The aged Priam exerts himself in flinging the weapon, but his throw is feeble (sine ictu) and the weapon is at once turned back by Pyrrhus’ shield, as suggested by the force of the dactylic line-end protinus aere repulsum with syllable-doubling (-re re-).240 This stylistic effect is comparable to that at Aen.10.328 ff. ni fratrum stipata cohors foret obuia, Phorci progenies, septem numero, septenaque tela coniciunt; partim galea clipeoque resultant

where the line is framed by two verbs which express the effort in throwing and the subsequent turning aside of the weapons241– note the semantics of the prefix re – turned back by helmet and shield. At Aen.6.220 ff. fit gemitus; tum membra toro defleta reponunt purpureasque super uestes, uelamina nota, coniciunt. pars ingenti subiere feretro, triste ministerium, et subiectam more parentum auersi tenuere facem. 239 Cf. pp 100 f. 240 On syllable-doubling see p.77, n.254. 241 A similar stylistic effect at Aen.8.305 consonat omne nemus strepitu collesque resultant. See p.16. Also stylistically pleasing is ‘the elegant variation of cardinal and distributive’ (cf. Harrison 1991, ad loc.).



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the rejet is used to highlight not only the verb, but also, in the next line, the pathetic apposition triste ministerium: to bury a comrade in arms is a sorrowful duty.242 –– Other verbs The rejets of other verbs indicating throwing confirm the stylistic effect noted for the compounds of iacio. A clear example is the rejet of contorsit at Aen.2.50 ff. sic fatus ualidis ingentem uiribus hastam in latus inque feri curuam compagibus aluum contorsit. stetit illa tremens,

where Laocoön’s force in throwing the spear against the Wooden Horse is highlighted by the powerful juxtaposition of the adjectives ualidis ingentem,243 while the molossic verb in rejet,244 separated by a line from its direct object hastam, is strikingly placed beside another verb (contorsit. stetit), which expresses the immediate result of the action.245 The rejet of a molossic verb is again highly expressive at Aen.11.561 f. dixit, et adducto contortum hastile lacerto immittit: sonuere undae,

where the juxtaposition of the verbs once more highlights the immediate effect of the throw, while at Aen.11.783 f. telum ex insidiis cum tandem tempore capto concitat et superos Arruns sic uoce precatur:

the dactylic concitat, equivalent in meaning to conicit, has a clear iconic force. 246 Finally we notice two dactylic rejets of the verb spargo. At Aen.8.694 f. 242 On ‘pathetic appositions’ (both uelamina nota and triste ministerium) see p.45, n.159. 243 See p.232, n.719. 244 On the effect of rejet of a molossic word see p.64, n.206. For a fine stylistic analysis of the phonic and rhythmic structure of the passage see Lucot 1960, pp.167 f. Similar iconic rejets of contorsit at Aen.3.561 f. haud minus ac iussi faciunt, primusque rudentem / contorsit laeuas proram Palinurus ad undas and at 6.592 f. at pater omnipotens densa inter nubila telum / contorsit. 245 On this passage see p.131. The repeated in is also expressive: here it underscores the violence of the throw (cf. Horsfall 2008, ad loc.) and, at Aen.12.291b ff. ruit ille recedens / et miser oppositis a tergo inuoluitur aris / in caput inque umeros, the violence of the fall (cf. Tarrant 2012, ad loc.). On similar iconic expressiveness of repeated per see p.253, n.789. 246 See Horsfall 2003, ad loc. and Lucot 1960, p.166.

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stuppea flamma manu telisque uolatile ferrum spargitur, arua noua Neptunia caede rubescunt.

the rejet underscores the momentary force of the action and combines with the verb rubescunt to frame the verse. Here, as in the preceding example, the immed­ iate consequence of the action follows the rejet: at the hurling of the weapons the sea turns red with blood.247 The verse is characterized by a sophisticated colouring (the inchoative rubescunt and the sequence noua caede underscore the advancing spread of blood in the waves) and by a studied ordo uerborum: the two verbs which express action and result frame the interlocking hyperbaton (ABAB) arua noua Neptunia caede, which reflects iconically the mingling of blood and waves.248 At Aen.12.50 f. et nos tela, pater, ferrumque haud debile dextra spargimus, et nostro sequitur de uulnere sanguis;

the expressiveness of the rejet seems to me, rather than iconic, to imitate the emphasis of the direct speech: Turnus asserts that both he and his men – note the double anaphora (et nos . . . et nostro)249 – have the capacity to hurl weapons and inflict damage on the foe. Spargimus is also the first element of an elegant ‘arching’ alliteration,250 which links three conceptually correlated terms (spargimus, sequitur, sanguis): from the slinging of the weapons springs the shedding of the blood.

B) II a 3 Blows, thrusts and violent actions In some cases position in rejet can emphasize the immediacy of verbs expressing violent actions. A rich series of instances again uses compounds of iacio (traicio, disicio, deicio), but there are also other verbs which are semantically similar (eruo, impello). –– Compounds of iacio Among the compounds of iacio we find traicio in rejet at Aen.10.399 f. 247 If we consider Aen.12.740 f. mortalis mucro glacies ceu futtilis ictu / dissiluit: fulua resplen­ dent fragmina harena, which presents clear structural analogies, it may be that a stronger syntactical pause would also be preferable in the passage in question (spargitur: arua noua Neptunia caede rubescunt). 248 On the icon of the mingling see pp.248 f. 249 Cf. Traina 20042, ad loc. 250 Cf. p.52, n.174.



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Tum Pallas biiugis fugientem Rhoetea praeter traicit. hoc spatium tantumque morae fuit Ilo: 251

at Aen.11.684 f. hunc illa exceptum (neque enim labor agmine uerso) traicit et super haec inimico pectore fatur:

with verbs framing the line;252 and in the striking lines at Aen.9.630 ff. audiit et caeli genitor de parte serena intonuit laeuum, sonat una fatifer arcus: effugit horrendum stridens adducta sagitta perque caput Remuli uenit et caua tempora ferro traicit. ‘i, uerbis uirtutem inlude superbis!

Here, in a highly iconic passage, the verb in rejet focuses on the instant at which the weapon passes through the warrior’s head.253 Particular attention should be paid, because of the powerful convergence of stylistic factors, to Aen.12.306 ff. ense sequens nudo superimminet; ille securi aduersi frontem mediam mentumque reducta dissicit et sparso late rigat arma cruore.

The dactylic attack ense sequens obtains powerful energy from the syllable-doub­ ling (ense sequens), which further links the words of the syntactical unit.254 The 251 Cf. Harrison 1991, ad loc.: ‘The pause after an initial dactyl containing a verb of effort is dramatic’. Note also the contrast between the sense of protraction in the present participle and the instantaneous nature of the finite verb in rejet (cf. p.83). 252 Cf. pp.221 ff. 253 The rhythm is also iconic at line 632, on which see Hardie 1994, ad loc.: ‘The dactylic effugit in the first foot suggests the sudden discharge of the arrow, the spondees that follow reinforce the power and deadliness of its flight’. 254 On the repetition of the last syllable of a word in the first syllable of the following word (defined as ‘ribattuta’ by Simonetti Abbolito 1995, p.158) – Dorica castra at Aen.2.27 is the best known example – see Zaffagno 1984, EV 1, pp.595–596; Dionigi 19922, p.48, n.22 (with material gathered from Virgil and Lucretius), and especially Godel 1967, pp.760–769 (stylistic interpret­ ation). Servius stigmatized Aen.2.27 as cacemphaton (mala est compositio ab ea syllaba incipere qua superius finitus est sermo; nam plerumque et cacemphaton facit ut hoc loco), but such repet­i­­­ tion was appreciated for its musicality by Pontanus (p.183) in the Actius (‘non insuauiter etiam concursus earundem syllabarum mulcet aures’. See Dionigi 19922, p.46, n.17) and by Pascoli 19422 in Epos (ad Aen.2.26–30 he notes: ‘Servio riprende il cattivo suono della finale e dell’iniziale, che

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syntactical start at fifth foot255 (ille securi) marks the adversary’s resistance and contributes to framing the verse between two words which present clear semantic affinities (ense–securi).256 The position of the dactylic verb dissicit, separated in rejet and outside the vertical hyperbaton (. . . securi / . . . reducta), further highlights the energy of the passage.257 This passage can be compared, for structure and semantics, to G.1.331b ff. ille flagranti aut Atho aut Rhodopen aut alta Ceraunia telo deicit; ingeminant Austri et densissimus imber;

s’incontrano. E se Verg. lo faceva a bella posta? Il raddoppiamento, nei verbi greci, non pareva soave? Verg. ha siliqua quassante […] curva valle e simili.’ {Servius attacks the ugly sound of the final and initial syllables which conflicted with each other. And did Virgil not use them to good purpose? Didn’t the doubling in Greek verbs appear smooth? Virgil has siliqua quassante […] curva valle and similar.}). The analysis of instances in Virgil shows that this repetition is not actually avoided, but in some cases is used directly in two successive lines (cf. Aen.5.149 f.; 6.487 f.; 7.315 f.; 8.108 f., 176 f.). The repetition highlights the sound of the syllable, often iconically, as in the σιγματισμός (cf.p.49, n.167) at Aen.12.319 ecce uiro stridens alis adlapsa sagitta est (cf. Godel 1967, p.768: ‘le redoublement de la syllabe sa évoque le sifflement du trait lancé’ {the doubling of the syllable –sa evokes the whistling of a shot arrow}) and has the effect of uniting in pronunci­ ation the two terms linked by the repetition, underscoring in some cases excitement, agitation or speed. At Aen.6.710 horrescit uisu subito causasque requirit and 8.109 f. terrentur uisu subito cunctique relictis / consurgunt mensis it puts into relief the semantics of the adjective; at 4.176 parua metu primo, mox sese attollit in auras and 11.834 incurrunt densi simul omnis copia Teucrum, the semantics of the adverb; at 2.250 Vertitur interea caelum et ruit Oceano nox it coincides with the effect of the monosyllable at line-end (which here expresses speed, cf. p.211); at 2.302 f. excutior somno et summi fastigia tecti / ascensu supero atque arrectis auribus adsto it converges with density of synaloephae and the alliteration of words beginning with a – on the effect of this type of alliteration see Williams 1960, ad Aen.3.451 f.; Knight 19662, p.302; Hardie 1994, ad Aen 9.814; Tarrant 2012, ad Aen.12.604–8; the article of La Penna 1983, pp.301–340, who defines it as ‘allitterazione dell’angoscia’ {alliteration of distress} and, for an opposite stylistic reading (calm and solemnity), Traina 1998, PL 5, p.82, n 17 –; at both 4.594 ferte citi flammas, date tela, impellite remos! and 9.37 ferte citi ferrum, date tela, ascendite muros, a series of imperatives and the asyndeton mark the urgency of the command (on this iconic value of asyndeton see p.15, n.48); at 8.219 f. hic uero Alcidae furiis exarserat atro / felle dolor: rapit arma manu urgency and haste are also highlighted by interlinear juxtaposition (cf. p.41, n.146); while at 11.453 arma manu trepidi poscunt, fremit arma iuuentus, by the repetition (arma…arma), on which see Horsfall 2000, ad Aen.7.460. 255 For similar syntactical starts with ille thrown into relief see p.142, n.444. 256 Cf. pp.224 f. 257 Cf. Tarrant 2012, ad loc.: ‘the hyperbaton achieves a build-up of detail […] which is followed by a powerfully enjambed verb (dissicit)’. On vertical hyperbaton see pp.251 ff.



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where subject and verb (ille–deicit) are separated by the vertical hyperbaton (flagranti–telo), which also describes here the weapon with which the blow is delivered.258 The other instance of rejet of the verb deicio is also in a strongly expressive context, at Aen.10.747 ff. Caedicus Alcathoum obtruncat, Sacrator Hydaspen Partheniumque Rapo et praedurum uiribus Orsen, Messapus Cloniumque Lycaoniumque Erichaeten, illum infrenis equi lapsu tellure iacentem, hunc peditem. pedes et Lycius processerat Agis, quem tamen haud expers Valerus uirtutis auitae deicit; at Thronium Salius Saliumque Nealces insignis iaculo et longe fallente sagitta.

In the hectic description of the battle, the names of killed and killers are in close succession, following a technique wholly Virgilian: in eight lines only two verbs are used, obtruncat and deicit (the latter iconically in rejet).259 This passage is a lovely example of ‘poetry of names’, the tendency in poetry to gather together proper names, for their musicality and their strongly evocative character.260 Here Virgil gives names to warriors who are otherwise unknown, offering the reader, through a powerful euidentia, the dramatic (in an etymological and figurative sense) battle scene. In this strongly expressive context, line 749, a sonorous name-line and four-word line,261 is followed in the next verse by the elegant dis258 For other vertical hyperbatons associated with weapons at line-end see p.252, n.788. 259 Cf. Harrison, 1991, ad loc. 260 See p.57, n.191 (on name-lines) and p 194, n.591. 261 On the stylistic importance of four-word lines, apart from individual notes, see Winbolt 1903, pp.227 ff. and von Albrecht 2006, p 167. Virgil uses them 6 times in the Georgics (1.27, 470, 502; 3.550; 4.111, 336) and 22 times in the Aeneid (1.53, 80; 2.263, 549; 3.328, 517, 549; 4.542; 6.639; 7.410, 576; 8.103, 158, 214, 263, 490; 9.767; 10.123, 749; 11.700, 870; 12.363). The four-word lines seem to suggest slow delivery in direct speech, as at G.1.26b f. et te maximus orbis / auctorem frugum tempestatumque potentem (the poet celebrates Octavian’s eminence); Aen.1.80 nimborumque facis tempestatumque potentem (Aeolus emphasizes with pride the power given to him by Juno); 2.549 degeneremque Neoptolemum narrare memento (Neoptolemus speaks with sarcasm to Priam, before killing him, cf. ‘Introduction’, p 12); 4.542 Laomedonteae sentis periuria gentis? (Cf. von Albrecht 2006, p.167: ‘Dido hebt den Verrat des Aeneas hervor, indem sie den umfang­ reichen Namen des meineidigen Stammvaters mit bitterer Ironie voll ausbuchstabiert’{Dido emphasizes Aeneas’ treachery, spelling out in full the long name of the Trojans’ perfidious ancestor}. The same effect is found in a similar instance at G.1.502 Laomedonteae luimus periuria Troiae); 8.158 Laomedontiaden Priamum, Salamina petentem (Evander, turning to Aeneas, recalls Priam with admiration). Four-word lines have the further effect of strengthening the striking nature of long names and patronymics (G.3.550 Phillyrides Chiron Amythaoniusque Melampus; 4.111 Hel-

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tinction, marked by asyndeton aduersatiuum, of the different deaths of Clonius and Lycaon’s son.262 Finally, use of polyptoton: in peditem pedes the two terms belong, of course, to distinct periods263 and present different aspects to arsis,264 while in Salius Saliumque the polyptoton is indicative of the speed with which the killer becomes the victim in the furious affray.265

lespontiaci seruet tutela Priapi; Aen.2.263 Pelidesque Neoptolemus primusque Machaon; 3.328 Ledaeam Hermionen Lacedaemoniosque hymenaeos; 7.410 Acrisionaeis Danae fundasse colonis; 8.103 Amphitryoniadae magno diuisque ferebat; 8.214 Amphitryoniades armenta abitumque pararet; 11.700 Appenninicolae bellator filius Auni), especially in the evocative name-lines (G.4.336 Drymoque Xanthoque Ligeaque Phyllodoceque; Aen.9.767 Alcandrumque Haliumque Noemonaque Prytanimque; 10.123 Asius Imbrasides Hicetaoniusque Thymoetes; 10.749 Messapus Cloniumque Lycaoniumque Erichaeten; 12.363 Chloreaque Sybarimque Daretaque Thersilochumque). In other instances the effect is less clear. At Aen.7.576 implorantque deos obtestanturque Latinum the fourword line suits the solemnity of the moment (note the double -que and the imposing verb obtestantur); while the instances at G.1.470 f. obscenaeque canes importunaeque uolucres / signa dabant; Aen.8.263 f. abstractaeque boues abiurataeque rapinae / caelo ostenduntur; and, with similar syntactical, rhythmical and resonant structure, 11.870 f. disiectique duces desolatique manipli / tuta petunt seem to have a powerful and majestic effect; the same perhaps at 6.639 fortunatorum nemorum sedesque beatas, where the ordo uerborum, with the double juxtaposition joined to chiasmus, reflects an idea of peace and beauty (cf. Austin 1977, ad Aen.6.638). The spondaic rhythm, on the other hand, suggests iconically the violence of the winds at 1.53 luctantis uentos tempestatesque sonoras (cf. Austin 1971, ad loc.) and the menacing tramp of soldiers at 8.490 armati circumsistunt ipsumque domumque (cf. Eden 1975, ad loc.), where the long compound with circum- across the third-foot caesura is also noteworthy (cf. Gransden 1976, ad loc. and Hardie 1994, ad Aen.9.416). At 3.517 armatumque auro circumspicit Oriona the spondaic line-end gives a Hellenising patina to a verse containing a Greek name (cf. p.196 and, for a probable iconic effect, p.197) while at 3.549 cornua uelatarum obuertimus antemnarum the rhythm seems to accompany the sense: blurring of the caesura at penthemimeral (2½) and a spondaic line-end reflect the slowness and the effort of the sailors (cf. Winbolt 1903, p.131 and Soubiran 1959, p.43) or the heavy motion of the ships (cf. Horsfall 2006, ad loc.). 262 Asyndeton aduersatiuum (cf. p.143, n.447) is again used to mark the distinction between two different deaths, of Paris and Mimas, at Aen.10.702 ff. nec non Euanthen Phrygium Paridisque Mimanta / aequalem comitemque, una quem nocte Theano / in lucem genitore Amyco dedit et face praegnas / Cisseis regina Parin: Paris urbe paterna / occubat, ignarum Laurens habet ora Mimanta (cf. Harrison 1991, ad loc.), a passage which also presents a similar use of polyptoton (see the following note). 263 As at Aen.10.705, where Bailey’s ingenious conjecture of Parin: Paris restores to the text a fullness of sense and stylistic strength (cf. Conte 2013, pp.87 f.). 264 Cf. p.191, n.579. 265 Cf. Wills 1996, pp.333–335.



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–– Eruo The idea of violence expressed by the semantics of eruo can be iconically reinforced by collocation in rejet. This rejet, as we have already seen,266 is exploited by Catullus at 64.105 ff. nam uelut in summo quatientem brachia Tauro quercum aut conigeram sudanti cortice pinum indomitus turbo contorquens flamine robur, eruit (illa procul radicitus exturbata prona cadit, late quaeuis cumque obuia frangens),

and imitated by Virgil at G.2.207 ff. aut unde iratus siluam deuexit arator et nemora euertit multos ignaua per annos antiquasque domos auium cum stirpibus imis eruit: illae altum nidis petiere relictis,

Here the rejet underscores the violence of the iratus arator who deprives the birds of their homes, not sparing those woods which had been safe for many years. The pathos of the scene, apart from the humanization of the birds, forced to leave their homes, depends completely on the sense of transience: even that which has remained inviolate through time has been finally destroyed by man.267 Eruo is again in rejet at Aen.2.610 ff. Neptunos muros magnoque emota tridenti fundamenta quatit totamque a sedibus urbem eruit.

where the strong syntactical pause after the break of the sequence urbem eruit portrays iconically the violence of the action,268 and at Aen.12.567 ff. urbem hodie, causam belli, regna ipsa Latini, ni frenum accipere et uicti parere fatentur, eruam et aequa solo fumantia culmina ponam.

266 Cf. p.62. 267 See p.6. 268 Cf. Austin 1964, ad loc. ‘dramatic effect’.

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where the long hyperbaton between object and verb (urbem . . . eruam), broken syntax, framing collocation of the verbs and dicolon abundans combine to mark mimetically, in Aeneas’ words, his rage and confident determination to destroy finally the enemy city.269 –– Impello The instances of rejet of the verb impello are clearly iconic. A shining example is at Aen.5.241 ff. et pater ipse manu magna Portunus euntem impulit: illa Noto citius uolucrique sagitta ad terram fugit et portu se condidit alto.

where the instantaneous nature of the dactylic verb is strengthened by the pause in sense, while the new syntactical start, with change of subject, expresses the resultant rapid course of the ship speeding onwards.270 The rejet of impulit is also particularly expressive in the metrical–syntactical context at Aen.8.236 ff. hanc, ut prona iugo laeuum incumbebat ad amnem, dexter in aduersum nitens concussit et imis auulsam soluit radicibus, inde repente impulit; impulsu quo maximus intonat aether, dissultant ripae refluitque exterritus amnis.

where Hercules’ straining, expressed by the spondees in aduersum nitens and auulsam soluit, is followed by the speed of the action highlighted by a series of dactyls (radicibus . . . impulit), by the contre-rejet after the bucolic diaeresis271 (inde repente), and by the rejet of impulit. The etymological figure impulit impulsu finally links the two clauses, marking a relation of direct cause and effect. The expressiveness at Aen.7.620 ff. is different:

269 Cf. Tarrant 2012, ad loc.: ‘The broken syntax and the lack of connectives suggest an outpouring of rage’ and Servius, ad loc.: ‘confidenter, quasi iam non bellum sit, sed expugnatio’. On the convergence of the rare synaloepha of a cretic word (eruam et) and rejet, here expressing a shout of rage, see Soubiran 1966, p.226. 270 Cf. p.133. 271 See p.37, n.126.



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tum regina deum caelo delapsa morantis impulit ipsa manu portas et cardine uerso Belli ferratos rumpit Saturnia postis.

The rejet of impulit here, apart from being less marked (it does not close the colon), is stylistically important for the skilful contrast in semantics and aspect with the present participle morantis.272 In this masterly instance of interlinear juxtaposition between two verbal forms, the pause at line-end actually highlights the semantics of the participle, while the rejet of the finite verb underscores the speed of the action.273 A similar effect is found at Aen.12.377 ff. ille tamen clipeo obiecto conuersus in hostem ibat et auxilium ducto mucrone petebat, cum rota praecipitem et procursu concitus axis impulit effunditque solo;

where the conative imperfect tenses ibat and petebat are used for Phegeus’ caution in approaching Turnus, while the sudden and violent impact with the wheel of the chariot is expressed, syntactically, by the ‘cum inuersum’ placed after the principal verb, 274 and metrically, at verse 380, by the series of dactyls, syn­­aloepha and collocation of the conjunction before the caesura at penthe­­m­i­­­­ meral (2½),275 and, in the next line, by the dactylic rejet of impulit. 272 Similar expressiveness at Aen.4.22 f. solus hic inflexit sensus animumque labantem / impu­ lit. agnosco ueteris uestigia flammae. 273 The effect is yet more marked when the rejet of the finite verb follows a line with two present participles (see pp.88 f.). 274 For the stylistic effects of cum inuersum see Tarrant 2012, ad Aen.12.249: ‘the so-called cum inuersum construction, in which the cum-clause comes after the main verb(s), is often used for dramatic effect: the action of the cum-clause is sudden and unexpected, interrupting what had been in progress just before, which is often described in the imperfect’. Cf. also Görler 1985, EV 2, pp.274 f.; Eden 1975, ad Aen.8.26 ff. (on cum inuersum vs cum narratiuum); Williams 1960, ad Aen.5.84–5 and 5.270 ff. (on cum inuersum with imperfect tense). For the similar effect of the ‘dramatizing’ ecce see Tarrant 2012, ad Aen 12.319. 275 On the effect of lines where a monosyllable (especially a preposition or conjunction) is placed before the penthemimeral (2½), as at the paradigmatic Aen.1.35 uela dabant laeti et spumas salis aere ruebant, see Hellegouarc’h 1962, pp.236–250, who observes that Virgil, partic­u­­­ larly fond of this type of line, employs it to amplify the phrase, to lend a pathetic, dramatic or elevated tone to the diction, to emphasize words between penthemimeral (2½) and hephthem­i­­meral (3½) caesurae (see here p.237, n.738), and for iconic effects (see in particular p.247 on this passage). See also Soubiran 1966, pp.181–183 (especially on cases with synaloepha) and von Albrecht 2006, p 166 (on the stylistic effects).

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Aen.1.81 ff. merits separate discussion: Haec ubi dicta, cauum conuersa cuspide montem impulit in latus; ac uenti uelut agmine facto, qua data porta, ruunt et terras turbine perflant.

Here the diaeresis of the second dactyl276 at line 82 seems to accompany the sense of the passage iconically. In a line in which the caesura at trihemimeral (1½) is weak – it falls after the monosyllable (ac) – the word-end after the second dactyl actually has the effect of underscoring the immediate result between the two actions: Aeolus strikes the mountain and the winds rush forth.277 Similar expressiveness characterizes Aen.1.113 ff. unam, quae Lycios fidumque uehebat Oronten, ipsius ante oculos ingens a uertice pontus in puppim ferit: excutitur pronusque magister uoluitur in caput, ast illam ter fluctus ibidem torquet agens circum et rapidus uorat aequore uortex.

Here also the ferocity of the action is emphasized by diaeresis at second dactyl, used consecutively at lines 115 and 116.278 The immediate result is further rendered by the collocation of the verb excutitur, at the beginning of a phrase and in juxtaposition to the other verb: the great wave falls upon the ship, and the helmsman is swept into the sea.

276 In Virgil diaeresis at the second dactyl is rare (while the end of a spondaic word in this position is scrupulously avoided from Catullus onwards, cf. De Neubourg 1986, p.115 table IX, and p.121) and is often used with iconic effects – it underlines the rapidity of an action or an idea of agit­ation (the effect is comparable to that of diaeresis at first dactyl, cf. p.113, n.365) – or expressive effects, to put into relief a term in the second hemistich. Cf. Winbolt 1903, pp.27 ff. 277 The rejet of the compounds of pello is also iconic at Aen.3.448 f. uerum eadem, uerso tenuis cum cardine uentus / impulit et teneras turbauit ianua frondes; 5.725 ff. care magis, nate Iliacis exercite fatis, / imperio Iouis huc uenio, qui classibus ignem / depulit et caelo tandem miseratus ab alto est; 5.118 ff. ingentemque Gyas ingenti mole Chimaeram, / urbis opus, triplici pubes quam Dardana uersu / impellunt, terno consurgunt ordine remi, where the rejet of the molossic verb highlights the idea of the oarsmen’s exertion (cf. Lucot 1960, p.167, who, comparing this rejet with the dactylic impulit of Aen.5.242, observes that the dactyl expresses rapidity, the molossus effort (cf. here p.64, n.206). 278 Also noteworthy here is the ‘quasi-caesura’ (see p.203, n.624), the short pause after the verbal prefix (ex-cutitur) that blurs the caesura iconically, stressing the immediacy of the action (on this effect see von Albrecht 2006, p.166), and the monosyllabic preposition (in) placed at the beginning of the line (cf. Hellegouarc’h 1964, pp.34 ff.).



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–– Other verbs The placing in rejet of other verbs expressing violent or momentary action confirms the expressiveness of the device. The convergence of stylistic factors at Aen.12.505 ff. is typical: Aeneas Rutulum Sucronem (ea prima ruentis pugna loco statuit Teucros) haud multa morantem excipit in latus et, qua fata celerrima, crudum transadigit costas et cratis pectoris ensem.

First, the juxtaposition of the warriors’ names (Aeneas Rutulum Sucronem) is an icon of the engagement,279 while the interlinear juxtaposition of the participle (morantem) and the finite verb (excipit) highlights, as we have seen before, the immediacy of the action. At the next line the further verbal rejet underscores the violence with which Aeneas deals the mortal blow, while the vertical hyper­ baton crudum / ensem brings into prominence the adjective – which combines the accepted meaning of ‘cruel’ with the proleptic ‘bloody’ – and iconically reflects the passage of the sword through the body.280 The phonic texture, with the repeated use of the ‘r’ associated with occlusives (crudum, transadigit, cratis), also contributes to the sense of violence in the sword which passes through Sucro’s ribs, shattering them, while the epexegetic et (cratis is semantically equivalent to costas) has the effect of expanding the dramatic image. 281 This passage can be compared to Aen.12.270 ff. hasta uolans, ut forte nouem pulcherrima fratrum corpora constiterant contra, quos fida crearat una tot Arcadio coniunx Tyrrhena Gylippo, horum unum ad medium, teritur qua sutilis aluo balteus et laterum iuncturas fibula mordet, egregium forma iuuenem et fulgentibus armis, transadigit costas fuluaque effundit harena.

279 See pp.227 ff. 280 Tarrant 2012, ad loc.: ‘the hyperbaton enacts verbally the progress of the sword blade through the body’. For other vertical hyperbatons at line-end associated with weapons see p.252, n.788. 281 The passage is cited as an example of a phonic effect obtained by use of the consonant ‘r’ in von Albrecht 2006, p.159. On the epexegetic et see Grassi 1984, EV 1, p.883.

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where the hemistic transadigit costas is again used. 282 In this instance we need to note the lengthy separation between the subject and verb (hasta . . . transadigit) which reflects, dramatically extending it, the long flight of the spear before it kills.283 The pathos of the passage clearly emerges in a number of ways which deserve further analysis. First the relative clause pathetically specifies that the men who find themselves by chance in direct range of the weapon are all brothers, the fruit of the devoted love of a Tuscan woman for her Arcadian husband Gylippus. The half-line horum unum ad medium with the repeated assonance of the mournful ‘u’ sound suggests a melancholy atmosphere and underscores the fatal mischance – from so many only one is destined to die – highlighted by the relative clause teritur . . . mordet: the spear penetrates at the exact point where the armour leaves uncovered, only by a little, the young warrior’s body. Lastly, the striking contrast between the youth’s beauty and the blind destiny of death is strongly expressive. Line 275 is not only a pathetic apposition, but, also used at Aen.6.861 to describe another ἄωρος, the young Marcellus, is a particularly poignant intratextual quotation: fate has cut off yet another youth destined for a great future.284 We need, finally, to note how the word harena closes the long section, here as elsewhere.285 Consider Aen.5.370 ff. solus qui Paridem solitus contendere contra, idemque ad tumulum, quo maximus occubat Hector, uictorem Buten immani corpore, qui se Bebrycia ueniens Amyci de gente ferebat, perculit et fulua moribundum extendit harena.

The physical bulk of Butes, at line 372, is expressed by a succession of four spondees, while the sequence of two monosyllables at line-end (qui se), a phenom­ 282 Here transadigit governs the two accusatives unum and costas, copying the Homeric figure known as καθ’ ὅλον καὶ μέρος (‘the part and the whole’). Cf. Harrison 1991, ad Aen.10.698 f. (La­ tagum . . . / occupat os faciemque). 283 Cf. Tarrant 2012, ad loc.: ‘The syntax of the principal clause, hasta uolans…horum unum ad medium…transadigit costas, is twice interrupted, producing the narrative equivalent of a splitscreen image, as we follow the progress of the spear toward its target’. 284 This self-echo is discussed by Moskalew 1982, pp.101 f. and Traina 20042, ad Aen.6.861, who notes, with reference to egregium forma, that this iunctura is otherwise restricted, apart from the anonymous warrior in the passage above, to Pallas and Lausus (Aen 10.435) and to Turnus (Aen.7.473), ‘tutti iuvenes e destinati a morte precoce’ {all iuvenes and destined for early death}. On the relationship between beauty, youth and death see Horsfall 2013, ad Aen.6.861 with references. 285 On this word at line-end (a metrical ending which through its use can be considered stylistic) see Tarrant 2012, ad Aen.12.340.



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enon not necessarily important per se, acquires a particular prominence in strong contre-rejet (after the syntactical pause at sixth foot), bringing Butes’ arrogance into prominence.286 In this context the rejet highlights the violence of the blow, necessary to lay low the immense Butes. To this passage we can compare Aen.9.586 ff. stridentem fundam positis Mezentius hastis ipse ter adducta circum caput egit habena et media aduersi liquefacto tempora plumbo diffidit ac multa porrectum extendit harena.

not only for the collocation in rejet of the verb indicating violent action, but above all for the similar image of the warrior stretched out on the ground and for the same ordo uerborum (note the hyperbaton here multa . . . harena which like fulua . . . harena in the preceding example frames the perfect participle).287 A similar metrical–syntactical structure is also visible in the rejet at Aen.12.739b ff. postquam arma dei ad Volcania uentum est, mortalis mucro glacies ceu futtilis ictu dissiluit: fulua resplendent fragmina harena.

which is followed by a descriptive specification (fulua resplendent fragmina harena). 286 On the double monosyllable at line-end (cf. p.206, n.635) after a sense pause see Winbolt 1903, pp.55 f. and Williams 1960, ad Aen.5.624. The effect is even more marked in direct speech, as, for example, at Aen.12.359b ff. ‘en agros et, quam bello, Troiane, petisti, / Hesperiam metire iacens: haec praemia, qui me / ferro ausi temptare, ferunt, sic moenia condunt.’ in the ironical and terrible words of Turnus who prepares himself to reward with death the foe who has dared to challenge him, and at Aen.5.623 ff. ‘o miserae, quas non manus’ inquit ‘Achaica bello / traxerit ad letum patriae sub moenibus! o gens / infelix, cui te exitio Fortuna reseruat? (cf. p.47, n.164). Equally noteworthy is the use of three or more monosyllables, especially at the beginning of a line (see Norden 19574, ad Aen.6.791, with examples of three monosyllables fitting the first foot, and Horsfall 1995, p.239). This staccato effect (cf. also p.214, n.664) can underline an idea of slow and solemn pronunciation, as at 12.48 f. ‘quam pro me curam geris, hanc precor, optime, pro me / deponas letumque sinas pro laude pacisci, where the ten-word line (cf. p.215, n.667) ‘suggests T’ icy delivery, the words bitten off one by one’ (cf. Tarrant 2012, ad loc.) or at 12.833 do quod uis, et me uictusque uolensque remitto, where the five monosyllables, the only such sequence in the poem, underscore, in Jupiter’s words, the gravity of the moment (cf. Tarrant 2012, ad loc.). See also Austin 1955, ad Aen.4.16 (with examples) and Horsfall 2003, ad Aen.11.380. 287 The rejet of the verb has a similar effect at Aen.9.749 ff. sic ait et sublatum alte consurgit in ensem / et mediam ferro gemina inter tempora frontem / diuidit impubisque immani uulnere malas (cf. Hardie 1994, ad loc.).

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In other instances, in contexts of war, the momentary nature of a warrior’s violent or sudden action, expressed by rejet of a finite verb (generally in the present), stands out even more clearly through contrast with a sense of protracted time in two present participles in the preceding verse, usually referring to another warrior.288 Consider the disturbing scene at Aen 2.216 ff. post ipsum auxilio subeuntem ac tela ferentem corripiunt spirisque ligant ingentibus; et iam bis medium amplexi, bis collo squamea circum terga dati superant capite et ceruicibus altis.

While Laocoön is trying desperately to help his children, the sea-snakes attack him with their enormous coils.289 Such rejets are particularly powerful in fast-moving battle scenes, as is clear at Aen.12.298 ff. obuius ambustum torrem Corynaeus ab ara corripit et uenienti Ebyso plagamque ferenti occupat os flammis:290

in the similar instance at Aen.12.535 f. ille ruenti Hyllo animisque immane frementi occurrit telumque aurata ad tempora torquet:

with verbs framing the line, and again at Aen.11.696 ff. tum ualidam perque arma uiro perque ossa securim altior exsurgens oranti et multa precanti congeminat: uulnus calido rigat ora cerebro.

288 Cf. Tarrant 2012, ad Aen.12.299 (‘the build-up of action in the participles is brutally cut off by the enjambed verb’) and on participial ‘jingles’, here p.51, n 172. We need to observe the difference in the effect at Aen.6.467 f. talibus Aeneas ardentem et torua tuentem / lenibat dictis animum lacrimasque ciebat, where the verb in rejet (lenibat) expresses duration; and also at 2.550b f. hoc dicens altaria ad ipsa trementem / traxit et in multo lapsantem sanguine nati, where the present participles, placed in both verses, give a strong sense, with notable graphic force, of the protraction of the action: Neoptolemus drags the aged Priam, trembling and slipping in his son’s blood, right up to the altar. 289 Note here the marked position of the adjective ingentibus (cf. p.218), and the bold enjambement (the effect is due to the colourless word iam at line-end, cf. p.219), which lends pathos and emotion to the scene. 290 The verbal rejet is less marked, but still highlights the stylistic effect at Aen.10.797 ff. iamque adsurgentis dextra plagamque ferentis / Aeneae subiit mucronem ipsumque morando / sustinuit.



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where the hyperbaton ualidam . . . securim is also important: joined to the repeated per, it reflects the passage of the axe through the body of Camilla’s foe.291 The verbal rejet is skilfully delayed by one line at Aen.9.768 ff. Lyncea tendentem contra sociosque uocantem uibranti gladio conixus ab aggere dexter occupat:

There are other passages which can enter in this category, such as Aen.2.790 f. haec ubi dicta dedit, lacrimantem et multa uolentem dicere deseruit tenuisque recessit in auras.

where the line-end strengthens the semantics of the present participle:292 Creusa’s wraith parts from Aeneas, although he would like to say more. The instances where the participles frame the line are also expressive, as at G.3.420b ff. cape saxa manu, cape robora, pastor, tollentemque minas et sibila colla tumentem deice!

where the rejet highlights the peremptory tone of the command;293 and at Aen.2.383 ff. inruimus densis et circumfundimur armis, ignarosque loci passim et formidine captos sternimus: adspirat primo Fortuna labori. 291 On the iconic value of the repeated per see p.253, n.789. The verbal rejet of congemino (‘to redouble’) is also expressive at Aen.12.713 f. dat gemitum tellus; tum crebros ensibus ictus / con­ geminant, fors et uirtus miscentur in unum, where the verb elicits a word-play with gemitum (cf. Tarrant 2012, ad loc.). 292 The same effect at Aen.10.554 f. tum caput orantis nequiquam et multa parantis / dicere deturbat terrae; 4.388 ff. does not present a contrast between participles and a finite verb, but is nevertheless expressive: his medium dictis sermonem abrumpit et auras / aegra fugit seque ex oculis auertit et aufert, / linquens multa metu cunctantem et multa parantem / dicere. Cf. also G.4.500b ff. neque illum / prensantem nequiquam umbras et multa uolentem / dicere praeterea uidit, where the participles framing the line express Orpheus’ frustrated desire (the self-echo that stresses the similarity between Aeneas and Orpheus is rich in meaning). It is interesting to note that these are the only instances in Virgil in which the infinitive dicere is placed in first position in the line. On these passages see Carlozzo 1970–1, pp.36–40; Bocciolini Palagi 1990, pp.143 f.; Traina 1998, PL 5, pp.83 ff. 293 See pp.113 ff.

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where the rejet of the dactyl sternimus is placed after ignaros and formidine captos, which have an implicit sense of duration. Finally, a particular impact characterizes Aen.2.445 ff. Dardanidae contra turris ac tota domorum culmina conuellunt – his se, quando ultima cernunt, extrema iam in morte parant defendere telis – auratasque trabes, ueterum decora illa parentum, deuoluunt;

Here the verb in rejet is in striking contrast to the pathetic apposition of the preceding line (ueterum decora illa parentum) and increases the pathos of the scene: the golden beams, once a symbol of the greatness of Priam’s house, are now put to unseemly use as weapons by the Trojans themselves.294

B) II a 4 Momentary actions The categories of the previous section do not exhaust the rich vein of instances of rejets which underscore momentary action expressed by a verb. Particularly significant is, for example, Aen.3.616 ff. hic me, dum trepidi crudelia limina linquunt, immemores socii uasto Cyclopis in antro deseruere. domus sanie dapibusque cruentis, intus opaca, ingens. ipse arduus, altaque pulsat sidera (di talem terris auertite pestem!)

where the verb deseruere, placed before the syntactical pause and the rare diaer­ esis at second trochee, acquires a particular emphasis, suggesting an idea of

294 Cf. Austin 1964, ad loc.: ‘Virgil conveys with much pathos the immemorial antiquity and beauty of Priam’s house, now being destroyed by his own people in self-defence’ (on pathetic apposition see p.45, n.159). Violence of action is also highlighted at G.2.293 f. ergo non hiemes illam, non flabra neque imbres / conuellunt, where the molossic rejet reflects iconically ‘the vio­­l­ent sense of the word’ (Thomas 1988, ad loc.; also cf. here p.64, n.206); Aen.2.416 ff. aduersi rupto ceu quondam turbine uenti / confligunt, Zephyrusque Notusque et laetus Eois / Eurus equis; 3.37 f. tertia sed postquam maiore hastilia nisu / adgredior genibusque aduersae obluctor harenae (on the iconic use of synaloepha see p.164); 4.447 f. haud secus adsiduis hinc atque hinc uocibus heros / tunditur et magno persentit pectore curas (see Lucot 1955, p.34); 9.806 ff. ergo nec clipeo iuuenis subsistere tantum / nec dextra ualet, iniectis sic undique telis / obruitur; 10.360 f. haud aliter Troianae acies aciesque Latinae / concurrunt, haeret pede pes densusque uiro uir (for the iconic polyptoton pede pes . . . uiro uir see p.226); 10.892 f. tollit se arrectum quadrupes et calcibus auras / uerberat.



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rapidity not without a sense of desolation.295 The alliterative words deseruere domus stress the sudden passage between the two statements: Achaemenides has just been abandoned and before his eyes appears the huge cave, full of blood and darkness.296 Also noteworthy in the next line is the juxtaposition of two adjectives in asyndeton and synaloepha (opaca, ingens)297 which imply a note of horror in Achaemenides’ words.298 Again a pause at second trochee separates the verb in rejet at Aen.9.236b f. conticuere;

Rutuli somno uinoque sepulti

where the unexpected silence of the verb conticesco is reinforced by the rejet.299 At Aen.6.53b ff. et talia fata conticuit. gelidus Teucris per dura cucurrit ossa tremor, funditque preces rex pectore ab imo:

295 On syntactical pause after second trochee see p.67, n.220. 296 As well as the repeated alliteration (deseruere domus dapibusque), the specific descriptive ablative dapibusque cruentis is noteworthy. See Horsfall 2006, ad loc. 297 Similar coupling of adjectives (asyndeton bimembre adiectiuorum) is rarely used by Virgil (see Sabbadini, ad Aen.12.930 for examples), on account of the rule (or rather, strong tendency) on duo epitheta which did not allow a single noun or pronoun (even one implied) to be joined to two adjectives (both attributive and predicative) in asyndeton (cf. Timpanaro 1994, pp.31 ff. with bibliography at n.67; and for further reference Horsfall 2000, ad Aen.7.625). In the Aeneid it is used 1) for its Ennian flavour – the use of possessive together with a descriptive adjective as at 8.72 tuque, o Thybri tuo genitor cum flumine sancto is indeed archaic in feeling (cf. Fordyce 1977, ad loc. with further examples and Tarrant 2012, ad Aen.12.802) and perhaps Ennius is the origin of the combination, common in Virgil and Horace, of a noun and two asyndetic epithets of which one is adjective for genitive and derived from a noun (cf. Harrison 1991, ad Aen 10.391 Daucia […] simillima proles with ample bibliography); and 2) for expressive purposes in dramatic or pathetic contexts in order to bring psychological notes into prominence. Beside the instances already commented on (to which we can add Aen.6.283 ulmus opaca ingens), we can also note: B 9.5 nunc uicti, tristes, quoniam fors omnia uersat (asyndeton and spondaic rhythm underline an idea of sadness. Cf. Cucchiarelli 2012, ad loc.); Aen.1.384 ipse ignotus egens Libyae deserta peragro (Aeneas recalls his wanderings); 2.67 f. namque ut conspectu in medio turbatus inermis / constitit (Sinon shows himself, afraid and defenceless, to the Trojans. Cf. p.93); 9.423b ff. simul ense re­ cluso / ibat in Euryalum. tum uero exterritus, amens, / conclamat Nisus (Nisus frantically tries to save Euryalus, fallen into the hands of the foe); 12.887 f. Aeneas instat contra telumque coruscat / ingens arboreum (which highlights Aeneas’ tree-sized spear); 12.930 f. ille humilis supplex oculos dextramque precantem / protendens (Turnus, by now conquered, calls for pity. Cf. p.112). 298 See p.171. 299 On this passage see p.68, n.223.

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the rejet of the verb reflects iconically the idea of the silence which falls unexpectedly after the Sibyl’s striking and lapidary words.300 By contrast the momentary nature of a verb indicating sudden noise or sound can also be highlighted in rejet, as in the instance, already cited, 301 at Aen.2.626 ff. ac ueluti summis antiquam in montibus ornum cum ferro accisam crebrisque bipennibus instant eruere agricolae certatim, illa usque minatur et tremefacta comam concusso uertice nutat, uulneribus donec paulatim euicta supremum congemuit traxitque iugis auulsa ruinam.

We can add Aen.6.479 ff. hic illi occurrit Tydeus, hic inclutus armis Parthenopaeus et Adrasti pallentis imago, hic multum fleti ad superos belloque caduci Dardanidae, quos ille omnis longo ordine cernens ingemuit, Glaucumque Medontaque Thersilochumque,

(Aeneas cannot hold back a groan of sorrow, recognizing in the Elysian Fields many of his companions in arms); Aen.7.141 ff. hic pater omnipotens ter caelo clarus ab alto intonuit radiisque ardentem lucis et auro ipse manu quatiens ostendit ab aethere nubem.

(the rejet highlights the momentary nature of the thunder); and Aen.9.503 f. At tuba terribilem sonitum procul aere canoro increpuit, sequitur clamor caelumque remugit.

where the sense of speed is expressed by the dactylic rhythm and the juxtapos­ ition of the verbs (increpuit, sequitur): the soldiers’ shout immediately follows the trumpet’s blast. Two verbal rejets referring to Mercury cannot pass unobserved, only a few lines apart, first at Aen.4.252 ff.

300 The stylistic effect of the rejet is highlighted well by Austin 1977, ad loc.: ‘“silence fell on her”; the intensity of the compound […] is deepened by the strong pause that follows’. 301 See p.65, n.211.



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hic primum paribus nitens Cyllenius alis constitit; hinc toto praeceps se corpore ad undas misit aui similis,

and then at Aen.4.259 ff. ut primum alatis tetigit magalia plantis, Aenean fundantem arces ac tecta nouantem conspicit.

where the rejet, in contrast to the two present participles of the preceding line,302 highlights the momentary nature of the verb conspicio: Mercury catches a fleeting glimpse of Aeneas at work on Dido’s city.303 The stylistic weight of the rejet of the verb consisto is confirmed by a number of analogous cases. See for example Aen.9.621 ff. Talia iactantem dictis ac dira canentem non tulit Ascanius neruoque obuersus equino contendit telum diuersaque bracchia ducens constitit, ante Iouem supplex per uota precatus:

where the dactylic form constitit, followed by a syntactical pause, indicates the moment at which Ascanius takes up his position, before letting loose the shaft. The verb at Aen.2.67 f. is not followed by a strong syntactical pause, but the passage is nonetheless important: namque ut conspectu in medio turbatus inermis constitit atque oculis Phrygia agmina circumspexit,

Here the two adjectives in asyndeton (turbatus inermis) speak of Sinon’s agitation as he stops before the ranks of Trojans – note that Phrygia agmina in synaloepha is thrown into relief by collocation between penthemimeral (2½) and bucolic

302 On the contrast between two present participles and a finite verb in rejet see pp.88 f. The passage is comparable with Aen.10.572 f. atque illi longe gradientem et dira frementem / ut uidere, where the verb is postpositioned to highlight what has been seen, following a recurrent schema in Virgil. Cf. Harrison 1991, ad loc. and Austin 1955, ad Aen.4.260. 303 Cf. Austin 1955, ad loc.: ‘“catches sight of” (not “sees”); the pause is admirable’. The rejet of conspicio also highlights the momentary nature of the verb at Aen.4.648 ff. hic, postquam Iliacas uestes notumque cubile / conspexit, paulum lacrimis et mente morata / incubuitque toro dixitque nouissima uerba and at 7.29 f. atque hic Aeneas ingentem ex aequore lucum / prospicit.

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diaeresis: the Trojans are to be examined with attention, as the heavy four-syl­­l­able spondaic line-end suggests. 304 Another highly expressive rejet of a compound of sisto305 is found at Aen.2.736b ff. namque auia cursu dum sequor et nota excedo regione uiarum, heu misero coniunx fatone erepta Creusa substitit, errauitne uia seu lapsa resedit – incertum; nec post oculis est reddita nostris.

where it highlights a note of pathos in Aeneas’ words as he recalls his wife Creusa unexpectedly stopping,306 while the rejet in the next line puts the adjective incertum into relief.307 In a number of cases, on the other hand, the rejet highlights a sense of running, flight or leaping. Particularly expressive is the instance at Aen.2.526 ff. Ecce autem elapsus Pyrrhi de caede Polites, unus natorum Priami, per tela, per hostis porticibus longis fugit et uacua atria lustrat saucius. illum ardens infesto uulnere Pyrrhus insequitur, iam iamque manu tenet et premit hasta.

where the flight of the unfortunate Polites is captured iconically by the enjambement at line 527 – note the effect of the asyndetic per at line-end (per tela, per hostis),308 – by the dactylic rhythm of the next line, and also by the rejet of the adjective saucius, a dramatic colour-note: Polites is fleeing, but has been wounded.309 The new syntactical start with change of subject at the beginning of the

304 Cf. Austin 1964, ad loc., and here, pp.196 f. On the asyndeton bimemebre adiectiuorum see p.91, n.297. 305 For the expressive collocation of compounds of sisto cf. Winbolt 1903, p.16. 306 Cf. Horsfall 2008, ad loc. 307 Note also the enclitic -ne that, usually attached to the most relevant word (cf. p.228, n.707), here underlines fato. 308 On the expressiveness of per in asyndeton see p.253, n.789. 309 Cf. p.108.



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sentence (illum)310 highlights that Polites is the prey of Pyrrhus, while the rejet of the verb insequitur suggests the frenzy of the pursuit.311 Verbal rejet highlights the immediate nature of escaping at Aen.5.676 ff. ast illae diuersa metu per litora passim diffugiunt siluasque et sicubi concaua furtim saxa petunt;

of leaping at Aen.10.633 f. Haec ubi dicta dedit, caelo se protinus alto misit, agens hiemem nimbo succincta per auras,

(the pause at first trochee is particularly expressive);312 and of running at Aen.9.735b ff. tum Pandarus ingens emicat et mortis fraternae feruidus ira effatur:

(the rejet highlights the sense of velocity, in contrast to the sense of physical size expressed by ingens).313 310 On the change of subject through a nominative pronoun see p.310. A sense of anguish is again reached through a comparable construction (dactylic rejet followed by illum and a spondaic present participle) at Aen.4.82 f. sola domo maeret uacua stratisque relictis / incubat. illum absens absentem auditque uidetque: Dido is obsessed by her love for Aeneas and even in his absence has him always before her eyes (cf. Austin 1955, ad loc.: ‘such a line shows the magic of an inflected language; Dido locks Aeneas in her thoughts, and this is shown in the word-order’). 311 On the iconic value of the rejet of insequitur see Eden 1975, ad Aen.8.147. The rejet is iconic at Aen.10.561 f. protinus Antaeum et Lucam, prima agmina Turni, / persequitur, fortemque Numam fuluumque Camertem, where the verb expresses the pursuit to the end and implies the killing of Numa and Camers (cf. Harrison 1991, ad loc.). The same effect at 12.464 ff. ipse neque auersos dignatur sternere morti / nec pede congressos aequo nec tela ferentis / insequitur: solum densa in caligine Turnum / uestigat lustrans, solum in certamina poscit (on the anaphora of solum see p 124, n.398); 12.746 ff. Nec minus Aeneas, quamquam tardata sagitta / interdum genua impediunt cursumque recusant, / insequitur. At 1.240 f. nunc eadem fortuna uiros tot casibus actos / inse­ quitur. quem das finem, rex magne, laborum? and 8.146 f. gens eadem, quae te, crudeli Daunia bello / insequitur the rejet, used in a passage of direct speech (cf. pp.123 ff.), gives emphasis to Venus’ words to Aeneas. 312 Cf. p.72, n.233. 313 Cf. Hardie 1994, ad loc. For similar expressiveness see Aen.5.318 f. primus abit longeque ante omnia corpora Nisus / emicat et uentis et fulminis ocior alis; 11.495 f. aut adsuetus aquae perfundi flumine noto / emicat arrectisque fremit ceruicibus alte (cf. Horsfall 2003, ad loc.: ‘The dactylic

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Waiting for the verb in rejet strengthens the expressiveness at Aen.7.385 ff. quin etiam in siluas simulato numine Bacchi maius adorta nefas maioremque orsa furorem euolat et natam frondosis montibus abdit,

and at Aen.10.454b ff. utque leo, specula cum uidit ab alta stare procul campis meditantem in proelia taurum, aduolat: haud alia est Turni uenientis imago.

Finally, Aen.9.551 ff. is worthy of note: ut fera quae densa uenantum saepta corona contra tela furit seseque haud nescia morti inicit et saltu supra uenabula fertur, haud aliter iuuenis medios moriturus in hostis inruit et qua tela uidet densissima tendit.

Here the rejet highlights iconically, in both parts of the simile, the idea of leaping or bounding in: the similarity of the structures reflects, here as elsewhere, a similarity of effects.

B) II b Rejet of noun The rejet of a noun will only with difficulty have an expressiveness comparable to that of an adjective or verb. However, from analysis of the instances it is possible to trace constants which indicate a deliberate and stylistically motivated use.314 main verb run on, for speed’); 12.326 f. poscit equos atque arma simul saltuque superbus / emicat in currum et manibus molitur habenas. 314 The cases in the Aeneid in which the noun in rejet is followed by a punctuation mark are: 1.3 litora, 13 Karthago, 14 ostia, 30 Troas, 97 Tydide!, 100 Sarpedon (interlinear juxtaposition), 255 uultu, 259 moenia, 282 Romanos, 342 ambages (inter. juxt.), 346 ominibus, 347 Pygmalion, 351 germanae, 359 thesauros, 493 bellatrix, 560 Dardanidae, 606 saecula?, 632 tecta, 658 consilia, 671 uocibus, 672 hospitia, 726 atria, 754 insidias; 2.22 insula, 74 impetus (inter. juxt.) 83 gloria, 89 conciliis, 166 Palladium (vertical hyperbaton), 284 funera, 310 insidiae, 312 Vcalegon, 325 Dardaniae, 340 Epytus, 349 pectora, 366 limina, 369 luctus, 374 segnities?, 375 Pergama, 556 Pergama, 670 proelia; 3.87 Pergama,100 laetitia, 127 Cycladas, 141 corpora, 197 aequora, 239 litora, 363 religio, 473 Anchises, 499 auspiciis, 523 Italiam, 620 sidera, 626 limina, 704 moenia; 4.43 Barcaei, 103 auspiciis, 150 Aeneas, 168 conubiis, 239 imperio, 246 nubila, 269 regnator (vertical hyperbaton), 294 tempora, 302 Thyias, 520 sidera, 524 aequora, 570 femina (end of direct speech), 618 funera, 624 munera, 666 atria; 5.125 litora, 126 fluctibus, 150 litora, 157 Centaurus, 219 aequora,



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While in some cases the rejet is used only to avoid the monotony of the versephrase, there is a marked tendency to throw proper names into relief in rejet, or to give emphasis in direct speech to a term particularly weighty with meaning (consider vocatives). It is possible to note certain trends in the structure of certain lines. In some cases the word in rejet is followed by an apposition or a relative clause, which increases the solemnity or pathos of the passage, while in other cases it is balanced at the line-end by a word which is semantically equivalent, in an elegant framing structure.

B) II b 1 Patronymics, proper names, ethnological names Collocation in rejet can have the function of underscoring the evocative character of names. This usually occurs in direct speech (these instances can be considered mimetic of speech), as clearly emerges at Aen.8.157 ff. nam memini Hesionae uisentem regna sororis Laomedontiaden Priamum, Salamina petentem, protinus Arcadiae gelidos inuisere finis. tum mihi prima genas uestibat flore iuuentas,

257 custodes (vertical hyperbaton), 260 loricam, 496 Pandare, 506 ales, 561 ductores, 565 progenies, 597 Ascanius, 640 Neptuno, 644 Iliadum, 645 Pyrgo, 669 castra, 672 Argiuum, 673 Ascanius! (end of direct speech), 688 Troianos, 698 robora, 834 agmen; 6.46 tempus, 135 Tartara, 209 ilice (inter. juxt.), 257 siluarum, 272 Iuppiter, 482 Dardanidae, 499 supplicia, 558 uerbera, 583 corpora, 594 lumina, 600 pectore (inter. juxt.), 685 Aenean, 721 corpora?, 731 seminibus, 757 gloria, 778 Romulus, 805 Liber, 815 agmina, 874 funera, 879 dextera!, 886 munere (end of direct speech); 7.7 aequora, 28 flatus, 44 Hesperiam, 55 Ausonia, 56 Turnus, 95 uelleribus, 138 flumina, 157 passibus, 189 Picus, 244 munere, 257 auspiciis, 402 gratia, 539 armenta, 592 consilium, 597 supplicium, 610 robora, 681 Caeculus, 716 Nursia, 728 aequora, 731 tela, 764 litora; 8.29 Aeneas, 34 carbasus, 151 pectora, 162 Laomedontiaden (inter. juxt.), 163 Anchises, 242 regia (inter. juxt.), 325 saecula, 480 gens, 571 funera, 573 Iuppiter, 613 munera, 715 moenia, 722 postibus (inter. juxt.); 9.20 tempestas? 41 Aeneas, 97 Aeneas?, 198 Euryalus, 235 Aeneadae, 250 pectora (end of direct speech), 264 po­ cula, 281 Euryalus, 289 dextera, 307 exuuias, 316 exitio, 360 cingula, 362 Caedicus, 388 Albani, 475 Euryali, 518 tegmina, 585 flumina, 592 Ascanius, 618 Dindyma, 811 ictibus; 10.29 Tydides, 41 Allecto, 229 Aenea?, 282 facta, 311 Aeneas, 329 progenies, 356 Ausoniae, 420 Euandri, 440 Turnum, 471 Sarpedon, 492 Euandro, 495 hospitia (end of direct speech), 746 somnus, 756 funera, 776 Aeneae (end of direct speech), 786 inguine, 802 missilibus: 11.38 pectoribus, 82 inferias, 136 fraxinus, 146 agmina, 201 busta, 274 supplicia!, 328 materies, 339 dextera, 422 sanguine, 423 tempestas, 475 bucina, 512 exploratores, 553 bellator, 674 Hyppodaten, 691 corpora, 733 Tyrrheni, 775 cassida, 780 uenatrix, 819 lumina, 833 sidera, 842 supplicium, 857 praemia, 877 puluis (inter. juxt.); 12.41 Italia, 310 somnus, 343 Imbrasidas, 400 concursu, 415 gramina, 520 munera, 528 pectora, 541 pectora, 626 Troiugenas, 639 Murranum, 761 exitium, 765 praemia, 809 Iuppiter, 880 condicio?.

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mirabarque duces Teucros, mirabar et ipsum Laomedontiaden; sed cunctis altior ibat Anchises: mihi mens iuuenali ardebat amore compellare uirum et dextrae coniungere dextram;

Here Evander’s admiration for Priam is expressed by means of a solemn fourword line (v. 158),315 anaphora of the verb with different aspect to arsis316 and the interlinear juxtaposition ipsum / Laomedontiaden. The following rejet of the name Anchises accentuates his importance (sed cunctis altior ibat).317 A similar stylistic effect also characterizes Aen.10.26b ff. muris iterum imminet hostis nascentis Troiae nec non exercitus alter, atque iterum in Teucros Aetolis surgit ab Arpis Tydides.

where Virgil portrays the pathos and apprehension in Venus’ words through a series of stylistic devices. Collocation at line-end gives a special emphasis to hostis, a threat to the ‘infant’ city of Troy. At line 29 the patronymic Tydides, made prominent by the rejet and the syntactical pause,318 evokes terror in Venus’ words: Diomedes, the man who has already fought against the goddess, inflicting grievous wounds upon her, has risen again from the ground, like a terrifying monster.319 Aen.10.491 f. is also particularly expressive: ‘Arcades, haec’ inquit ‘memores mea dicta referte Euandro: qualem meruit, Pallanta remitto.

Here the position of the name Evander, in rejet and before a syntactical pause, suggests a note of derision and cruel irony (already evident in the adjective memores): Turnus pronounces with emphasis the name of the man whose son he has ‘deservedly’ (qualem meruit) killed.320

315 Cf. p.79, n.261. 316 Cf. p.191, n.579. 317 Cf. Eden 1975, ad loc.: ‘heavy emphasis’. 318 Cf. Harrison 1991, ad loc. 319 The image of the warrior who rises from the ground recalls Aen.4.625 exoriare aliquis nostris ex ossibus ultor. 320 For the parallel between this passage and Aen.2.547 ff. (Pyrrhus’ profane words to the dying Priam) and for the Homeric motif of taunting the relatives of a victim see Harrison 1991, ad loc.;



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Also stylistically important are the instances where rejet emphasizes a placename, as typically at Aen.2.324 ff. ‘uenit summa dies et ineluctabile tempus Dardaniae. fuimus Troes, fuit Ilium et ingens gloria Teucrorum; ferus omnia Iuppiter Argos transtulit; incensa Danai dominantur in urbe.

where the collocation of Dardaniae increases the pathos of Panthus’ words as he dies.321 We come now to passages where the rejet is not part of direct speech. Worth noting is the passage at Aen.7.678 ff. Nec Praenestinae fundator defuit urbis, Volcano genitum pecora inter agrestia regem inuentumque focis omnis quem credidit aetas, Caeculus.

where the warrior’s name, Caeculus, is made prominent by the rejet and is separ­ ated from its apposition by the insertion of a long relative clause (the striking collocation of the pronoun quem, dislocated to tenth word in the clause, can hardly escape notice).322 The ordo uerborum also has a clear expressive function at Aen.7.41 ff. tu uatem, tu, diua, mone. dicam horrida bella, dicam acies actosque animis in funera reges Tyrrhenamque manum totamque sub arma coactam Hesperiam. maior rerum mihi nascitur ordo, maius opus moueo.

where, in a passage characterized by a series of repetitions (tu . . . tu; dicam . . . dicam; maior . . . maius) the rejet of the place name underscores, in rhetorical

for a different interpretation of the meaning of qualem meruit (= fortiter mortuum) as Turnus’ homage to the heroism of Pallas see Traina 1994, PL 4, p.67. 321 For analysis of the passage see pp.5 f. and 33. 322 Cf. Horsfall 2000, ad loc. On postponement of quem see also p.55, n.183; on the placing of the warrior’s name in the last position in the clause, common in introducing characters, see Harrison 1991, ad Aen.10.719. A lengthy hyperbaton is also joined to the rejet at 7.187 ff. ipse Quirinali lituo paruaque sedebat / succinctus trabea laeuaque ancile gerebat / Picus, equum domitor, quem capta cupidine coniunx / aurea percussum uirga uersumque uenenis / fecit auem Circe sparsitque coloribus alas.

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climax, the spreading of the conflict: Virgil readies himself to sing of wars which cover all Hesperia. It is not fortuitous that the same stylistic effect is evoked only a few lines further on, at Aen.7.54 f. multi illam magno e Latio totaque petebant Ausonia;

where again a rhetorical climax culminates in the rejet of the place name Ausonia: Lavinia was wooed not only in Latium, but throughout Ausonia (note the same hyperbaton of the adjective tota in both passages examined).323 The expressiveness at Aen.3.521 ff. is different: Iamque rubescebat stellis Aurora fugatis, cum procul obscuros collis humilemque uidemus Italiam. Italiam primus conclamat Achates, Italiam laeto socii clamore salutant.

Here the rejet, joined to the anaphora (of the second and the third occurrence of Italiam) and to synaloepha at the point of the new syntactical and metrical start, suggests, with clear mimetic value, the passing from mouth to mouth of the word Italiam.324

B) II b 2 Rejet and syntactical expansion In a number of instances the noun put into relief by the rejet is followed by an apposition or a relative clause, which has the function of underscoring the solemnity or pathos of a passage. A typical example is at Aen.1.279b ff. quin aspera Iuno, quae mare nunc terrasque metu caelumque fatigat, consilia in melius referet mecumque fouebit Romanos, rerum dominos gentemque togatam.

323 The echo of Catullus in the initial words multi illam (cf. Cat. 62.42 multi illum pueri, multae optauere puellae) contributes to adding a sense of historical legend to marriage with the royal Lavinia, coveted as she is by all the bordering peoples. On this formal echo see Wills 1996, pp.280 f. and Horsfall 2000, ad loc. (also with reference to Greek models). 324 For analysis of the passage see pp.166 f. A comparable effect, but less evident, can be found at Aen.11.139 f. Et iam Fama uolans, tanti praenuntia luctus, / Euandrum Euandrique domos et moenia replet, where the synaloepha, joined to repetition of the name Evander, seems to reflect iconically the voices passing the report in rapid succession.



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where the apposition after the rejet lends Jupiter’s words weight and gravity (note the effect of the strong spondaic rhythm of line 282).325 A similar instance is at Aen.1.357 ff. tum celerare fugam patriaque excedere suadet auxiliumque uiae ueteres tellure recludit thesauros, ignotum argenti pondus et auri.

where again the rhythm supports the meaning of the verse. The dactyl in the first line underscores the urgency of the flight (the dicolon abundans is worth noting here), while the series of spondees in line 359 highlights the size and value of the wonderful treasure. A sense of solemnity or great mass is likewise underscored at Aen.3.703 f. arduus inde Acragas ostentat maxima longe moenia, magnanimum quondam generator equorum;

where the value of the rejet and the apposition (which does not, however, refer to the word in rejet) is increased by an elegant schema of alliteration (maxima . . . moenia, magnanimum) and an etymological word-play (arduus . . . Acragas);326 at Aen.4.268 f. ipse deum tibi me claro demittit Olympo regnator, caelum et terras qui numine torquet,

where Mercury emphasizes that Jupiter himself has sent him to Aeneas, who cannot refuse the divine command;327and finally at Aen.6.777 ff. quin et auo comitem sese Mauortius addet Romulus, Assaraci quem sanguinis Ilia mater educet.

325 Cf. Austin 1971, ad loc.: ‘a magnificent line, full of justifiable Roman pride’. 326 Cf. O’Hara 1996, pp.149 f. 327 On the striking juxtaposition of the pronouns tibi me see pp.237 f.; on the postposition of the relative pronoun, p.55, n.183. The figure underlines Jupiter’s power at Aen.1.254 f. Olli subridens hominum sator atque deorum / uultu, quo caelum tempestatesque serenat, where the solemnity of the passage is highlighted by a spondaic word in the first foot (cf. p.109, n.354) in two consecutive lines and by the archaic olli, usually, as here, placed as an initial spondee (cf. Williams 1960, ad Aen.5.10; Harrison 1991, ad Aen.10.745 f.; Fordyce 1977 and Horsfall 2000, ad Aen.7.458 with further references).

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where the postposition of the relative pronoun allows the powerful juxtaposition of two proper names, throwing into relief Romulus’ noble origins.328 At Aen.1.346b f. sed regna Tyri germanus habebat Pygmalion, scelere ante alios immanior omnis.

the rejet of the noun and the pleonastic comparative (ante alios immanior omnis) contribute to stress Pygmalion’s ferocity while at Aen.7.55b ff. petit ante alios pulcherrimus omnis Turnus, auis atauisque potens, quem regia coniunx adiungi generum miro properabat amore;

the rejet of Turnus’ name, preceded by a similar pleonastic superlative and followed by two syntactical expansions, receives great emphasis.329 The ordo uerborum at Aen.6.842 f. merits separate discussion: quis Gracchi genus aut geminos, duo fulmina belli, Scipiadas, cladem Libyae,

Here the form of the ‘parenthetic apposition’, placed between adjective and noun (geminos, duo fulmina belli / Scipiadas), is joined to the rejet of the patronymic Scipiadas and to a further apposition (cladem Libyae).330 Also at Aen.6.582 ff. hic et Aloidas geminos immania uidi corpora, qui manibus magnum rescindere caelum adgressi superisque Iouem detrudere regnis.

328 At Aen.5.644 f. hic una e multis, quae maxima natu, / Pyrgo, tot Priami natorum regia nutrix the rejet of the proper name and the apposition indicate the nurse’s authority as she seeks, in vain, to dissuade the Trojan women from burning the ships. 329 On the emphatic rejet of Turnus see Fordyce 1977, ad loc.; on the pleonastic use of compar­a­ tive and superlative see Austin 1971, ad Aen.1.347. 330 For the history of the figure, also known as schema Cornelianum (cf. Skutsch 1956, pp.198 f., who hypothesizes a neoteric origin), but already found in Ennius and perhaps also in Naevius (cf. Traina’s discussion 1998, PL 5, pp.14 ff.) and Porcius Licinus (cf. Landolfi 2011, pp.310–317), see Solodow 1986, pp.129–153 and, for further bibliography, Horsfall 2006, ad Aen.3.305. It is sim­i­lar to the elegant collocation of a vocative between noun and adjective as at Hor. Carm.3.29.3 cum flore, Maecenas, rosarum (cf. La Penna 1988, pp.335–353).



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the unusual ordo uerborum puts the apposition in relief: the noun is made prom­ inent both by hyperbaton with the adjective and by its position in rejet.331 In other cases the apposition or the relative clause has a pathetic value.332 Consider the apposition of reliquiae at Aen.1.29 ff. his accensa super iactatos aequore toto Troas, reliquias Danaum atque immitis Achilli, arcebat longe Latio, multosque per annos errabant acti fatis maria omnia circum.

The Trojans are nothing but the reliquiae of the slaughter completed by the Greeks and Achilles. Again at Aen.3.85 ff. ‘da propriam, Thymbraee, domum; da moenia fessis et genus et mansuram urbem; serua altera Troiae Pergama, reliquias Danaum atque immitis Achilli.

and at Aen.7.243 f. dat tibi praeterea fortunae parua prioris munera, reliquias Troia ex ardente receptas.

where the rejet highlights the Trojans’ munera, small, but precious because they were saved from the ruin of Troy. The lines at Aen.10.467 ff. are also strongly pathetic: ‘stat sua cuique dies, breue et inreparabile tempus omnibus est uitae; sed famam extendere factis, hoc uirtutis opus. Troiae sub moenibus altis tot gnati cecidere deum; quin occidit una Sarpedon, mea progenies; etiam sua Turnum fata uocant metasque dati peruenit ad aeui.’

Here Jupiter addresses words of consolation to his son Hercules, who asks him in vain to save Pallas. The name Sarpedon, made prominent by its position in rejet, by the metrical pause, and by the apposition mea progenies, resonates, full of pathos, on the lips of the king of the gods, powerless in the face of his son’s

331 On the expressiveness of this word order see Austin 1977 and Horsfall 2013, ad loc. The peri­ phrastic corpora is an apposition in rejet at 11.690 f. Protinus Orsilochum et Buten, duo maxima Teucrum / corpora. 332 Cf. p.45, n.159.

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death, as in the death of Pallas. 333 The collocation of the two names framing the verse further underlines in Jupiter’s words that Turnus is fated to share the same destiny of death as Sarpedon.334 Finally, the expressiveness of the rejet with syntactical expansion is highlighted at Aen.12.638 ff. uidi oculos ante ipse meos me uoce uocantem Murranum, quo non superat mihi carior alter, oppetere ingentem atque ingenti uulnere uictum.

where it is the relative clause that adds a pathetic tone: Turnus recalls the death of his dearest companion, Murranus, who died before his eyes, calling out to him by name.335 Epanalepsis, the rhetorical figure of repetition where a word placed at the end of a line is repeated at the first foot of the next (…A/A…), is usually followed by a syntactical expansion and is somewhat similar to this form of rejet.336 In some instances the repetition, as in Homer, brings into prominence the name of a warrior (often otherwise unknown), and the relative clause (or appos­ ition) gives details of his pedigree, role, or ability,337 as at Aen.2.318 ff. Ecce autem telis Panthus elapsus Achiuum, Panthus Othryades, arcis Phoebique sacerdos, sacra manu uictosque deos paruumque nepotem ipse trahit cursuque amens ad limina tendit.338 333 On this consolatio per exemplum see Barchiesi 20152, pp.14 f.; on the pathetic mode of expression quin occidit see here, p.70, n.228. 334 Cf. Chapter 3, ‘Word order and meaning’, pp.224 f. On line-end composed of three bisyl­ lables see p.36, n.124. 335 Superat in place of est is a pathetic note, while the expression ingentem atque ingenti uulnere uictum (on this polyptoton see p.65, n.212) is a rehabilitation, on Turnus’ part, of the figure of Murranus, undervalued by the narrator (cf. Tarrant 2012, ad loc.). On the pathetic value of the relative clause see p.45, n.159; on the word order of oculos ante ipse meos, p.237, n.737. 336 On epanalepsis, known also as epanadiplosis or reduplicatio, see Norden 19574, ad Aen.6.164; Fordyce 1977 and Horsfall 2000, ad Aen.7.586 (with bibliography); Austin 1977 and Horsfall 2013, ad Aen.6.164; Tarrant 2012, ad Aen.12.673–4 (on the pathetic effect of epanalepsis with the repeated word at the fifth foot of a line and the first foot of the next); Wills 1996, pp.124–173 (with a complete list of instances in Virgil at p.145, n.48); and for further bibliography Maurach 1983, pp 12 f. and Hofmann–Szantyr (Traina) 2002, pp.208 f. 337 On the Homeric patina of these instances see Wills 1996, pp.153 ff. 338 For other instances of epanalepsis ‘reinforced’ by a patronymic or other specification (cf. Horsfall 2013, ad Aen.6.164) see Aen.5.116 f. uelocem Mnestheus agit acri remige Pristim, / mox Italus Mnestheus, genus a quo nomine Memmi; 5.493 f. quem modo nauali Mnestheus certamine uictor / consequitur, uiridi Mnestheus euinctus oliua (the last two instances are less striking, in



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In other cases it is used of a deity, as at Aen.4.173 f. Extemplo Libyae magnas it Fama per urbes, Fama, malum qua non aliud uelocius ullum:339

or of a wonderful object, as at Aen.12.896 ff. nec plura effatus saxum circumspicit ingens, saxum antiquum ingens, campo quod forte iacebat, limes agro positus litem ut discerneret aruis.

where the two-part epanalepsis introduces the addition of the adjective antiquum, and a double synaloepha340 which emphasizes the bulk of the boulder;341 or of pathetic focus upon a part of the body, as at Aen.6.494 ff. Atque hic Priamiden laniatum corpore toto Deiphobum uidit, lacerum crudeliter ora, ora manusque ambas, populataque tempora raptis auribus et truncas inhonesto uulnere naris.342

that the repeated word is not placed at the beginning of the verse); 6 162b ff. atque illi Misenum in litore sicco, / ut uenere, uident indigna morte peremptum, / Misenum Aeoliden, quo non praestantior alter / aere ciere uiros Martemque accendere cantu (on the dicolon abundans with equivalent nouns framing the verse see p.225, n.692; for other cases of the sequence quo + comparative + alter see Hardie 1994, ad Aen.9.179 f.; Horsfall 2000, ad Aen.7.649; Tarrant 2012, ad Aen.12.639); 7.649 ff. filius huic iuxta Lausus, quo pulchrior alter / non fuit excepto Laurentis corpore Turni; / Lausus, equum domitor debellatorque ferarum; 9.774 ff. et Clytium Aeoliden et amicum Crethea Musis, / Crethea Musarum comitem, cui carmina semper / et citharae cordi numerosque intendere neruis; 10.180b f. sequitur pulcherrimus Astur, / Astur equo fidens et uersicoloribus armis, where epanalepsis pathetically underlines the hero’s beauty (cf. Harrison 1991, ad loc.). 339 Cf. also Aen.4.246 ff. iamque uolans apicem et latera ardua cernit / Atlantis duri caelum qui uertice fulcit, / Atlantis, cinctum adsidue cui nubibus atris / piniferum caput et uento pulsatur et imbri; the example at 8.140 f. at Maiam, auditis si quicquam credimus, Atlas, / idem Atlas generat caeli qui sidera tollit is syntactically different. 340 Cf. p 170. 341 Cf. also Aen.12.672 ff. Ecce autem flammis inter tabulata uolutus / ad caelum undabat uertex turrimque tenebat, / turrim compactis trabibus quam eduxerat ipse. 342 Cf. Aen.2.405 f. ad caelum tendens ardentia lumina frustra, / lumina, nam teneras arcebant uincula palmas; 10.821b f. uultum uidit morientis et ora, / ora modis Anchisiades pallentia miris (again a pathetic focus on the face).

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B) II c Rejet of an adjective343 To give weight to the expressiveness of an adjective, the part of speech most given to poetic colouring, Virgil has at his disposition a whole range of stylistic figures. One of the most successful is the rejet: when a sentence appears to have come already to an end in correspondence with the line-end, the adjective in rejet provides an unexpected and striking addition to the meaning. We need to note that for those adjectives that are normally placed after the noun (adjectives indicating colour, material, category, geography) the expressiveness arises only from the position in rejet. For other adjectives the postposition, after the noun, is marked and seems to confer a predicative value on the adjective.344

B) II c 1 Expressiveness of the rejet of an adjective Collocation in rejet can be used to throw into relief adjectives indicating material or colour.345 A typical instance is at Aen.9.267 ff. si uero capere Italiam sceptrisque potiri contigerit uictori et praedae dicere sortem, 343 The rare cases in which an adverb is placed in rejet are also expressive, as at Aen.10.121b f. miseri stant turribus altis / nequiquam, where the semantics of nequiquam, as in all 13 instances of its occurrence in Lucretius, is emphatically stressed in enjambement (cf. Harrison 1991, ad loc. and Brown 1987, p.242; see also Traina 1994, PL 4, p 146, n.21); 12.679b f. neque me indecorem, germana, uidebis / amplius, where the rejet in direct speech (cf. pp.123 ff.) is particularly striking (cf. Tarrant 2012, ad loc.: ‘the postponed amplius creates one of the most moving moments in the poem’). 344 The cases of an adjective in rejet followed by a syntactical pause are: Aen.1.249 Troia, 316 Spartanae, 328 mortalis, 746 hiberni; 2.78 uera, 119 Argolica (end of direct speech), 144 tantorum (interlinear juxt.), 295 magna, 372 inscius, 481 aeratos, 529 saucius, 538 debita, 740 incertum; 3.171 Ausonias, 228 immundo, 615 paupere, 636 ingens; 4.72 nescius, 73 Dictaeos, 240 aurea, 243 pallentis, 446 aetherias, 496 impius, 507 funerea, 573 praecipites, 647 Dardanium; 5.123 caerulea, 141 nauticus (interlinear juxt.), 254 acer, 312 Threiciis, 347 ultima, 480 arduus, 587 infensi, 625 infelix, 841 insonti; 6.144 aureus (interlinear juxt.), 453 obscuram, 478 ultima, 493 exiguam, 770 egregius, 894 cornea; 8.6 effera, 173 annua, 204 ingentis, 245 pallida, 484 effera?, 633 impauidos, 672 aurea (interlinear juxt.); 9.55 horrisono, 142 femineum, 270 aureus, 304 auratum (interlinear juxt.), 382 horrida, 442 fulmineum, 620 Idaeae; 10.45 dura, 268 Ausoniis, 331 inrita, 603 Dardanius (interlinear juxt.), 860 omnibus; 11.8 bellipotens, 44 nostra, 265 Idomenei?, 779 Troia (interlinear juxt.), 790 omnipotens, 895 praecipites; 12.44 longaeui (interlinear juxt.), 119 gramineas, 414 purpureo, 664 ferrea, 947 terribilis, 951 feruidus. A number of instances of participles (which I have included among the cases of verbal rejet) and of rejet not marked by syntactical pause are also expressive. 345 The same tendency can be observed in interlinear juxtaposition with inverted order, a styl­ istic figure which, as I have explained, is similar to the rejet. Cf. pp.47 ff.



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uidisti, quo Turnus equo, quibus ibat in armis aureus: ipsum illum, clipeum cristasque rubentis excipiam sorti, iam nunc tua praemia, Nise.

where the rejet not only highlights the adjective aureus, here with predicative value, but also helps to frame the line elegantly between the two colour notes (aureus . . . rubentis).346 The expressiveness of rejet of an adjective is also clear at Aen.2.479 ff. ipse inter primos correpta dura bipenni limina perrumpit postisque a cardine uellit aeratos; iamque excisa trabe firma cauauit robora et ingentem lato dedit ore fenestram.

In a passage where three lines with enjambement reflect Pyrrhus’ raging fury as he forces open a passage into Priam’s palace,347 the rejet of the adjective aeratos underscores the solidity of the doors 348 (note also dura limina, firma robora, ingentem fenestram), indirectly highlighting the warrior’s violence. In some instances the rejet, as noted earlier, concerns colour notes. Aen.8.243 ff. is particularly powerful: non secus ac si qua penitus ui terra dehiscens infernas reseret sedes et regna recludat pallida, dis inuisa, superque immane barathrum cernatur, trepident immisso lumine Manes.

The rejet here, apart from throwing into relief the dactylic adjective indicating colour, gives energy to the elegant chiastic structure of the dicolon abundans

346 Cf. Hardie 1994, ad loc. and, on such corresponding terms framing the verse, see p.225. See also Conte 20072, p.53, who, on the convergence of enjambement and enallage (aureus= aureis armis), observes: ‘l’impressione visiva che risulta dallo spostamento sintattico – e che è rafforzata dall’enjambement – è di un bagliore sfolgorante’ {The visual impression which results from the syntactical displacement – and which is strengthened by the enjambement – is of a dazzling flash}. Aureus is also in rejet at Aen.4.238 ff. Dixerat. ille patris magni parere parabat / imperio; et primum pedibus talaria nectit / aurea, quae sublimem alis siue aequora supra / seu terram rapido pariter cum flamine portant, where the exceptional nature of Mercury’s winged sandals is highlighted by the rejet and by the lengthy relative clause, and at 6.143b f. primo auulso non deficit alter / aureus, et simili frondescit uirga metallo. 347 Cf. Horsfall 2008, ad loc. 348 Cf. Austin 1964, ad loc.

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(infernas reseret sedes . . . regna recludat pallida), marked by alliteration of the prefixes in -re (reseret . . . recludat).349 In other instances the adjective indicating colour, placed in rejet, extends to the trihemimeral (1½), as at Aen.5.121 ff. Sergestusque, domus tenet a quo Sergia nomen, Centauro inuehitur magna, Scyllaque Cloanthus caerulea, genus unde tibi, Romane Cluenti.

where other noteworthy features are the alliteration framing lines 122 and 123 and the relative clause with apostrophe, which lends emphasis and solemnity to the language; and at Aen.6.450 ff. inter quas Phoenissa recens a uulnere Dido errabat silua in magna; quam Troius heros ut primum iuxta stetit agnouitque per umbras obscuram, qualem primo qui surgere mense aut uidet aut uidisse putat per nubila lunam,

where the rejet is followed by an ample hyperbaton (qualem . . . lunam) which contains the lovely simile of the moon and Dido: the shade of the queen appears to Aeneas, like a faint moon seen amid the clouds. 350 Aen.2.526 ff. merits a separate note: Ecce autem elapsus Pyrrhi de caede Polites, unus natorum Priami, per tela, per hostis porticibus longis fugit et uacua atria lustrat saucius.

Here the rejet of the adjective saucius, implicitly a colour note, seems to combine with the phenomenon of so-called temporary ambiguity,351 overturning the 349 On the stylistic importance of this type of alliteration see La Penna 1990, p.66, who defines it as ‘apprefissazione’ (cf. also Traina 1999, p.76, n.89 with further bibliography); Moskalew 1982 pp.30 f.; Harrison 1991, ad Aen.10.552 f. and 734 on the emphatic repetition of the prefix ob-; and Hardie 1994, ad Aen.9.261 f. on the prefix re-. 350 On the expressiveness of the rejet of the adjective obscuram and of the long postponement of the noun lunam (comparable with interlinear hyperbaton, cf. pp.256 ff.) see Austin 1977, ad loc. Also expressive are the cases of purpureus in rejet as at Aen.6.640 f. largior hic campos aether et lumine uestit / purpureo, solemque suum, sua sidera norunt and 12.411 ff. Hic Venus indigno nati concussa dolore / dictamnum genetrix Cretaea carpit ab Ida, / puberibus caulem foliis et flore comantem / purpureo. 351 On this particular kind of ambiguity see O’Hara 1997, pp.250 f. (with bibliography at n.13).



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meaning of the whole period. Polites, up until line 528, seems to have escaped Pyrrhus’ slaughter, and the reader so understands, following his long flight. The unexpected adjective saucius, however, specifies that Polites is wounded, and redefines the entire course of his attempted escape, which now appears as a long trail of blood.352 In other examples the rejet can emphasize the semantics of adjectives indic­ ating bulk.353 A typical instance is at Aen.3.630 ff. nam simul expletus dapibus uinoque sepultus ceruicem inflexam posuit, iacuitque per antrum immensus saniem eructans et frusta cruento per somnum commixta mero, nos magna precati numina sortitique uices una undique circum fundimur et telo lumen terebramus acuto ingens, quod torua solum sub fronte latebat, Argolici clipei aut Phoebeae lampadis instar,

where Virgil turns to rejet twice in a few lines to stress the Cyclop’s terrifying size.354 In some passages the adjective in rejet has a predicative value and adds a psychological note. Consider Aen.12.945 ff.

352 Austin 1964, ad loc. points out the expressiveness of the figure (‘the run-over word has been kept back as long as possible, with dramatic effect’). The passage can be compared to Aen.9.444 f. tum super exanimum sese proiecit amicum / confossus, placidaque ibi demum morte quieuit. The expressiveness is different at Aen.9.414 f. uoluitur ille uomens calidum de pectore flumen / frigidus et longis singultibus ilia pulsat, where, still describing a warrior’s death, the rejet of the adjective does not indicate a colour note, but emphasizes frigidus, in semantic opposition to calidum in the preceding line. 353 The expressiveness is similar in those cases where adjectives indicating bulk are collocated in interlinear juxtaposition with inverted order (cf. p.47). 354 On the effect of the rejet of a molossic word (immensus) see p.64, n.206. On the tmesis (circum / fundimur) see Horsfall 2006, ad loc. and 2013, ad Aen.6.515 (with further references) and Harrison 1991, ad Aen.10.794. On a spondaic word (ingens) in the first foot see Norden 19574, pp.435 f.; Winbolt 1903, pp.16 ff. and 107 ff.; Austin 1955, ad Aen.4 185; Willliams 1960, ad Aen.5.80; Eden 1975, ad Aen.8.502; Harrison 1991, ad Aen 10.116 f. The adjective ingens (on which see p.31, n.107) is again emphasized powerfully in rejet at Aen.6.518b f. flammam media ipsa tenebat / ingentem et summa Danaos ex arce uocabat and 8.201b ff. nam maximus ultor, / tergemini nece Geryonae spoliisque superbus, / Alcides aderat taurosque hac uictor agebat / ingentis, uallemque boues amnemque tenebant. The case of 2.294 f. is different: hos cape fatorum comites, his moenia quaere / magna, pererrato statues quae denique ponto.’ Here the rejet, used in direct speech with strong mimetic expressiveness (cf. pp.123 ff.), lends emphasis to Hector’s words: the walls which Aeneas must build for the Trojans need to be massive.

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ille, oculis postquam saeui monumenta doloris exuuiasque hausit, furiis accensus et ira terribilis: ‘tune hinc spoliis indute meorum eripiare mihi? Pallas te hoc uulnere, Pallas immolat et poenam scelerato ex sanguine sumit.’ hoc dicens ferrum aduerso sub pectore condit feruidus; ast illi soluuntur frigore membra uitaque cum gemitu fugit indignata sub umbras.355

where, at the very end of the entire poem, the two instances of rejet bring into strong prominence Aeneas’ exceptional anger.356 The expressiveness of the adjectival rejet is also clear at Aen.4.68 ff. uritur infelix Dido totaque uagatur urbe furens, qualis coniecta cerua sagitta, quam procul incautam nemora inter Cresia fixit pastor agens telis liquitque uolatile ferrum nescius: illa fuga siluas saltusque peragrat

where, in a beautiful simile (the Trojan leader is compared to a shepherd who has unknowingly wounded a hind) the rejet highlights the contrast (also underlined by the shift in tense: fixit . . . peragrat) between Aeneas’ oblivion, unaware that he has profoundly wounded Dido’s soul, and the strong passion which the queen, on the other hand, sees clearly in the depths of her heart.357 To this passage we can compare Aen.2.370 ff. Primus se Danaum magna comitante caterua Androgeos offert nobis, socia agmina credens inscius, atque ultro uerbis compellat amicis:

355 On the prominence given to terribilis and feruidus (the latter – ten occurrences in the Aeneid – is only used here in rejet ) cf. Tarrant 2012, ad loc. 356 Also clearly expressive are: Aen.5.252 ff. intextusque puer frondosa regius Ida / uelocis iaculo ceruos cursuque fatigat / acer, anhelanti similis, quem praepes ab Ida / sublimem pedibus rapit Iouis armiger uncis (here the energy of the scene is highlighted by the syntactical pause after first trochee (cf. p.72, n.233); 5.586 f. et nunc terga fuga nudant, nunc spicula uertunt / infensi; 8.4 ff. extemplo turbati animi, simul omne tumultu / coniurat trepido Latium saeuitque iuuentus / effera (cf. p.161); 8.483 f. quid memorem infandas caedes, quid facta tyranni / effera? (the rejet here gives emphasis to the question. Cf. pp.118 ff.); 8.630 ff. fecerat et uiridi fetam Mauortis in antro / procubuisse lupam, geminos huic ubera circum / ludere pendentis pueros et lambere matrem / impauidos; 12.669 ff. ut primum discussae umbrae et lux reddita menti, / ardentis oculorum orbes ad moenia torsit / turbidus eque rotis magnam respexit ad urbem (on turbidus see p.262, n.813). 357 Cf. Austin 1955, ad loc. On this passage see also here p.137.



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where Androgeos’ dramatic and fatal lack of awareness before his enemies, when he mistakenly believes himself to be in front of his co-fighters, is thrown into relief by the rejet in semantic contrast with the participle at line-end (credens / inscius);358 and again at Aen.12.420 ff. fouit ea uulnus lympha longaeuus Iapyx ignorans, subitoque omnis de corpore fugit quippe dolor,

Finally those instances where the rejet isolates a present participle are partic­u­ larly expressive, as at Aen.2.328 ff. arduus armatos mediis in moenibus adstans fundit equus uictorque Sinon incendia miscet insultans. portis alii bipatentibus adsunt,

where the unexpected addition of insultans, after a line enclosed by two verbs and syntactically complete, powerfully underscores Sinon the deceiver’s extravagant and evil joy as he gloats while the city of Troy is devoured by flames. We find similar expressiveness at Aen.11.494 ff. aut ille in pastus armentaque tendit equarum aut adsuetus aquae perfundi flumine noto emicat arrectisque fremit ceruicibus alte luxurians, luduntque iubae per colla, per armos.

358 Austin 1964, ad loc. underlines that here inscius is modelled on Homeric instances of νήπιος in rejet (e.g. Hom. Il.22.445). We find similar expressiveness in those instances where the adjectives demens or infelix have a certain syntactical independence (also indicated by punctuation): Aen.4.560 ff. ‘nate dea, potes hoc sub casu ducere somnos, / nec quae te circum stent deinde peri­ cula cernis, / demens, nec Zephyros audis spirare secundos?; 6.171 f. sed tum, forte caua dum personat aequora concha, / demens, et cantu uocat in certamina diuos; 6.819 ff. consulis imperium hic primus saeuasque secures / accipiet natosque pater noua bella mouentis / ad poenam pulchra pro libertate uocabit, / infelix, utcumque ferent ea facta minores. In a few instances a relative clause with pathetic value (cf. p.45, n.159) can follow the adjective infelix (cf. Horsfall 2008, ad Aen.2.345) or demens (cf. Horsfall 2013, ad Aen.6.590): 2.343 ff. uenerat insano Cassandrae incensus amore / et gener auxilium Priamo Phrygibusque ferebat, / infelix, qui non sponsae praecepta furentis / audierit!; 6.589 ff. ibat ouans diuumque sibi poscebat honorem, / demens, qui nimbos et non imitabile fulmen / aere et cornipedum pulsu simularet equorum; 9.727 ff. ast alios secum includit recipitque ruentis, / demens, qui Rutulum in medio non agmine regem / uiderit inrumpentem ultroque incluserit urbi.

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where the participle, skilfully isolated in rejet, expresses not only movement but also a psychological state.359 Also at Aen.4.184 ff. nocte uolat caeli medio terraeque per umbram stridens, nec dulci declinat lumina somno; luce sedet custos aut summi culmine tecti turribus aut altis, et magnas territat urbes, tam ficti prauique tenax quam nuntia ueri. haec tum multiplici populos sermone replebat gaudens, et pariter facta atque infecta canebat:

where the first rejet highlights a sinister acoustic note, the sound of Rumour flying through the shadows of the night, while the second, a few lines away, underscores the malevolent pleasure that the monster takes in confounding truth with falsehood. 360 At Aen.9.418 f. dum trepidant, it hasta Tago per tempus utrumque stridens traiectoque haesit tepefacta cerebro.

the rejet of stridens again throws into relief a sinister sound, of the weapon passing through Tagus’ head. Lastly, a clearly iconic expressiveness characterizes Aen.12.930 f. ille humilis supplex oculos dextramque precantem protendens ‘equidem merui nec deprecor’ inquit:

where the rejet of the participle emphasizes the effort made by the dying Turnus in raising his eyes and hand towards his executioner.361 The asyndeton bimembre (humilis supplex), which highlights the drastic change in proud Turnus’ spirit,362

359 Cf. Horsfall 2003, ad loc. On the iconic value of the rejet of emicat see here p.95, n.313. 360 On spondaic word (stridens and gaudens) in the first foot see p.109, n.354. 361 The iconic value of the rejet of the adjective praeceps is even more clear: it highlights the action’s sense of agitation at Aen.4.571 ff. Tum uero Aeneas subitis exterritus umbris / corripit e somno corpus sociosque fatigat / praecipites: ‘uigilate, uiri, et considite transtris; and at 11.891 ff. ipsae de muris summo certamine matres / (monstrat amor uerus patriae), ut uidere Camillam, / tela manu trepidae iaciunt ac robore duro / stipitibus ferrum sudibusque imitantur obustis / prae­ cipites, primaeque mori pro moenibus ardent. 362 For a fine stylistic analysis of the passage see Traina 19912, PL 2, pp.113 ff. On asyndeton bimembre adiectiuorum see p.91, n.297.



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has strong expressive value, as does the enallage (dextram precantem), which poignantly personifies his raised hand.363

B) II d Mimetic expressiveness of the rejet in direct speech: exhortations, exclamations, demands, orations, conclusions A break in the correspondence between metrical and syntactical unity can be exploited to lend a particular emphasis to commands, exclamations and demands, or indeed to indicate the end of discourse.

B) II d 1 Imperatives in rejet Placing an imperative in rejet suggests urgency and excitement. Consider the paradigmatic Aen.3.639 f. sed fugite, o miseri, fugite atque ab litore funem rumpite.

where, in the words of the terrified Achaemenides, who exhorts even his Trojan enemies to escape from the land of the terrible Cyclopes,364 the triple synaloepha, the dactylic rhythm and the rejet combine to underscore the urgency of the command, suggesting a note of horror.365 Similar expressiveness also characterizes Aen.12.260 ff. accipio agnoscoque deos; me, me duce ferrum corripite, o miseri, quos improbus aduena bello territat inualidas ut aues, et litora uestra ui populat.

where the geminatio of the personal pronoun me366 and the synaloepha which blurs the syntactical pause after the rejet emphasize the urgency in Tolumnius’ 363 Similar ‘personifying’ enallage (cf. Maurach 1983, pp.47 f.) at Hor. Carm.4.719 f. cuncta manus avidas fugient heredis, amico / quae dederis animo. 364 On the ‘affective interjection’ o miseri, an elegant pathetic touch – the Greek Achaemenides has pity on the Trojans who have landed in the land of the Cyclopes – see Horsfall 2006, ad loc.; on the emotive interjection o, Lepre 1985, EV 2, p 994. 365 The syntactical pause after the first dactyl is often used to lend emphasis to direct speech and to throw into relief, as in this case, the assertiveness of imperatives (cf. Winbolt 1903, p.15). On this passage see also p.173. 366 On geminatio see Hofmann–Szantyr (Traina) 2002, pp.202–206 and Wills 1996, pp.45–186 (who also includes more elaborate forms of this figure). Geminatio of personal pronouns is quite

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words as he invites the Rutulians to take up arms and hunt down the invader.367 The same effect is found at Aen.9.490 ff. quo sequar? aut quae nunc artus auulsaque membra et funus lacerum tellus habet? hoc mihi de te, nate, refers? hoc sum terraque marique secuta? figite me, si qua est pietas, in me omnia tela conicite, o Rutuli, me primam absumite ferro;

where the pathos in the words of Euryalus’ mother is rendered through a series of repeated interrogatives, anaphora (hoc . . . hoc; me . . . me . . . me), pathetic synaloepha and, again, rejet of an imperative.368 Rejets of dactylic imperatives are particularly powerful. Consider Aen.6.365 f. eripe me his, inuicte, malis: aut tu mihi terram inice, namque potes, portusque require Velinos;

where, in addition to the rejet of the compound of iacio,369 we also note the rare line-end with monosyllable + bisyllable + bisyllable370 which throws into relief

rare (cf. Wills 1996, pp.79 f.) and contributes to highlight the pathos of the passage (cf. Tarrant 2012, ad loc.). Also see Aen.8.143 ff. his fretus non legatos neque prima per artem / temptamenta tui pepigi: me, me ipse meumque / obieci caput et supplex ad limina ueni, where the possessive meum, placed before the noun (cf. p.217) and in enjambement, is also thrown into relief; and 9.427 f. ‘me, me! adsum qui feci, in me conuertite ferrum, / o Rutuli!, where the synaloepha has a pathetic effect (cf. p.173) and the vocative is placed powerfully in rejet (cf. p.122). 367 The enjambement of litora uestra / ui populat is also worthy of note (cf. the similar conubia nostra with homoeoteleuton at end of hexameter at Aen.4.213b f. conubia nostra / reppulit ac dominum Aenean in regna recepit. See p.27, n.98). 368 The syntactical start after the bucolic diaeresis (p.37, n.126) at line 491 (hoc mihi de te) also helps to convey a note of pathos in the words of Euryalus’ mother (cf. Lucot 1965, pp.266 f.). For another instance of rejet of an imperative in synaloepha with the interjection o see Aen.8.511b ff. tu, cuius et annis / et generi fatum indulget, quem numina poscunt, / ingredere, o Teucrum atque Italum fortissime ductor (Evander recognizes Aeneas as commander of the army: he is the leader of Arcadians, Etruscans and Trojans, and Evander entrusts his beloved son Pallas to him). 369 The rejet of the compound of iacio retains its iconic value at G.3.420 ff. cape saxa manu, cape robora, pastor, / tollentemque minas et sibila colla tumentem / deice!, where the immediacy of the actions suggested is in contrast with the sense of duration expressed by the rhyming and alliterative present participles that frame the line (cf. p.89). 370 The line-end (cf. p.36, n.124) precedes an imperative in rejet in another highly pathetic passage, Aen.4.419 ff. hunc ego si potui tantum sperare dolorem, / et perferre, soror, potero. miserae hoc tamen unum / exsequere, Anna, mihi: Dido considers herself ready to face Aeneas’ desertion, but all the same asks her sister to approach the Trojan hero to persuade him to delay his departure.



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the pronominal juxtaposition (tu mihi), adding emphasis and pathos to the words of the dead Palinurus.371 The same expressiveness is also found at Aen.3.396 ff. has autem terras Italique hanc litoris oram, proxima quae nostri perfunditur aequoris aestu, effuge: cuncta malis habitantur moenia Grais.

where the urgency of the imperative is made prominent not only by position in rejet but also by the ample hyperbaton; and at Aen.1.201b ff. uos et Cyclopia saxa experti: reuocate animos maestumque timorem mittite; forsan et haec olim meminisse iuuabit.

where the rejet is followed by a lapidary conclusion;372 and again at Aen.11.308 f. spem si quam ascitis Aetolum habuistis in armis, ponite: spes sibi quisque, sed haec quam angusta uidetis. 373

On the other hand, at Aen.6.405 ff. si te nulla mouet tantae pietatis imago, at ramum hunc’ (aperit ramum qui ueste latebat) ‘agnoscas.’

the rejet makes an exhortatory subjunctive prominent: the Sibyl, calm and resolute at the same time, shows Cerberus the Golden Bough, exhorting him to allow Aeneas safe passage. These lines can be compared to the clear self-echo at Aen.4.272 ff. si te nulla mouet tantarum gloria rerum, Ascanium surgentem et spes heredis Iuli respice, cui regnum Italiae Romanaque tellus debetur.’ 371 On juxtaposition of pronouns see pp.237 f.; on the emphatic weight of the personal pronoun tu and its implied solemn command see Austin 1977, ad loc. 372 The conclusion recalls Aen.12 152 f. tu pro germano si quid praesentius audes, / perge: decet. forsan miseros meliora sequentur.’, while the sequence perge: decet recalls perge: sequar at 4.114 (Venus turns to Juno). Another verb is also juxtaposed with the imperative in rejet at 10.59 ff. non satius cineres patriae insedisse supremos / atque solum quo Troia fuit? Xanthum et Simoenta / redde, oro, miseris iterumque reuoluere casus / da, pater, Iliacos Teucris.’, where the juxtapos­ ition Iliacos Teucris is also worthy of note (cf. pp.227 ff.). 373 In Virgil, unlike in Lucretius, it is not possible to cite other instances of a short open vowel at word-end before the consonant cluster sp (as in ponite spes). See Horsfall 2003, ad loc. and Williams 1962, ad Aen.3.270 (on ‘the license of the short a before the double consonant z’).

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Here, besides the rejet of the imperative, the rejet of the verb closing the direct speech is equally noteworthy: Mercury underlines the inevitability of Jupiter’s will.

B) II d 2 Rejet at the close of direct speech As we saw in the last example, the rejet can be exploited to lend expressiveness to the conclusion of direct speech.374 In some instances it expresses violence or wrath, as at Aen.10.743 f. ‘nunc morere. ast de me diuum pater atque hominum rex uiderit.’ hoc dicens eduxit corpore telum.

(Turnus is on the point of withdrawing his spear from the deathly blow); at Aen.10.491 ff. ‘Arcades, haec’ inquit ‘memores mea dicta referte Euandro: qualem meruit, Pallanta remitto. quisquis honos tumuli, quidquid solamen humandi est, largior. haud illi stabunt Aeneia paruo hospitia.’

(the cluster of rejets highlights again a note of cruelty in Turnus’ words); and at Aen.10.773 ff. ‘dextra mihi deus et telum, quod missile libro, nunc adsint! uoueo praedonis corpore raptis indutum spoliis ipsum te, Lause, tropaeum Aeneae.’

(Mezentius is about to hurl his spear at his foe). Further instances of expressiveness are found at Aen.5.670 ff. ‘quis furor iste nouus? quo nunc, quo tenditis’ inquit, ‘heu miserae ciues? non hostem inimicaque castra Argiuum, uestras spes uritis. en, ego uester Ascanius!’

374 Cf. Austin 1977, ad Aen.6.886 and Tarrant 2012, ad Aen.12.45 (‘Ending a speech early in the line gives an added emphasis to the final word or words, often with dramatic or pathetic effect.’). A verb in rejet closes direct speech at Aen.2.720; 4.276; 6.155, 407; 8.583; 12.45; a noun at Aen.4.570; 5.672; 6.886; 9.250; 10.495, 776; an adjective only at Aen.2.119; an interjection at 9.52 (en!). The end of direct speech can also be placed at mid-line, often with a pathetic touch (cf. Gransden 1976, ad Aen.8.401–404 and Harrison 1991, ad Aen.10.61 f.).



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(the bewitched Trojan women are burning their own ships and Ascanius tries to return them to reason);375 and at Aen.4.569 f. heia age, rumpe moras. uarium et mutabile semper femina.’

(Mercury urges Aeneas to leave Dido’s land, warning him against women’s fickleness).376 Also noteworthy is the only instance in the Aeneid of rejet of an adjective at close of direct speech, at Aen.2.116 ff. “sanguine placastis uentos et uirgine caesa, cum primum Iliacas, Danai, uenistis ad oras: sanguine quaerendi reditus animaque litandum Argolica.”

where, in the solemnity of oracular words, the crucial word is postponed for effect.377 In other cases the rejet further underscores the pathos of a speech. Consider Aen.8.578 ff. sin aliquem infandum casum, Fortuna, minaris, nunc, o nunc liceat crudelem abrumpere uitam, dum curae ambiguae, dum spes incerta futuri, dum te, care puer, mea sola et sera uoluptas, complexu teneo, grauior neu nuntius auris uulneret.’

where, in a strongly pathetic passage – note the repetition with the intervening interjection o378 – the anaphora and pathetic apposition mea sola et sera uoluptas

375 Observe the marked collocation of the possessive uestras and uester (the latter also made prominent through enjambement). Cf. p.217. The syntactical start after the bucolic diaeresis (cf. p.37, n.126) here lends emphasis to Ascanius’ words (Cf. Lucot 1965, p.265). 376 A similar misogynist note is emphasized by the rejet (of the adjective femineum) at Aen.9.140 ff. (cf. p.129). 377 Cf. Austin 1964, ad loc. 378 The interposition of o intensifies the pathos and has a parallel at Aen.2.644 sic o sic positum adfati discedite corpus, cited by Conte 2009, app. ad loc. as an argument in favour of the reading nunc o nunc (Rfgj) in place of nunc nunc o (Mωγ). On the geminatio of nunc see Wills 1996, pp.108 f.

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underscore the metaphorical expressiveness of the verb uulneret: Evander would rather die than hear of his son’s death, a deep wound for his paternal heart.379 The conclusion is again strongly pathetic at Aen.12.43 ff. respice res bello uarias; miserere parentis longaeui, quem nunc maestum patria Ardea longe diuidit.’

where the words longaeui e diuidit are put into relief by interlinear juxtaposition and the rejet: Latinus, to dissuade Turnus from continuing the war, urges him to have pity on his father, who, aged and sorrowful, awaits him in his far-off homeland.380 At Aen.6.883b ff. manibus date lilia plenis, purpureos spargam flores animamque nepotis his saltem accumulem donis et fungar inani munere.’

the reader cannot fail to note the expressiveness of the pause suggested by lineend which, in a highly emotional passage, poignantly throws into relief the adjective inani: the funeral rites are to no effect; the destiny of the young Marcellus will not change.381

B) II d 3 Rejet and interrogative sentences In a rich series of instances the rejet is used to lend a note of emphasis, pathos, or anger to an interrogative sentence,382 as at Aen.10.88 ff. 379 Apart from the expressiveness of the anaphora (dum . . . dum . . . dum) and rejet (cf. Gransden 1976, ad loc.) we should also observe the emphatic use of aliquis, in place of the enclitic quis, common after si(n), nisi, ne, num, and the rare use, peculiar to Augustan poetry, of neu introducing a negative jussive after a positive, in place of the normal neque or nec (cf. Eden 1975, ad loc. with bibliography). The hemistich crudelem abrumpere uitam, of which Aen.9.494 is a clear self-echo, is interesting: Evander, like Euryalus’ mother, is fated to lose his son and hate the light of day. 380 Cf. Tarrant 2012, ad loc.: ‘the enjambed position of diuidit underscores the isolation of Daunus.’ On interlinear juxtaposition see p.47, n.164; on relative clause with a pathetic value see p.45, n.159. 381 Cf. Austin 1977, ad loc. The use of ‘gasping synaloepha’ in saltem accumulem is noteworthy (cf. pp.168 f.). 382 A verbal rejet closes an interrogative sentence at Aen.1.616; 2.70; 3.187, 318; 4.100, 267, 601; 7.303; 9.78, 400, 785; 10.73, 89, 90, 675, 879; 11.111, 424, 665; 12.503. A similar effect is also found



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nosne tibi fluxas Phrygiae res uertere fundo conamur? nos, an miseros qui Troas Achiuis obiecit?

where Juno’s wrath is clear, not only from the two consecutive rejets but also from the powerful juxtaposition of Troas Achiuis.383 The expressiveness of the interrogative verb in rejet is also clear at Aen.4.265b ff. ‘tu nunc Karthaginis altae fundamenta locas pulchramque uxorius urbem extruis? heu, regni rerumque oblite tuarum!

where it suggests a tone of angry exasperation in Mercury’s words as he comes across Aeneas, forgetful of his destined mission, helping Dido to build her new city.384 The same effect can be noted at Aen.9.783 ff. unus homo et uestris, o ciues, undique saeptus aggeribus tantas strages impune per urbem ediderit? iuuenum primos tot miserit Orco?

where Mnestheus berates his companions, who have failed to resist Turnus, even although he is alone and hemmed in by his enemies’ walls.385 This passage presents a recurring structure: a first question ends with the verb in rejet and a second question ends at line-end. We find the same structure, for example, at Aen.11.421 ff. sin et Troianis cum multo gloria uenit sanguine (sunt illis sua funera, parque per omnis tempestas), cur indecores in limine primo deficimus? cur ante tubam tremor occupat artus? where the rejet is a noun (1.606; 2.374; 6.721; 9.20, 97; 10.229; 12.880) or an adjective (8.484; 11.265). 383 Cf. Harrison 1991, ad loc.: ‘the verb of the question is isolated in enjambment for emphasis.’ On the juxtaposition see p.228. 384 As Austin 1955, ad loc. observes, the use of the personal pronoun tu (as at Stat. Theb.10.206b ff. ‘tune,’ inquit, ‘inertes / Inachidas . . . / . . . tantam patiere amittere noctem, / degener?) and the juxtaposition pulchram uxorius are also expressive: how beautiful is the city that Aeneas, like a devoted husband, is preparing for his lover Dido. 385 The collocation of the possessive uestris preceding the noun aggeribus in hyperbaton is also expressive (cf. p.218). On the meaningful similarity with Enn. Ann.363 Sk. Vnus homo nobis cunctando restituit rem see Hardie 1994, ad loc. (Turnus, like Fabius, confronts an entire army single-handed).

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where it is Turnus who reproaches his men and urges them on to the fray.386 Among other emphatic instances worth mentioning are Aen.4.600 ff. non potui abreptum diuellere corpus et undis spargere? non socios, non ipsum absumere ferro Ascanium patriisque epulandum ponere mensis?

(Dido torments herself for not having taken revenge on Aeneas); and Aen.7.302 ff. quid Syrtes aut Scylla mihi, quid uasta Charybdis profuit? optato conduntur Thybridis alueo securi pelagi atque mei.

(Juno, with a note of bitterness, questions her own power).387 Pathos and agitation seem to characterize those instances in which a syntactical pause after the rejet is blurred by synaloepha, as at Aen 9.399 ff. quid faciat? qua ui iuuenem, quibus audeat armis eripere? an sese medios moriturus in enses inferat et pulchram properet per uulnera mortem?

where the increasing series of questions, the asyndeton and the rejet all express the despair of Nisus as he sees his beloved Euryalus in the hands of his foes;388 or at Aen.2.69 ff. 386 We find a similar structure at Aen.1.615 f. ‘quis te, nate dea, per tanta pericula casus / inse­ quitur? quae uis immanibus applicat oris?; 3.186 f. sed quis ad Hesperiae uenturos litora Teucros / crederet? aut quem tum uates Cassandra moueret?; 9.77 f. Quis deus, o Musae, tam saeua incendia Teucris / auertit? tantos ratibus quis depulit ignes?; 10.72 f. quis deus in fraudem, quae dura potentia nostra / egit? ubi hic Iuno demissaue nubibus Iris?; 11.664 f. Quem telo primum, quem postremum, aspera uirgo, / deicis? aut quot humi morientia corpora fundis?. A similar structure with rejet of a noun is rarer: 1.605b f. quae te tam laeta tulerunt / saecula? qui tanti talem genuere parentes?; 6.719 ff. ‘o pater, anne aliquas ad caelum hinc ire putandum est / sublimis animas iterumque ad tarda reuerti / corpora? quae lucis miseris tam dira cupido?’; 9.95 ff. mortaline manu factae immortale carinae / fas habeant certusque incerta pericula lustret / Aeneas? cui tanta deo permissa potestas?. 387 The rejet is also strongly emphatic at Aen.4.534 ff. ‘en, quid ago? rursusne procos inrisa priores / experiar, Nomadumque petam conubia supplex, / quos ego sim totiens iam dedignata mari­ tos?, where the interjection en suggests exasperation and despair (cf. Austin 1955, ad loc.); and again at 11.360 f. quid miseros totiens in aperta pericula ciues / proicis, o Latio caput horum et causa malorum? (Drances, in front of the Rutulian assembly, aims to discredit Turnus’ conduct, who for a personal motive has not hesitated to endanger the lives of his citizens). 388 The expressiveness of the series of questions is even greater than at G.4.504 f. quid faceret? quo se rapta bis coniuge ferret? / quo fletu Manis, quae numina uoce moueret? (on this latter passage see Thomas 1988, ad loc.). For other examples see Hardie 1994, ad loc.



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‘heu, quae nunc tellus’ inquit, ‘quae me aequora possunt accipere? aut quid iam misero mihi denique restat, cui neque apud Danaos usquam locus, et super ipsi Dardanidae infensi poenas cum sanguine poscunt?’

where Sinon skilfully fills his words with emphasis to deceive the Trojans.389

B) II d 4 Vocatives The rejet can emphasize a vocative (a proper name, adjective or noun), lending solemnity or pathos to the language.390 A typical example is at Aen.11.173 ff. tu quoque nunc stares immanis truncus in armis, esset par aetas et idem si robur ab annis, Turne. sed infelix Teucros quid demoror armis?

where the word in rejet is further made prominent by the hyperbaton (tu . . . Turne): Evander, in despair over Pallas’ death, utters the name of his son’s killer with emphasis and hatred.391 The emphatic character of this form of rejet is often marked by the interjection o, as in the masterly passage at Aen.7.594 ff. ‘frangimur heu fatis’ inquit ‘ferimurque procella! ipsi has sacrilego pendetis sanguine poenas, o miseri. te, Turne, nefas, te triste manebit supplicium, uotisque deos uenerabere seris.

where the rejet highlights the semantics of miseri, suggesting a note of pity in Latinus’ words. At the next period the sequence Turne, nefas, enhanced by the syllable-doubling (-ne, ne-) and made prominent by the hephthemimeral (3½), is 389 On the skill of Sinon’s speech and the expressive collocation in rejet of the key idea (the verb accipere) see Horsfall 2008, ad loc. For other cases of synaloepha blurring a syntactical pause in direct speech see pp.175 ff. 390 The characteristic element of this typology is the function of the vocative, rather than the grammatical category of the word in rejet (adjective or noun). In cases where the vocative is syntactically independent from the context (that is, when it does not qualify something in the preceding verse), its collocation in rejet does not involve breaking a grammatical unit, but has a clear function of throwing the vocative into relief. 391 Cf. Horsfall 2003, ad loc.: ‘The prodigious hyperbaton (two whole lines) casts the greatest possible emphasis on the name of Pallas’ killer’. On the collocation of a trochaic vocative in rejet see Winbolt 1903, p 11.

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framed by the geminatio of the pronoun te, with stuttering or deictic value, while the second rejet emphasizes the word supplicium.392 Rejet of a vocative also has a clearly pathetic value at Aen.9.427 f. me, me! adsum qui feci, in me conuertite ferrum, o Rutuli!

where the pathos and urgency of Nisus’ words as he desperately tries to save his companion is conveyed through the repetition of the personal pronoun me (strengthened in the first two instances by grammatical independence), the double synaloepha, and the rejet of the vocative.393 Geminatio is also joined to the rejet at Aen.12.72 ff. ne, quaeso, ne me lacrimis neue omine tanto prosequere in duri certamina Martis euntem, o mater; neque enim Turno mora libera mortis.

where the honorific mater is brought into prominence.394 Two deeply poignant passages where the rejet emphasizes the semantics of the word crudelis deserve special mention. At Aen.9.481 ff. ‘hunc ego te, Euryale, aspicio? tune ille senectae sera meae requies, potuisti linquere solam, crudelis?

the anguish of Euryalus’ mother in front of the unrecognisable body of her son is rendered at line 481 by the juxtaposition of the pronouns ego te, which underscore the close emotional relationship, by the rare use of the demonstrative pronoun hic referring to a second person, and by the series of synaloephae which suggest the emotion of the delivery. 395 The pathos again emerges clearly, here

392 On the geminatio of te see Horsfall 2000, ad loc. and Wills 1996, pp.82–85; on syllable-doub­ ling, p.77, n.254; on the rejet of the word supplicium, p.126. The collocation of the adjective seris at line-end with predicative value is also expressive (cf. Fordyce 1977, ad loc. and here p.221). 393 Hardie 1994, ad loc. On geminatio of pronouns see p.113, n.366; on this type of ‘pathetic elision’ see p.173. 394 On mater (an honorific like pater) see Traina 20042, ad loc. On geminatio of ne with an interplaced word (separatio), a pathetic styleme, see Traina 1989, PL 3, pp.133–137 and Wills 1996, pp 120 f. 395 On juxtaposition of pronouns see pp.237 f.; on the effect of the series of synaloephae see Hardie 1994, ad loc. and here p.173.



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as elsewhere in Virgil, not only in the rejet but in the apposition (senectae / sera meae requies). 396 The other instance of crudelis in rejet is at Aen.4.309 ff. quin etiam hiberno moliri sidere classem et mediis properas Aquilonibus ire per altum, crudelis?

in Dido’s sharp and bitter reproach to Aeneas, who is preparing himself to leave her even at the risk of facing the dangers of the sea in winter.397 Apart from pathos, the vocative in rejet can lend gravity to the language, as is clear at Aen.11.5 ff. ingentem quercum decisis undique ramis constituit tumulo fulgentiaque induit arma, Mezenti ducis exuuias, tibi magne tropaeum bellipotens;

and at Aen.11.785 ff. ‘summe deum, sancti custos Soractis Apollo, quem primi colimus, cui pineus ardor aceruo pascitur, et medium freti pietate per ignem cultores multa premimus uestigia pruna, da, pater, hoc nostris aboleri dedecus armis, omnipotens.

where it helps to emphasize the imposing compounds bellipotens and omnipotens.

B) II d 5 Rejet and emphasis As we have seen in the preceding section, the rejet can lend a marked emph­­asis to the language, throwing significant words into relief. Consider for example Aen.10.441b ff. ‘tempus desistere pugnae; solus ego in Pallanta feror, soli mihi Pallas debetur; cuperem ipse parens spectator adesset.’ 396 Cf. Aen.8.581 f. dum te, care puer, mea sola et sera uoluptas / complexu teneo; 12.57b f. spes tu nunc una, senectae / tu requies miserae. For appositions with pathetic value see p.45, n 159. 397 Cf. Austin 1955, ad loc.: ‘the run-over position, and the strong pause that follows, gives great emphasis to the adjective’.

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where Turnus’ obstinate insistence on fighting against the young Pallas is powerfully expressed by the triple anaphora in different cases (solus ego . . . Pallanta . . . soli mihi Pallas), by the three bisyllables at line-end and by the emphatic rejet of debetur (as at Aen.4.276).398 Expressiveness of the figure is also clear in the studied words of the deceiver Sinon: at Aen.2.77 f. ‘Cuncta equidem tibi, rex, fuerit quodcumque, fatebor uera’, inquit, ‘neque me Argolica de gente negabo:

(Sinon feigns his determination to tell the truth to the Trojans); and at Aen.2.141 ff. quod te per superos et conscia numina ueri, per si qua est quae restet adhuc mortalibus usquam intemerata fides, oro, miserere laborum tantorum, miserere animi non digna ferentis.’

where the rejet of the adjective tantorum and anaphora of the imperative miserere again sound a pathetic note: after so many unfair misadventures Sinon asks only for pity.399 At Aen.2.190 f. tum magnum exitium (quod di prius omen in ipsum conuertant!) Priami imperio Phrygibusque futurum;

the optative subjunctive in rejet voices false distress in Sinon’s convincing performance.400 The rejet is again expressive at Aen.6.692 f. quas ego te terras et quanta per aequora uectum accipio! quantis iactatum, nate, periclis!

398 Cf. Harrison 1991, ad loc. and on the line-end see here p.36, n.124. For a similar effect with anaphora of solum and polyptoton see Hardie 1994, ad Aen.9.438 f. at Nisus ruit in medios solumque per omnis / Volcentem petit, in solo Volcente moratur; and Tarrant 2012, ad Aen.12.466b f. solum densa in caligine Turnum / uestigat lustrans, solum in certamina poscit. 399 On the pathetic value of anaphora in asyndeton see p 128, n.418. Note also the mise en relief of the verb oro between the two caesurae (cf. p.237, n.738). 400 Cf. Austin 1964, ad loc.: ‘a convincing piece of acting’. Also noteworthy is the sequence of three consecutive words ending in -um and not separated by punctuation (this is the only instance in the Aeneid), which probably sounds menacing (cf. Horsfall 2008, ad loc.). On juxtaposition of words in homoeoteleuton see p.54, n.182.



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where it highlights the emotionalism of the meeting between Anchises and Aeneas.401 This last instance can be compared to the self-echo at Aen.3.708b ff. hic pelagi tot tempestatibus actus, heu, genitorem, omnis curae casusque leuamen, amitto Anchisen. hic me, pater optime, fessum deseris, heu, tantis nequiquam erepte periclis!

where the pathetic apposition omnis curae casusque leuamen is also important: Aeneas, after he has protected Anchises from so many dangers, cannot accept, with all the anguish of his mission, losing his father’s solace.402 The rejets of the noun funera are clearly pathetic at Aen.6.872 ff. quantos ille uirum magnam Mauortis ad urbem campus aget gemitus! uel quae, Tiberine, uidebis funera, cum tumulum praeterlabere recentem!

(Anchises foretells the deep mourning for the loss of young Marcellus);403 at Aen.8.568 ff. non ego nunc dulci amplexu diuellerer usquam, nate, tuo, neque finitimo Mezentius umquam huic capiti insultans tot ferro saeua dedisset funera, tam multis uiduasset ciuibus urbem.

(Evander, on the point of separation from his beloved son, recalls the mourning caused by the bloodthirsty Mezentius);404 and at Aen.2.281 ff. 401 The anaphora of quantus and the juxtaposition of the pronouns ego te are also expressive (cf. p.237). On the allusion in this passage to Cat. 101.1 Multas per gentes et multa per aequora uectus (and Hom. Od.1.1. ff.) see the fine stylistic analysis of Conte 19852, pp.6 ff. and for further bibliography Horsfall 2013, ad loc. 402 Note the weight of omnis, which has here uis elatiua, underscoring the sense of loss (cf. Horsfall 2006, ad loc. and here, p.40, n.142). On pathetic apposition see p.45, n.159. 403 As well as the expressive enjambement of funera, here a poetic plural (cf. p.222, n.683), also significant are the long word praeterlabere, which gives the line a slow and solemn rhythm, and the assonance of the mournful sound -um in uirum (863), comitum (865) and luctum (868), which adds to the funereal atmosphere. Cf. Austin 1977, ad loc. 404 A number of notable features here: the collocation at line-end of the adverbs usquam and umquam (see p.219, n.675), which have the function of emphasizing the negative sense of the sentence; the prominence of the possessive pronoun tuo in lengthy hyperbaton and in enjambement; and the balance between the expressions dulci tuo amplexu and finitimo huic capiti (huic here is equivalent to meo). Cf. Eden 1975, ad loc.

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‘o lux Dardaniae, spes o fidissima Teucrum, quae tantae tenuere morae? quibus Hector ab oris exspectate uenis? ut te post multa tuorum funera, post uarios hominumque urbisque labores defessi aspicimus!

where the position of the possessive at line-end is also emphatic: Hector shows himself to Aeneas only after a lengthy sequence of mourning.405This last passage can be compared to Aen.4.615 ff. at bello audacis populi uexatus et armis, finibus extorris, complexu auulsus Iuli auxilium imploret uideatque indigna suorum funera;

where the possessive is again made prominent at line-end: Dido hopes that Aeneas will have to witness the end of his own people.406A similar effect is found at Aen.11.271 ff. nunc etiam horribili uisu portenta sequuntur et socii amissi petierunt aethera pinnis fluminibusque uagantur aues (heu, dira meorum supplicia!) et scopulos lacrimosis uocibus implent.

The word supplicium is again brought into prominence, in hyperbaton and rejet, at Aen.11.841 f. ‘heu nimium, uirgo, nimium crudele luisti supplicium, Teucros conata lacessere bello!

(Opis grieves for the death of Camilla);407 and at Aen.7.595 ff. ipsi has sacrilego pendetis sanguine poenas, o miseri. te, Turne, nefas, te triste manebit supplicium, uotisque deos uenerabere seris. 405 On the affective force of the possessive pronoun see Horsfall 2008, ad loc. and 2013, ad Aen.6.682. On the repeated o . . . o (here with anastrophe), which lends a tragic flavour, see Horsfall 2003, ad Aen.11.732 (2013, ad Aen.6.509 on pathetic cases with interwowen word-order). 406 See also Aen.4.622 ff. tum uos, o Tyrii, stirpem et genus omne futurum / exercete odiis, cinerique haec mittite nostro / munera, where the word munera, in rejet, echoes, at a distance of a few verses, funera: ‘the funera of the Trojans are to be the munera that Dido’s own people shall give to her’ (Austin 1955, ad loc.). 407 On the geminatio of nimium see Wills 1996, p.118, and Horsfall 2003, ad loc.



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where the violent geminatio of the pronoun indicates, in Latinus’ words, that Turnus is also destined to pay the penalty.408 A pathetic note is highlighted by the rejet at Aen.2.341b ff. iuuenisque Coroebus Mygdonides – illis ad Troiam forte diebus uenerat insano Cassandrae incensus amore et gener auxilium Priamo Phrygibusque ferebat, infelix, qui non sponsae praecepta furentis audierit!

where the collocation of the adjective infelix followed by a pathetic relative clause409 is also expressive, and at Aen.2.352b ff. succurritis urbi incensae: moriamur et in media arma ruamus. una salus uictis nullam sperare salutem.’

where to the effect of the rejet are added the hysteron proteron and the para­­d­oxical close: there is no hope of saving a city already in flames.410 Nor should Aen.12.662b ff. pass unnoticed: circum hos utrimque phalanges stant densae strictisque seges mucronibus horret ferrea; tu currum deserto in gramine uersas.’

Here, in the words of the wounded warrior Saces, who exhorts Turnus to join battle, the rejet of the adjective ferrea highlights urgency and fear: the Rutulians are surrounded in a field which, far from appearing natural, glistens ominously with the spears of numerous foes, while Turnus drives his chariot back and forth in a deserted and verdant pasture.411 Aen.5.838 ff. needs particular attention: cum leuis aetheriis delapsus Somnus ab astris aëra dimouit tenebrosum et dispulit umbras, te, Palinure, petens, tibi somnia tristia portans insonti; puppique deus consedit in alta 408 For the stylistic analysis of the passage see pp.121 f. 409 Cf. p 111, n.358. 410 On the rejet see Horsfall 2008, ad loc. (‘the participle both last […] and run-on, for formid­ able emphasis’); on the hysteron proteron see here, p.223, n.684. 411 The rejet of ferrea also has the effect here of giving emphasis, in Saces’ words, to the ‘scornful tu’ (Tarrant 2012, ad loc.) of the asyndeton aduersatiuum (cf. p.143, n.447).

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as a passage in which pathos is rendered through powerful convergence of stylistic factors.412 The first line with the two opening dactyls suggests the rapid descent of Somnus from the heavens, while the repeated ‘s’ sound seems to mirror the light rustling of the nocturnal breeze, an almost narcotic murmur.413 The next line, dominated by shadows (aëra . . . tenebrosum . . . umbras) and by the mournful ‘u’ sound in second hemistich,414 has a baleful atmosphere: Somnus makes his way laboriously through the clouds (the action is stretched in the dicolon abundans and articulated by alliteration of the prefixes in dimouit . . . dispulit),415 in order to reach, almost as if in an anguished hunt, his prey. In line 840, enhanced by two series of triple alliterations (te . . . tibi . . . tristia – Palinure, petens, . . . portans), the repeated personal pronoun, placed emphatically at the opening of two hemistichs, and the apostrophe specify Somnus’ chosen victim. 416 When the syntax of this powerful line seems to suggest that the period is closed, the adjective in rejet is a significant and unexpected pathetic note with an almost concessive weight: Palinurus, despite his innocence, is a victim of history; his death, like so many others, does not, at least from a human perspective, seem to have any other plausible explanation. In other instances the rejet appears to underscore anger or violence, as at Aen.10.44 ff. si nulla est regio Teucris quam det tua coniunx dura, per euersae, genitor, fumantia Troiae excidia obtestor: liceat dimittere ab armis incolumem Ascanium, liceat superesse nepotem;

where the rejet of the adjective dura suggests a note of bitterness in Venus’ words, as she expresses her disapproval of Juno’s persistence417 and asks Jupiter to save at least Ascanius from such cruelty;418 and at Aen.2.535 ff. 412 For further stylistic interpretation of this passage see Williams 1960, ad loc. and Hardie 1998, pp.104 ff. 413 On the effect of σιγματισμός see p.49, n.167. 414 On the expressiveness of the sounds ‘o’ and ‘u’ see Knight 19662, pp.302 f. (they can stress an idea of ‘strength, darkness, stern sadness, and solemn, reverberating fear’); on ‘u’ see also Traina 19862, PL 1, p.177. 415 On dicolon abundans see p.35, n.118; on alliteration of prefixes, p.108, n.349. 416 Cf. Hardie 1998, p.110. 417 Harrison 1991, ad loc., drawing attention to the emphasis of the rejet, observes that it expresses ‘a sting for Juno, who is hearing herself attacked in the third person’. 418 Besides the rejet, the anaphora in asyndeton also has pathetic value (cf. Harrison 1991, ad loc.: ‘pathetic anaphora in asyndeton of a wish’). See also Aen.2.141 ff. quod te per superos et conscia numina ueri, / per si qua est quae restet adhuc mortalibus usquam / intemerata fides, oro,



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‘at tibi pro scelere’ exclamat, ‘pro talibus ausis di, si qua est caelo pietas quae talia curet, persoluant grates dignas et praemia reddant debita, qui nati coram me cernere letum fecisti et patrios foedasti funere uultus.

where Priam prays that Neoptolemus will pay the due penalty for having cruelly killed his sons before his eyes. The dicolon abundans, which also has the verbs framing the line,419 and the rejet of the postponed adjective, highlight the furious despair of the aged king, for whom nothing remains but the hope of divine retrib­ ution. At Aen.9.140 ff. “sed periisse semel satis est”: peccare fuisset ante satis, penitus modo non genus omne perosos femineum.

the rejet, on the other hand, suggests a note of scorn.420 In other instances a sense of solemnity is in the forefront. This is clearly the case at Aen.11.438 ff. ibo animis contra, uel magnum praestet Achillem factaque Volcani manibus paria induat arma ille licet. uobis animam hanc soceroque Latino Turnus ego, haud ulli ueterum uirtute secundus, deuoui.

(Turnus, in religious language, offers his life to the people); at Aen.9.257 ff. ‘immo ego uos, cui sola salus genitore reducto,’ excipit Ascanius ‘per magnos, Nise, penates Assaracique larem et canae penetralia Vestae obtestor: quacumque mihi fortuna fidesque est, in uestris pono gremiis.

(Ascanius vows by his penates); and at Aen.5.483 f. miserere laborum / tantorum, miserere animi non digna ferentis (cf. p.124, and p.47, n.164) and the similar Aen.5.796 f. quod superest, oro, liceat dare tuta per undas / uela tibi, liceat Laurentem attingere Thybrim. 419 Cf. pp.222 f. 420 Cf. Hardie 1994, ad loc.: ‘The heavy pause after femineum lends it misogynistic emphasis’. On the similar rejet at 4.569b f. uarium et mutabile semper / femina see p.117.

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‘hanc tibi, Eryx, meliorem animam pro morte Daretis persoluo; hic uictor caestus artemque repono.’

(Entellus, after winning the boxing match, sacrifices a bull to Eryx). Finally, a clear convergence of stylistic factors highlights the solemnity of the moment at Aen.10.858 ff. haud deiectus equum duci iubet. hoc decus illi, hoc solamen erat, bellis hoc uictor abibat omnibus. adloquitur maerentem et talibus infit: ‘Rhaebe, diu, res si qua diu mortalibus ulla est, uiximus. aut hodie uictor spolia illa cruenta et caput Aeneae referes Lausique dolorum ultor eris mecum, aut, aperit si nulla uiam uis, occumbes pariter; neque enim, fortissime, credo, iussa aliena pati et dominos dignabere Teucros.’

The triple hoc underscores the exceptional relationship between Mezentius and his horse, a source of pride, solace, and undying companionship in every battle (the rejet of the postponed adjective omnibus is noteworthy). The expressiveness of the collocation of uiximus highlights Mezentius’ sense of fulfillment: after a life lived with honour and to the full, he is now ready to face almost certain death, together with his wonderful steed, rather than fall into the hands of his enemies.421

B) III Stylistic effects of the après-rejet In addition to the rejet, the new syntactical start which follows it often carries precise stylistic effects. It can underline an idea of immediate consequence, or of opposition (often in the form of asyndeton aduersatiuum),422 or can clarify what has been expressed before (asyndeton explicatiuum), or can add a description or lapidary close.

421 At line 858 the rhythm of line-ending hoc decus illi is also noteworthy (monosyllable + bisyllable + bisyllable; cf. p.36, n.124) as is the emphatic repetition of diu before the two caesurae at line 862. On the emphasis and pathos in Mezentius’ words see Harrison 1991, ad loc. 422 On the various types of asyndeton see Hofmann–Szantyr (Traina) 2002, p.244; on the asyndeton aduersatiuum, here p 143, n.447.



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To indicate such a stylistic feature I have adopted the generic term of après-rejet, distinguishing it from the more restricted contre-rejet, which is a syntactical start in proximity to the line-end.423

B) III a Consequence This first category consists of instances in which the après-rejet highlights a relation of immediate consequence between two actions.

B) III a 1 Cause and effect The relation of cause and effect is particularly clear in instances such as Aen.2.50 ff. sic fatus ualidis ingentem uiribus hastam in latus inque feri curuam compagibus aluum contorsit. stetit illa tremens, uteroque recusso insonuere cauae gemitumque dedere cauernae.

where the rejet underscores iconically the immediate moment of the throwing, while the après-rejet expresses its effect (the rhyme insonuere–dedere is also iconic here).424 One constant of the après-rejet is the change of subject between cause and effect, here as elsewhere achieved through a nominative pronoun (illa) referring to the accusative noun of the preceding period (hastam).425 Also somewhat recurrent is the juxtaposition of verbs (contorsit. stetit), which contributes notably to increasing the passage’s dynamics.426 423 Cf. pp.22 f. 424 See Horsfall 2008, ad loc. on the iconic expressiveness of the rhythm of the passage (‘Mo­­­ l­ossus+strong pause at 1½ +pyrrhic+Greek caes. (Norden, Aen.6,431 ff.), evidently enough, a rendering in metrical effects of the weapon’s thud […] and ensuing quiver’) and on the effect of the rhyme in -ere within one line see here, p.51, n 172. 425 On this stylistic usage see Horsfall 2008, ad loc. (with bibliography). Here the syntactical movement is modelled on the Homeric ὁ δέ (ἡ δέ), which has the precise effect of expressing ‘a swift change of subject’ (cf. Harrison 1991, ad Aen.10.195). 426 Cf. Conte 1974, ad Lucan 6.179, who, on juxtaposition of the verbs (succendit, strident), observes: ‘La funzione espressiva che la struttura pare avere è propria quella […] della consequentialità immediata: l’effetto è reso particolarmente sensibile dal mutamento di ritmo che tien dietro alla cesura del secondo longum (da un ritmo discendente – il verbo all’inizio del verso è in generale costituito da un coriambo o da un molosso – si passa ad un ritmo ascen­ dente)’ {The expressive function which the structure seems to have is really that […] of immediate result: the effect is rendered particularly perceptible by the change in rhythm which comes after the caesura at the second ‘longum’ (from a falling rhythm – the verb at the start of a line is generally choriambic or molossic – we pass to a rising rhythm)}.

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Clearly this ‘paradigm’ is not a fixed schema but is variously developed by Virgil for different stylistic effects. The idea of immediate consequence in the process of throwing and flight of a javelin seems, for example, to become crystallized in a gently different schema: a verb indicating throwing in rejet – a noun or pronoun indicating the object thrown in first position of the après-rejet (in these instances we do not, of course, find juxtaposition of verbs). Typical is Aen.9.410 f. dixerat et toto conixus corpore ferrum conicit. hasta uolans noctis diuerberat umbras

where the rejet of the verb, which reflects the violence of the throw, is followed by a change of subject, brought about through the use of synonyms (ferrum, hasta). The dynamics of the swing between rejet and après-rejet converges powerfully with the change between the spondaic rhythm of the first line, which reflects the effort of the throw (toto conixus corpore), and the dactylic rhythm of the first hemi­ stich in the next line, which reflects, on the other hand, the speed of the flight. To this example we can add the clear self-echo at Aen.10.335b f. tum magnam corripit hastam et iacit: illa uolans clipei transuerberat aera

which presents clear verbal and syntactical analogies (ferrum–hasta; conicit–et iacit; uolans diuerberat–uolans transuerberat). An interesting comparison can be made with Aen.10.783 ff. tum pius Aeneas hastam iacit: illa per orbem aere cauum triplici, per linea terga tribusque transiit intextum tauris opus, imaque sedit inguine, sed uiris haud pertulit.

where the same schema (iacit: illa) is in the form of contre-rejet (with syntactical start illa per orbem after the bucolic diaeresis) which here, rather than conse­ q­uence, suggests suspense, inviting the reader to visualize, through a series of repeated enjambements, the flight of the spear through the shield.427 In a series of instances the après-rejet highlights iconically the immediate result of a pushing movement, as at Aen.5.241 ff. 427 On ille being brought into prominence in a strong contre-rejet see p.142, n.444; on the iconic weight of lengthy hyperbaton between subject and predicate, pp.253 f.; on iconic repetition of per, p.252, n.788. Here the iconic expressiveness of the verb iacit is also notable: placed before the syntactical pause at the bucolic diaeresis (cf. p.37, n.126), it reflects ‘the explosive effect of the throw’ (cf. Harrison 1991, ad loc., and Lucot 1960, p.169).



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et pater ipse manu magna Portunus euntem impulit: illa Noto citius uolucrique sagitta ad terram fugit et portu se condidit alto.

where the rejet of the verb impulit reflects the force of the push, while the après-rejet, here also with pronoun in initial position, suggests, in an entirely dactylic line, the swift passage of the ship (the collocation of the conjunction et before the caesura at penthemimeral (2½) also has a powerful effect).428 The passage can be compared to Aen.10.246 ff. dixerat et dextra discedens impulit altam haud ignara modi puppim: fugit illa per undas ocior et iaculo et uentos aequante sagitta; inde aliae celerant cursus.

which allows us to notice the difference in stylistic effects between the contre-rejet here (fugit illa . . . ) and the après-rejet in the preceding example. Other particularly expressive instances (the first already noted when discussing rejet) are at Aen.2.464b ff. conuellimus altis sedibus impulimusque: ea lapsa repente ruinam cum sonitu trahit et Danaum super agmina late incidit.

where the pause in sense at impulimusque is weakened by synaloepha (impulimusque: ea) with the effect of highlighting the immediate consequence;429 and at Aen.1.113 ff. unam, quae Lycios fidumque uehebat Oronten, ipsius ante oculos ingens a uertice pontus in puppim ferit: excutitur pronusque magister uoluitur in caput,

where the rhythm and verbal juxtaposition are expressive: the two verbs, while belonging to different clauses, are juxtaposed in isolation between the trihem­i­ meral (1½) and hephthemimeral (3½).430 428 Cf. p.83, n.275. 429 On this passage see pp.64 f., 178 and 199, n.610. 430 On this passage see p.84.

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The expressive quality of the après-rejet is also clear at Aen.9.696 ff. et primum Antiphaten (is enim se primus agebat), Thebana de matre nothum Sarpedonis alti, coniecto sternit iaculo: uolat Itala cornus aëra per tenerum stomachoque infixa sub altum pectus abit; reddit specus atri uulneris undam spumantem,

where juxtaposition of the verbs highlights the immediate result: the spear pierces the stomach, from which a copious stream of blood at once gushes forth.431 Expressiveness is also clear in the ordo uerborum at Aen.12.926 f. per medium stridens transit femur: incidit ictus ingens ad terram duplicato poplite Turnus.

where the après-rejet after the bucolic diaeresis underscores Turnus’ sudden fall, while in the next line the spondaic rhythm and framing hyperbaton throw into relief the physicality of the warrior.432 The dynamics of thrust-and-fall are met again in the après-rejet at Aen.12.289 ff. Messapus regem regisque insigne gerentem Tyrrhenum Aulesten, auidus confundere foedus, aduerso proterret equo: ruit ille recedens

and at Aen.5.32 f. haec ubi dicta, petunt portus et uela secundi intendunt Zephyri; fertur cita gurgite classis,

where the après-rejet indicates the swift advance of the fleet (cita classis) following the unfurling of the sails to the wind. If we compare this passage to Aen.3.268 tendunt uela Noti: fugimus spumantibus undis,

431 Cf. Hardie 1994, ad loc.: ‘the physical immediacy is increased by the specific sense of reddo “throw up”, “pass (a bodily fluid)”’. On the expressiveness of the rejet of spumantem see p.50. 432 Tarrant 2012, ad loc. notes (on incidit ictus): ‘the strong sense break after the fourth foot is a metrical counterpart to T’s sudden collapse’; and (on ingens ad terram) ‘slow-moving spondees suggest the weight of T’s body as it hits the ground’. On the syntactical pause at the bucolic diaeresis see p.37, n.126; on framing hyperbaton associated with adjectives indicating great size, p.241; on spondaic word in the first foot, p 109, n.354.



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where we also have result between two actions, it appears clear how in the absence of enjambement the verse loses energy, at least partly. An immediate physical reaction can be seen at Aen 5.661 ff. pars spoliant aras, frondem ac uirgulta facesque coniciunt. furit immissis Volcanus habenis transtra per et remos et pictas abiete puppis.

where the juxtaposition of the verbs (coniciunt. furit), with change of subject, underscores the immediacy of the flames’ spread following the throw of the flaming brands (note the effect of the absence of a third-foot caesura). The same effect is found at Aen.12.298 ff. obuius ambustum torrem Corynaeus ab ara corripit et uenienti Ebyso plagamque ferenti occupat os flammis: olli ingens barba reluxit nidoremque ambusta dedit.433

while at Aen.11.142 ff. Arcades ad portas ruere et de more uetusto funereas rapuere faces: lucet uia longo ordine flammarum et late discriminat agros.

the syntactical start, with the verb first in a sequence of three bisyllables, highlights the sudden spread of light along the road from the torches.434 In a rich series of instances the après-rejet places an auditory reaction in relief, as at Aen.9.806 ff. ergo nec clipeo iuuenis subsistere tantum nec dextra ualet, iniectis sic undique telis obruitur. strepit adsiduo caua tempora circum tinnitu galea et saxis solida aera fatiscunt

where juxtaposition of the verbs stresses the immediate consequence: a hail of darts batters against Turnus’ helmet, which echoes with the blows. Such examples, where the après-rejet reflects the effect of echo, are striking, as at Aen.4.667 f.

433 On the stylistic effect of two participles followed by a verb in rejet (uenienti . . . ferenti / occupat) see pp.88 f.; on the archaic olli, p.101, n.327. 434 Cf. p.36.

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lamentis gemituque et femineo ululatu tecta fremunt, resonat magnis plangoribus aether,

where the expressiveness of the passage is highlighted not only in the onomato­ poeic hiatus femineo ululatu, but also in juxtaposition of the verbs (fremunt, resonat), which underscore the spread of sound from the closed space of the palace to the open skies: the chiastic structure and framing collocation of the spatial words tecta and aether, which are the logical subjects of the two clauses, give considerable effect.435 To this passage we can add, for similarity of images and ordo uerborum, Aen.2.486 ff. At domus interior gemitu miseroque tumultu miscetur, penitusque cauae plangoribus aedes femineis ululant: ferit aurea sidera clamor.

(the women’s heart-rending shrieks disturb the tranquillity of the sky);436 and Aen.12.606b f. tum cetera circum turba furit: resonant late plangoribus aedes.

(the palace echoes with the women’s screaming).437

B) III a 2 Action and reaction The après-rejet is also used to express an unexpected reaction. Those instances in which the action, thrown into relief through rejet of the verb, is followed by the immediate reaction of another character in the après-rejet, are particularly expressive. A typical instance is at Aen.10.645 f. instat cui Turnus stridentemque eminus hastam conicit: illa dato uertit uestigia tergo.

435 On this hiatus see p.188; on chiastic structure expressing the effect of echo, p 16. 436 Observe at line 488 the collocation of a dactylic word in the fourth foot (aurea), one of the strategies for conferring coincidence of word accent and arsis in this foot (cf. Williams 1960, ad Aen.5.198 and 1962, ad Aen.3.383). 437 We can also include in this category Aen.6.412b f. simul accipit alueo / ingentem Aenean. gemuit sub pondere cumba (without the juxtaposition of verbs): under Aeneas’ weight the boat groans, accustomed to carrying only incorporeal beings. On the ironic touch in this passage see Horsfall 2013, ad loc.



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(the throw of Turnus’ spear is immediately followed by the flight of the phantom Aeneas). The structure conicit: illa . . . appears the same as the instances already examined in throwing and flight but is given greater energy in that it highlights the sudden actions of two different subjects. Analogous instances are found at Aen.6.419 ff. cui uates, horrere uidens iam colla colubris, melle soporatam et medicatis frugibus offam obicit. ille fame rabida tria guttura pandens corripit obiectam atque immania terga resoluit

(the throw of the offa is followed by Cerberus’ ravenous reaction); at Aen.9.576b ff. hunc primo leuis hasta Themillae strinxerat: ille manum proiecto tegmine demens ad uulnus tulit;

(the spear hits the warrior, who carries his hand to the wound); and at Aen.5.443 ff. ostendit dextram insurgens Entellus et alte extulit; ille ictum uenientem a uertice uelox praeuidit celerique elapsus corpore cessit;

(Entellus delivers his blow, Dares avoids it); whereas the expressiveness is different at Aen.4.69b ff. qualis coniecta cerua sagitta, quam procul incautam nemora inter Cresia fixit pastor agens telis liquitque uolatile ferrum nescius: illa fuga siluas saltusque peragrat

where the rejet of the adjective nescius is also strongly expressive: the shepherd does not know that he has struck anything, but the hind feels the pain and flees afar.438

B) III a 3 Reactions to signals or commands In other instances the après-rejet can express reaction to a signal or command. Typical of this category is Aen.9.503 f.

438 For analysis of the passage see p.110.

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At tuba terribilem sonitum procul aere canoro increpuit, sequitur clamor caelumque remugit.

where juxtaposition of the verbs (with notable shift from perfect to present tense) draws attention to the immediate result already conveyed by the semantics of the verb sequitur: the sound of the trumpet is followed by the soldiers’ shout. The expressiveness is different at Aen.3.238 ff. ergo ubi delapsae sonitum per curua dedere litora, dat signum specula Misenus ab alta aere cauo. inuadunt socii et noua proelia temptant,

where the rejet is not of the verb but of the instrumental aere cauo. The synaloepha (cauo. inuadunt) has here the effect of blurring the syntactical pause,439 lending energy and excitement to the scene: at Misenus’ command his comrades move to the attack. It is interesting to see that at Aen.3.518 f. postquam cuncta uidet caelo constare sereno, dat clarum e puppi signum; nos castra mouemus

a different structure – the rejet is longer and coincides with the spondaic rhythm, which continues for the whole verse – reflects different semantics: the signal is prolonged and clearly heard; the operation of castra mouere is slow. In a series of instances the immediacy of the execution of the command is expressed by an après-rejet with a pronoun, as at Aen.1.297 ff. Haec ait et Maia genitum demittit ab alto, ut terrae utque nouae pateant Karthaginis arces hospitio Teucris, ne fati nescia Dido finibus arceret. uolat ille per aëra magnum remigio alarum ac Libyae citus adstitit oris.

(notice the collocation of the verb uolat in first position of the après-rejet); at Aen.1.736 ff. dixit et in mensam laticum libauit honorem primaque, libato, summo tenus attigit ore; tum Bitiae dedit increpitans: ille impiger hausit spumantem pateram et pleno se proluit auro;

439 See p.176.



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(at Dido’s invitation, Bitias drinks vigorously);440 and at Aen.12.331 ff. qualis apud gelidi cum flumina concitus Hebri sanguineus Mauors clipeo increpat atque furentis bella mouens immitit equos (illi aequore aperto ante Notos Zephyrumque uolant,

where the pronoun immediately follows the noun, further underscoring the instant obedience of the horses following the command. It is interesting, finally, to note a similar ordo uerborum at Aen.4.291b ff. sese interea, quando optima Dido nesciat et tantos rumpi non speret amores, temptaturum aditus et quae mollissima fandi tempora, quis rebus dexter modus. ocius omnes imperio laeti parent et iussa facessunt.

and at Aen.8.276 ff. dixerat, Herculea bicolor cum populus umbra uelauitque comas foliisque innexa pependit et sacer impleuit dextram scyphus. ocius omnes in mensam laeti libant diuosque precantur.

In both these passages the immediacy of the execution of the command or invit­ ation is highlighted by collocation of the sequence ocius omnes at the bucolic diaeresis.441

B) III a 4 Psychological reactions In some instances the après-rejet emphasizes the immediacy of a character’s psychological reaction. A typical instance is at Aen.9.473 ff. Interea pauidam uolitans pinnata per urbem nuntia Fama ruit matrisque adlabitur auris Euryali. at subitus miserae calor ossa reliquit, 440 Also note the dicolon abundans (cf. p.35, n.118) together with hendiadys (cf. p.224, n.690) hausit / spumantem pateram et pleno se proluit auro, where the second clause intensifies the theme with iconic expressiveness: the word order here reflects strikingly the meaning of the passage (cf. pp.245 ff.). 441 On the syntactical pause after a bucolic diaeresis see p.37, n.126; on the collocation of ocius in contre-rejet, pp.145 f.

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where synaloepha at the sense-break highlights the mother’s immediate (subitus) reaction on receiving the news of her son’s death.442 In a number of passages the après-rejet follows the rejet of a verb with iconic weight, as at Aen.6.53b ff. et talia fata conticuit. gelidus Teucris per dura cucurrit ossa tremor, funditque preces rex pectore ab imo:

(the Sibyl falls silent and a tremor runs through Aeneas); and at Aen.5.641 ff. haec memorans prima infensum ui corripit ignem sublataque procul dextra conixa coruscat et iacit. arrectae mentes stupefactaque corda Iliadum.

(Iris hurls a firebrand onto the ships and the Trojan women stand bewildered). In other instances the reaction is realized in a shout, as at Aen.12.728 ff. Emicat hic impune putans et corpore toto alte sublatum consurgit Turnus in ensem et ferit: exclamant Troes trepidique Latini,

with juxtaposition of verbs (Turnus delivers the blow; the spectators’ shout follows); at Aen.10.796 ff. proripuit iuuenis seseque immiscuit armis iamque adsurgentis dextra plagamque ferentis Aeneae subiit mucronem ipsumque morando sustinuit; socii magno clamore sequuntur,

(the socii accompany their comrade’s initiative with shouting); and at Aen.10.260 ff. Iamque in conspectu Teucros habet et sua castra, stans celsa in puppi, clipeum cum deinde sinistra extulit ardentem. clamorem ad sidera tollunt

(Aeneas raises his shield and his companions greet the gesture with enthusiasm). Those instances in which the sequence stupet inscius opens the après-rejet after the hephthemimeral (3½) merit special attention: Aen.2.304 ff. 442 See p.176.



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in segetem ueluti cum flamma furentibus Austris incidit, aut rapidus montano flumine torrens sternit agros, sternit sata laeta boumque labores praecipitesque trahit siluas; stupet inscius alto accipiens sonitum saxi de uertice pastor.

(the shepherd is horrified by the might of the torrent); Aen.7.378 ff. ceu quondam torto uolitans sub uerbere turbo, quem pueri magno in gyro uacua atria circum intenti ludo exercent, ille actus habena curuatis fertur spatiis; stupet inscia supra impubesque manus mirata uolubile buxum;

(the children are enchanted by the spinning top’s movement); and again at Aen.10.246 ff. dixerat et dextra discedens impulit altam haud ignara modi puppim: fugit illa per undas ocior et iaculo et uentos aequante sagitta; inde aliae celerant cursus. stupet inscius ipse Tros Anchisiades, animos tamen omine tollit.

(Aeneas is amazed by the speed that Cymodocea has given to his ship). Particularly expressive are also those instances in which the pronoun ille is collocated in contre-rejet after the bucolic diaeresis, as at Aen.8.387 ff. dixerat et niueis hinc atque hinc diua lacertis cunctantem amplexu molli fouet. ille repente accepit solitam flammam, notusque medullas intrauit calor et labefacta per ossa cucurrit,

Vulcan, as usual (note the juxtaposition solitam flammam with homoeoteleuton), does not know how to resist his wife’s allure and after a brief hesitation (cunctantem) is suddenly won over by Venus’ repeated and irresistible embraces.443 A similar effect also characterizes Aen.1.404b ff.

443 Eden 1975, ad loc. stresses the expressiveness of the passage: ‘The emphatic balance cunctantem . . . repente points a line whose rhythm so aptly reflects its sense: heterodyned spondees for his reluctance and the fondling embrace which gradually overcomes it, then his elec­­ t­rified response in a rapid dactylic unit’. On homoeoteleuton see p.54, n.182.

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pedes uestis defluxit ad imos, et uera incessu patuit dea. ille ubi matrem agnouit tali fugientem est uoce secutus: ‘quid natum totiens, crudelis tu quoque, falsis ludis imaginibus?

(Aeneas recognizes his mother and, in turmoil, reproaches her for not having revealed herself) while in other instances the contre-rejet of ille can underscore agitation, opposition, or a highly pathetic moment, or can highlight the importance of a character.444

B) III b Après-rejet of opposition In a number of instances the après-rejet highlights a sense of opposition. Such a value can be made clear by a conjunction, as at Aen.3.570 f. Portus ab accessu uentorum immotus et ingens ipse; sed horrificis iuxta tonat Aetna ruinis,

Here the après-rejet reinforces the sense of opposition expressed by the adversative sed: in itself the harbour is safe (notice the trochaic rejet of ipse), but its position nullifies this quality.445 A similar level of expressiveness characterizes Aen.7.79 f. namque fore inlustrem fama fatisque canebant ipsam, sed populo magnum portendere bellum.

444 On the hiatus dea. ille see p.190. On ille being placed in relief in contre-rejet (after bucolic diaeresis, after the pause of fifth trochee, at beginning of sixth foot) see Marouzeau 19462, p.306. Other important examples are Aen.1.348 ff. quos inter medius uenit furor: ille Sychaeum / impius ante aras atque auri caecus amore / clam ferro incautum superat (dramatic moment and prominence of furor); 1.500 f. hinc atque hinc glomerantur Oreades; illa pharetram / fert umero gradiensque deas supereminet omnis (highlights the importance of Diana); 6.432 f. quaesitor Minos urnam mouet; ille silentum / conciliumque uocat uitasque et crimina discit (highlights the importance of Minos); 8.443 f. praecipitate moras.’ nec plura effatus; at illi / ocius incubuere omnes (command–execution); 9.221 f. acceleremus’ ait. uigiles simul excitat: illi / succedunt (command– execution); 10.195 f. ingentem remis Centaurum promouet: ille / instat aquae (push–movement); 10.348 f. uocem animamque rapit traiecto gutture; at ille / fronte ferit terram (strike–fall); 12.304b ff. Podalirius Alsum / pastorem primaque acie per tela ruentem / ense sequens nudo superimminet; ille securi / aduersi frontem mediam mentumque reducta / dissicit et sparso late rigat arma cruore (confusion, and prominence given to the weapon, cf. p.252, n.788). 445 Cf. Williams 1962, ad loc.



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which presents us with the expressive rejet of ipsam (Lavinia will herself have great fame, but will carry a long war to her people),446 and also with the same value G.4.273 ff. namque uno ingentem tollit de caespite siluam aureus ipse, sed in foliis, quae plurima circum funduntur, uiolae sublucent purpura nigrae;

where the opposition is in colour-terms. Particularly expressive is Aen.9.310b ff. nec non et pulcher Iulus, ante annos animumque gerens curamque uirilem, multa patri mandata dabat portanda: sed aurae omnia discerpunt et nubibus inrita donant.

where the new syntactical start at fifth trochee emphasizes, with a touch of pathos, a sense of opposition: the words which Ascanius sends to his father are blown away by the winds. In other instances the après-rejet consists of asyndeton aduersatiuum, 447 as at Aen.10.769 ff.

446 Cf. Horsfall 2000, ad loc. (who notes the rarity of rejet of a spondaic word) and Fordyce 1977, ad loc.: ‘emphatically placed in enjambment with a following pause to point the contrast’. 447 On asyndeton aduersatiuum see Kühner–Stegmann 19122, II, pp.156 f. Among the most striking instances we can cite Aen.1.209 spem uultu simulat, premit altum corde dolorem; 2.601 ff. non tibi Tyndaridis facies inuisa Lacaenae / culpatusue Paris, diuum inclementia, diuum / has euertit opes, with pathetic geminatio (cf. p.113, n.366); 10.79 f. quid soceros legere et gremiis abducere pactas, / pacem orare manu, praefigere puppibus arma?, with nouns opposite in meaning framing the line (for a similar but less evident opposition, 1.184 f. nauem in conspectu nullam, tris litore ceruos / prospicit errantis); 10.372 f. fidite ne pedibus: ferro rumpenda per hostis / est uia, with rhetorical contrast between pedibus and ferro, chiastically juxtaposed (cf. Harrison 1991, ad loc. and here p.234) and with the postposition of ne putting emphasis on pedibus (cf. p.55, n.183). In some cases the opposition is further stressed by the use of personal pronouns, as at B.1.1 ff. Tityre, tu patulae recubans sub tegmine fagi / siluestrem tenui Musam meditaris auena. / nos patriae finis et dulcia linquimus arua (they underline the programmatic antithesis. Cf. Traina 20042, ad loc.); Aen. 1.247b ff. ille […] nunc placida compostus pace quiescit: / nos, tua progenies, caeli quibus adnuis arcem, / nauibus (infandum!) amissis unius ob iram / prodimur atque Italis longe disiungimur oris (asyndeton and personal pronoun stress a note of indignation in Venus’ words); 2.374b f. alii rapiunt incensa feruntque / Pergama: uos celsis nunc primum a nauibis itis?’ and 12.662b ff. circum hos utrimque phalanges / stant densae strictisque seges mucronibus horret / ferrea; tu currum deserto in gramine uersas.’ (with a scornuful note. Cf. p.127).

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hunc contra Aeneas speculatus in agmine longo obuius ire parat. manet imperterritus ille, hostem magnanimum opperiens, et mole sua stat;

where the antithesis is rendered by means of juxtaposition of verbs indicating opposite concepts: Aeneas prepares to attack, Mezentius awaits him, unafraid and firm in his physical mass.448 Other instances of asyndeton aduersatiuum in après-rejet are found at Aen.8.497 ff. toto namque fremunt condensae litore puppes signaque ferre iubent, retinet longaeuus haruspex fata canens:

at Aen.11.445 f. Illi haec inter se dubiis de rebus agebant certantes; castra Aeneas aciemque mouebat.

at Aen.3.493 f. ‘uiuite felices, quibus est fortuna peracta iam sua: nos alia ex aliis in fata uocamur.

where the first person pronoun, juxtaposed with the possessive sua in rejet, underscores the different lots of the two groups; and at Aen.11.581 ff. multae illam frustra Tyrrhena per oppida matres optauere nurum: sola contenta Diana aeternum telorum et uirginitatis amorem intemerata colit.

where emphasis is given to the voluntary isolation of Camilla, who has consec­ rated her life to Diana, while numerous Tyrrhenian mothers would love to have her as their daughter-in-law.

B) III c Immediacy of the action, excitement The après-rejet, apart from underlining a relation of cause and effect between two actions, is also exploited to highlight an idea of immediacy or excitement. 448 For stylistic analysis see pp.213 f.



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Here those instances are paradigmatic where the syntactical movement opens with adjectives, adverbs and verbs expressing an idea of speed, such as subitus, ocius, mox, fugio, uolo, sequor, insequor, and subeo.

B) III c 1 Subitus, ocius, mox An exemplary instance of this category is Aen.11.608 ff. iamque intra iactum teli progressus uterque substiterat: subito erumpunt clamore furentisque exhortantur equos;

a passage whose expressiveness springs from a studied coincidence of stylistic factors. The rejet of substiterat indicates the sudden halt of the two sides, whereas the après-rejet underscores the unexpected and rapid rush forward. Also noteworthy is the effect of synaloepha in subito erumpunt – which blurs the caesura at penthemimeral (2½), lending energy to the line – and the change in verb tense. The hypermetric syllable in furentisque and the rejet of the verb also contribute to highlight the excitement of the passage.449 Similar synaloepha and rhythm are found at Aen.7.92 ff. hic et tum pater ipse petens responsa Latinus centum lanigeras mactabat rite bidentis, atque harum effultus tergo stratisque iacebat uelleribus; subita ex alto uox reddita luco est:

We have here a strong contrast between the sense of quiet, conveyed by the imperfect of the verb iaceo, and the immediacy (subita) of the perfect (reddita est).450 It is interesting to note how the semantics of the adverb ocius are often underlined by the word’s collocation in contre-rejet. In addition to those instances quoted of reaction to commands or signals, we may also note Aen.10.786b ff. sed uiris haud pertulit. ocius ensem Aeneas, uiso Tyrrheni sanguine laetus, eripit a femine et trepidanti feruidus instat. 449 See p.161 and 182. 450 On this passage see also p.161. A similar change in verb tense characterizes Aen.3.135 ff. Iamque fere sicco subductae litore puppes, / conubiis aruisque nouis operata iuuentus, / iura domosque dabam; subito cum tabida membris / corrupto caeli tractu miserandaque uenit / arboribusque satisque lues et letifer annus, where, however, the syntactical start placed after the penthemimeral (2½) lends the line a less dynamic rhythm.

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(Aeneas pursues Mezentius); and Aen.5.827 ff. Hic patris Aeneae suspensam blanda uicissim gaudia pertemptant mentem; iubet ocius omnis attolli malos, intendi bracchia uelis.

(Aeneas, after an initial delay – the effect of suspense in the long hyperbaton suspensam . . . mentem reflects his hesitation – is now determined to resume his voyage quickly). Similar expressiveness can be seen at Aen.3.596 ff. isque ubi Dardanios habitus et Troia uidit arma procul, paulum aspectu conterritus haesit continuitque gradum; mox sese ad litora praeceps cum fletu precibusque tulit:

where the semantics of the adverb mox augments the effect of paulum in the preceding line: Achaemenides hesitates for a moment when he sees the Trojans, but suddenly decides to approach them.

B) III c 2 Verbal forms In this category we include those instances in which a sense of speed expressed by the semantics of a verb is reinforced by the verb’s collocation at the beginning of the après-rejet. A particularly illustrative example is at Aen.4.160 f. Interea magno misceri murmure caelum incipit, insequitur commixta grandine nimbus,

where the juxtaposition of verbs linked by alliteration of the prefixes451 gives prominence to the immediate succession of the two events: thunder is immed­ iately followed by hail. Juxtaposition of verbs is also expressive at Aen.11.805 f. concurrunt trepidae comites dominamque ruentem suscipiunt. fugit ante omnis exterritus Arruns

(Arruns wounds Camilla and flees, terror-struck, while her companions are still supporting the dying warrior-maiden)452; at Aen.12.407b ff.

451 On this type of alliteration see p.108, n.349. 452 On the effect of a sequence of anapaestic words (trepidae comites) stressing an idea of rap­ idity see p.72, n.236.



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iam puluere caelum stare uident: subeunt equites et spicula castris densa cadunt mediis.

(a cloud of dust arises in the distance out of which the horsemen suddenly appear);453 and in the analogous instance at G.3.66 f. optima quaeque dies miseris mortalibus aeui prima fugit; subeunt morbi tristisque senectus

(the days of youth flee to give way immediately to the arrival of old age and illness).

B) III d Explanatory après-rejet In a number of passages the après-rejet has an explanatory value, or specifies what has been expressed in the preceding syntactical unit (asyndeton explicatiuum). Sometimes the presence of enim (or nam) makes the relation between the two clauses explicit, as at Aen.3.377 ff. pauca tibi e multis, quo tutior hospita lustres aequora et Ausonio possis considere portu, expediam dictis; prohibent nam cetera Parcae scire Helenum farique uetat Saturnia Iuno.

or Aen.7.531 ff. hic iuuenis primam ante aciem stridente sagitta, natorum Tyrrhi fuerat qui maximus, Almo, sternitur: haesit enim sub gutture uulnus et udae uocis iter tenuemque inclusit sanguine uitam.

while in most instances the logical relation remains implicit, as at Aen.12.451 ff. qualis ubi ad terras abrupto sidere nimbus it mare per medium (miseris, heu, prescia longe horrescunt corda agricolis: dabit ille ruinas arboribus stragemque satis, ruet omnia late), 453 Cf. Tarrant 2012, ad loc.: ‘the thick dust is closely followed by its cause, the onrushing horsemen’.

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where the contre-rejet explains the cause of the farmers’ fear.454 Those lines with juxtaposition of verbs are particularly expressive, as at Aen.4.450 f. Tum uero infelix fatis exterrita Dido mortem orat; taedet caeli conuexa tueri.

where the two-part rejet, mortem orat, is explained by the après-rejet with the verb of sentiment in first position: Dido desires death, because she is now tired of seeing the light of the sky. A clear self-echo of this passage is at Aen.5.676 ff. ast illae diuersa metu per litora passim diffugiunt siluasque et sicubi concaua furtim saxa petunt; piget incepti lucisque, suosque mutatae agnoscunt, excussaque pectore Iuno est.

(the Trojan women, ashamed of having set fire to the ships, avoid the light of the sun). Worth noting finally are those instances in which the clause preceding the après-rejet has a clear weight of after-effect, as at Aen.11.547 ff. ecce fugae medio summis Amasenus abundans spumabat ripis: tantus se nubibus imber ruperat.455

Aen.7.446 ff. at iuueni oranti subitus tremor occupat artus, deriguere oculi: tot Erinys sibilat hydris tantaque se facies aperit;

Aen.7.327 ff. 454 This is the case, for example, at Aen.2.180 ff. et nunc quod patrias uento petiere Mycenas, / arma deosque parant comites pelagoque remenso / improuisi aderunt: ita digerit omina Calchas; 3.396 ff. has autem terras Italique hanc litoris oram, / proxima quae nostri perfunditur aequoris aestu, / effuge: cuncta malis habitantur moenia Grais; 5.680 ff. Sed non idcirco flamma atque incendia uires / indomitas posuere; udo sub robore uiuit / stuppa uomens tardum fumum; 8.330 ff. tum reges asperque immani corpore Thybris, / a quo post Itali fluuium cognomine Thybrim / diximus: amisit uerum uetus Albula nomen. 455 Cf. Gransden 1991, ad loc.: ‘tantus . . . ruperat explains the previous sentence: the constr. is paratactic […]. In prose the clauses would be reversed, and tantus imber se ruperat would be followed by ut’.



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odit et ipse pater Pluton, odere sorores Tartareae monstrum: tot sese uertit in ora, tam saeuae facies, tot pullulat atra colubris.

and Aen.6.237 ff. spelunca alta fuit uastoque immanis hiatu, scrupea, tuta lacu nigro nemorumque tenebris, quam super haud ullae poterant impune uolantes tendere iter pinnis: talis sese halitus atris faucibus effundens supera ad conuexa ferebat

This structure, attributable to Virgil’s tendency to avoid subordinate clauses, emphasizes the adjective in first position of the après-rejet.

B) III e Epic closures and sententiae In this final section we discuss a series of metrical–syntactical structures which in Virgil have the function of closure. In some instances these concluding periods, of clear Homeric origin, stop the action with a descriptive addition or close the syntactical movement with a statement.456 We begin with the descriptive. A striking closure is found at Aen.2.358b ff. per tela, per hostis uadimus haud dubiam in mortem mediaeque tenemus urbis iter; nox atra caua circumuolat umbra.

where the narrative is interrupted by a marked graphic note: the Trojans are about to attempt a desperate undertaking and are enveloped by darkness. 457 In some instances a colour-note expresses consequence, as at Aen.8.694 f. stuppea flamma manu telisque uolatile ferrum spargitur, arua noua Neptunia caede rubescunt.

(the waves are coloured by blood after the shafts have been thrown); at Aen.12.740 f. mortalis mucro glacies ceu futtilis ictu dissiluit: fulua resplendent fragmina harena. 456 See Robaey 1983, pp.113–128 and Conte 20072, pp.157–163. See also p.29, n.104. 457 The self-echo at Aen.6.866 sed nox atra caput tristi circumuolat umbra.’, where the phrase refers to the doomed Marcellus, perhaps suggests that the shadows are an image of impending doom (cf. Moskalew 1982, p.102).

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(the fragments of the blade glitter on the sand); or at Aen.11.696 ff. tum ualidam perque arma uiro perque ossa securim altior exsurgens oranti et multa precanti congeminat: uulnus calido rigat ora cerebro.

(at the axe’s blow the wound sprays the warrior’s face). 458 In other instances the closure adds an auditory note, as at Aen.12.720 ff. illi inter sese multa ui uulnera miscent cornuaque obnixi infigunt et sanguine largo colla armosque lauant, gemitu nemus omne remugit:

(the bulls fight and the whole forest echoes with their roars); and at Aen.8.449b ff. alii uentosis follibus auras accipiunt redduntque, alii stridentia tingunt aera lacu; gemit impositis incudibus antrum;

(the Cyclopes are intent upon their work and Vulcan’s forge resounds). The closure can present both an explanatory and descriptive value, adding a note on a character’s physical or psychological state, as at Aen.8.223b f. fugit ilicet ocior Euro speluncamque petit, pedibus timor addidit alas.

(Cacus flees towards his cave, fear lending wings to his feet); at Aen.9.498 f. hoc fletu concussi animi, maestusque per omnis it gemitus: torpent infractae ad proelia uires.

(all are lamenting Euryalus’ death, and their strength for battle is weakened); and again at Aen.4.72b f. illa fuga siluas saltusque peragrat Dictaeos; haeret lateri letalis harundo.

Particularly expressive are those instances in which a sententia or question in a tone of pathos is contained in a coda to a syntactical movement. A paradigmatic instance is found in the very first lines of the Aeneid, at 1.8 ff.

458 On the last three passages see p.76, p.87 and p.88, respectively.



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Musa, mihi causas memora, quo numine laeso quidue dolens regina deum tot uoluere casus insignem pietate uirum, tot adire labores impulerit. tantaene animis caelestibus irae?

where the poet’s question, in a note of pathos, is added to the long syntactical movement which carries the invocation to the Muse, whereas it is Aeneas who speaks at Aen.1.202b f. reuocate animos maestumque timorem mittite; forsan et haec olim meminisse iuuabit.

and at Aen.2.668 ff. arma, uiri, ferte arma; uocat lux ultima uictos. reddite me Danais, sinite instaurata reuisam proelia: numquam omnes hodie moriemur inulti.’

In both these passages he instils courage in his companions. In two other instances the closure throws Dido’s lapidary words into relief: at Aen.4.22 f. solus hic inflexit sensus animumque labantem impulit. agnosco ueteris uestigia flammae.

(the queen recognizes with dismay that she is yet again in love); and at Aen.4.622 ff. tum uos, o Tyrii, stirpem et genus omne futurum exercete odiis, cinerique haec mittite nostro munera. nullus amor populis nec foedera sunto.

where, by now betrayed by Aeneas, she gives voice to the hatred that will henceforth divide Carthaginians and Trojans.

Chapter 2  Poetry and rhythm: on metrical expressiveness “In his handling of metre Virgil listened to the voice of imagination as well as to that of rule.” (Austin 1955, ad Aen.4.64)

From consideration of passages in the preceding chapter the basic force of rhythm in stylistic analysis emerges clearly. In this chapter we analyse in detail a number of metrical and rhythmical figures, aiming to isolate the effects which they portray. We need to specify that a certain rhythm is not expressive per se, but must always be weighed and measured within its context and in the light of its signif­i­ cant convergence with other stylistic factors. A further check which is necessary if we are to identify more clearly the expressiveness of a metrical figure (such as synaloepha, hypermetric verses, hiatus, the rare monosyllabic or polysyllabic line-end) consists, as we have explained repeatedly, in comparison with passages which display clear thematic and formal analogies.

A) Stylistic effects of synaloepha The major Virgilian commentaries contain stimulating notes which invite us to consider synaloepha not just as a metrical expedient, but also on occasion as a refined stylistic figure.459 The interpretation of a phenomenon so very recurrent in the Aeneid (more than one synaloepha in every two lines)460 can only, however, be methodologically correct if we begin by selecting parameters on the basis of which to evaluate its stylistic importance. If the tone and prosody of the syl­lables in synaloepha are certainly important aspects of the phenomenon, we need to recognize that our own linguistic sensibility does not allow us to assess

459 In the main commentaries on the Aeneid the expressive use of synaloepha is variously def­ ined as ‘pictorial elision’ (Austin 1964, ad Aen.2.45; Williams 1960, ad Aen.5.235–238), ‘sinalefe iconica’ (Traina 20042, ad Aen.1.31 f.), ‘descriptive elision’ (Williams 1962, ad Aen.3.655–658), ‘path­­etic elision’ (Gransden 20042, p.51), ‘emotional elision’ (Hardie 1994, ad Aen 9.481 f.), ‘gasping synaloepha’ (Horsfall 2006, ad Aen.3.523). For stylistic interpretations of the phenomenon see Winbolt 1903, pp.166 ff. (above all pp.179 f.); Hellegouarc’h 1964, pp.253–6 (on monosyl­ lables); Gransden 1991, pp.25 f., and 20042, pp.47 ff.; Tarrant 2012, pp.41 f.; von Albrecht 2006, p.166.; and above all Soubiran 1966, pp.613–645. 460 In all of Latin hexametric poetry we only find a higher frequency of synaloepha in the fragments of Lucilius. Cf. Ceccarelli 2008, pp.125 f. (with further references).



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their effects. Other aspects, however, may be considered, of equal importance and clearly perceptible to us, such as the position of synaloepha in the line, the rel­­ ation with metrical–syntactical pauses, convergence with hyperbaton, significant density in stylistically studied contexts, and finally the length of the words used. Synaloepha, like other metrical figures, does not per se portray any stylistic effect, but can contribute to reinforce iconically the sense of a passage in different ways. In particular, synaloepha can be iconic when it converges with an ordo uerborum which is already clearly iconic, coincides with a metrical pause, comes into conflict with a syntactical pause, or adds even more density in particularly pathetic passages.

A) I Synaloepha and iconic word order I would like to use the term ‘pictorial synaloepha’ for the particular synaloepha which strengthens the iconic expressiveness of hyperbaton or juxtaposition of two words.461

A) I a To hide, to hug Synaloepha of a monosyllable can be exploited to reflect iconically a sense of disappearance or hiding. To be plausible this interpretation must always consider the semantics of a passage and above all the disposition of the words in a line. A paradigmatic instance is at Aen.4.570b sic fatus nocti se immiscuit atrae.

where synaloepha of the monosyllabic pronoun reflects metrically Mercury’s disappearance,462 converging with a clearly iconic ordo uerborum: the hyperbaton nocti . . . atrae wraps around the pronoun, as the darkness wraps around the god.463 This interpretation is confirmed by the self-echo at Aen.10.664

461 My intention is to restrict to those specific instances the terminology ‘pictorial elision’, often used by Austin for passages which present different iconic typologies. 462 Cf. Austin 1955, ad loc. Synaloepha of monosyllables (on which see the full detailed analysis of Hellegouarc’h 1964, pp.242–256 and Soubiran 1966, pp.387–435) can also lend an archaic pati­ na (cf. also Harrison 1991, ad Aen.10 19 with bibliography). 463 On this ‘wrapping round’ hyperbaton see p.248. Note also the marked position of the adjective atrae, postponed and at line-end (cf. pp.220 f.).

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sed sublime uolans nubi se immiscuit atrae.

and again at Aen.11.815 contentusque fuga mediis se immiscuit armis.

where the hyperbaton encloses the pronoun se iconically, underlining the predicative value of medius (medius . . . armis = ‘in the midst of his comrades’), while the synaloepha reflects the disappearance of the warrior: Arruns, after having killed Camilla, disappears into the mixed ranks. In the absence of iconic disposition of the words the effect is notably more elusive, as appears clear at Aen.2.604 ff. aspice (namque omnem, quae nunc obducta tuenti mortalis hebetat uisus tibi et umida circum caligat, nubem eripiam;

where it is somewhat difficult to hypothesize that the solitary synaloepha in nubem eripiam reflects iconically the fading of the cloud.464 Clearly iconic, on the other hand, are those instances in which hyper­baton converges with synaloepha and encloses a polysyllabic word, underlining the semantics of a verb expressing embrace or siege.465 A typical example is at Aen.8.369 nox ruit et fuscis tellurem amplectitur alis.

where, again within significant convergence of stylistic factors, the idea of wrapping round, expressed by the semantics of the verb and the hyperbaton

464 That is how Austin 1964, ad loc. interprets it: ‘the elision acts as a metrical counterpart to the action’ (on the ample hyperbaton omnem . . . nubem see here p.254). Conceivable, even tempting, are his observations on the iconicity of synaloepha at Aen.2.45 aut hoc inclusi ligno occultantur Achiui – ‘the elision in ligno occultantur is pictorial (Virgil could have written ligno celantur), the disappearing vowel illustrating the self-concealment of the Greeks’ – ; and at 2.134 eripui, fateor, leto me et uincula rupi (‘metrical picture of Sinon’s disappearing act’). In the first case the ordo uerborum does not suggest an idea of concealment, as in the examples we commented on above, while in the second the metaphorical expression does not lend itself to being rendered iconically. 465 Soubiran 1966, p.622, observes that synaloepha is sometimes used to underline an idea of ‘embrassement’ {embrace}.



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(fuscis . . . alis), is strengthened by synaloepha: the earth is hugged by the dark wings of night.466 Analogous to the image of a hug is that of a siege. At Aen.8.647 accipere ingentique urbem obsidione premebat;

the iconic hyperbaton ingenti . . . obsidione embraces, as in a suffocating grip, the noun urbem, reduced by synaloepha to a monosyllable. The same applies at Aen.3.52 Dardaniae cingique urbem obsidione uideret.

where the noun urbem in the middle of the line is iconically enclosed between the terms cingi and obsidione.

A) I b Fusion or conflict In other instances synaloepha converges with the expressive juxtaposition of two words, underscoring an idea of either fusion or conflict.467 A typical case is at Aen.3.500 ff. si quando Thybrim uicinaque Thybridis arua intraro gentique meae data moenia cernam, cognatas urbes olim populosque propinquos, Epiro Hesperiam (quibus idem Dardanus auctor atque idem casus), unam faciemus utramque Troiam animis;

where juxtaposition of the place-names Epiro Hesperiam, which already in itself highlights the propinquity of the two peoples, is empowered by synaloepha, which underlines iconically the idea of fusion: Epirus and Hesperia will, at least in spirit, be reunited into a single Troy.468 Another strongly expressive passage is found at Aen.12.836b f.

466 See p.16. The iconic effect springs from convergence of the two figures. This appears evident in those instances in which the verb amplector is in synaloepha with an object–complement, but is not accompanied by hyperbaton, as at Aen.3.607 dixerat et genua amplexus genibusque uolutans. It is better to avoid comments on iconic expressiveness in instances such as this. 467 Cf. Soubiran 1966, pp.622 ff., and here pp.227 ff. 468 The concept of propinquity must be intended in both a spatial and kinship sense. Cf. Horsfall 2006, ad loc.

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morem ritusque sacrorum adiciam faciamque omnis uno ore Latinos;

where the idea of fusion is highlighted both by the meaningful juxtaposition of omnis uno and by the synaloepha uno ore.469 Rather than the idea of fusion, synaloepha can instead reinforce an idea of conflict or opposition. A classic example is at Aen.1.12 ff. Vrbs antiqua fuit (Tyrii tenuere coloni) Karthago, Italiam contra Tiberinaque longe ostia,

where the metrical figure has the function of further highlighting the meaningful juxtaposition of the names of the two rival cities (gained through enjambement of Karthago), following a typical model in Greek and Latin poetry.470

A) II Synaloepha and rhythm When synaloepha blurs one or more caesurae it lends a distinctive rhythm to the verse and can reinforce an idea of excitement, rapidity, violence, conflict, fear or agitation, expressed by the semantics of the context.471

469 Cf. Tarrant 2012, ad loc.: ‘the elision of one long o into another reflects the sense’. On juxtaposition of the omnis–unus type see here pp.235 f. 470 For the importance of this synaloepha see Soubiran 1966, p.623; on juxtaposition of the words Karthago Italiam see here p.228. 471 For the relation between synaloepha and caesura see Winbolt 1903, p.177 (‘in caesuras elis­ ions are felt to be awkward) and for a full detailed investigation Soubiran 1966, pp.515–553. For the stylistic importance of blurring of a caesura through collocation of a preposition or conjunction by means of synaloepha (e.g. Aen.6.422 corripit obiectam atque immania terga resoluit) see p.83, n.275.



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A) II a Rapidity, urgency, commotion Collocation of synaloepha at a caesura frequently has a stylistic motive: forcing the reader towards a faster recitation, 472 it underscores the idea of rapidity or commotion expressed by the semantics of the line.473 A typical example of this category is at Aen.4.278 (= 9.658) et procul in tenuem ex oculis euanuit auram.

where, in a line with a dactylic rhythm, synaloepha converges with the location of prepositions before the principal caesurae, strongly underlining the semantics of the passage: Mercury vanishes immediately into the air.474 This stylistic effect is confirmed at Aen.4.388 f. his medium dictis sermonem abrumpit et auras aegra fugit seque ex oculis auertit et aufert,

where the sense of speed expressed by the semantics of the line is again reinforced by the rhythm, by collocation of the preposition before a caesura and by synaloepha; at Aen.11.462 corripuit sese et tectis citus extulit altis.

at Aen.9.378 sed celerare fugam in siluas et fidere nocti. 472 See Soubiran 1966, p.314, who on Aen.4.54 his dictis impenso animum inflammauit amore observes: ‘l’absence d’hephthémimère et la succession des deux élisions obligent à prononcer les quatre derniers mots d’un seul trait, sans reprendre haleine, ce que Virgile a pu juger propre à suggérer l’emportement d’une passion désormais exclusive’ {the absence of the hephthemimeral and the succession of two elisions obliges us to pronounce the last four words all at once, without taking breath, which Virgil would judge appropriate to suggest the anger of a passion from henceforth intractable}. 473 See Soubiran 1966, pp.631–634, for a number of instances in which synaloepha makes ‘plus sensible l’agitation, la hâte, la passion, la volubilité’ {more perceptible the agitation, the speed, the passion, the volubility}. 474 Cf. von Albrecht 2006, p.166, who, citing this very passage as an example of expressive blurring of the caesura, observes: ‘Beim plötzlichen Verschwinden Mercurs werden die ersten beiden Zäsuren des Verses durch in und ex überspielt […]. So tritt atemlose Beschleunigung ein. Erst im vierten Fuß folgt – absichtlich verspätet – eine Zäsur.’ {At Mercury’s unexpected disappearance the first of the line’s two caesurae is blurred by means of “in” and “ex” […], so starting a breathless acceleration. Only at the fourth foot follows – with intentional delay – a caesura.}’. See also p.83, n.275.

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and at Aen.12.372 f. obiecit sese ad currum et spumantia frenis ora citatorum dextra detorsit equorum.

where the rhythm of the line is influenced by the double synaloepha. In a number of instances the effect appears even more marked, if we do not limit ourselves to single lines, but look at more ample contexts. Consider, for example, Aen.6.469 ff. illa solo fixos oculos auersa tenebat nec magis incepto uultum sermone mouetur quam si dura silex aut stet Marpesia cautes. tandem corripuit sese atque inimica refugit in nemus umbriferum, coniunx ubi pristinus illi respondet curis aequatque Sychaeus amorem.

where, in a passage otherwise devoid of synaloepha, the double synaloepha in atque, common per se,475 acquires a particular expressiveness, strongly underscoring the immediacy of the action: Dido listens, impassive and immobile, to Aeneas, and then flees at speed into the woods and the arms of her husband Sychaeus. The first line, a clear self-echo of Aen.1.482 diua solo fixos oculos auersa tenebat (the women pray to the statue of Pallas Athene who remains impassive), gives here a further suggestion: Dido is immobile, like the statue of a goddess who remains unresponsive to the desperate prayers of the supplicants.476 Synaloepha also helps to reinforce a sense of speed at Aen.7.25 ff. Iamque rubescebat radiis mare et aethere ab alto Aurora in roseis fulgebat lutea bigis, cum uenti posuere omnisque repente resedit flatus,

475 Synaloepha of atque is very common in Latin poetry. The rare unelided form (of the 297 occurrences in the Aeneid there are only 34 instances) is normally used to convey solemnity or lend an archaic tone to the passage. Cf. Harrison 1991, ad Aen.10.51 f. (with ample bibliography); Horsfall 2000, ad Aen.7.473; and the detailed study (from Catullus to Juvenal) made by Butterfield 2008, pp.386–413. 476 On this self-echo see Moskalew 1982, p.159. The idea of immobility is highlighted by the monosyllable stet, put into relief in arsi (cf. Austin 1977, ad loc.: ‘the monosyllabic verb sounds as rock-like as its meaning’). See also p.214, n.661 on stat placed emphatically at the beginning and the end of a line.



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where line 27 has trochaic caesurae at both fourth and fifth feet;477 and at Aen.8.524 f. namque improuiso uibratus ab aethere fulgor cum sonitu uenit et ruere omnia uisa repente,478

Double synaloepha of atque again expresses immediacy at Aen.6.419 ff. cui uates, horrere uidens iam colla colubris, melle soporatam et medicatis frugibus offam obicit. ille fame rabida tria guttura pandens corripit obiectam atque immania terga resoluit

Cerberus devours voraciously the offa thrown to him by the Sibyl and at once falls asleep.479 Synaloepha is again clearly expressive at Aen.4.8 f. cum sic unanimam adloquitur male sana sororem: ‘Anna soror, quae me suspensam insomnia terrent!

where it blurs the caesura at penthemimeral (2½), iconically highlighting Dido’s urgency in turning to her sister Anna.480 This stylistic interpretation of the passage is confirmed by analogous instances (with the lack of third foot caesura), such as Aen.4.222 f. tum sic Mercurium adloquitur ac talia mandat: ‘uade age, nate, uoca Zephyros et labere pinnis

(here the idea of urgency is clearly expressed in the second line by the sequence of four bisyllabic words);481 Aen.1.594 ff. 477 See p.199, n.610. A probable model for this line is Enn. Ann.46 Sk. Haec ecfatus pater, germana, repente recessit. 478 Cf. Eden 1975, ad loc.: ‘The rhythm of the line is unusual: it suggests speed by means of dactyls, and disturbance by means of the elision ruer(e) omnia and the slight pause after uenit’. 479 On the effect of these synaloephae see von Albrecht 2006, p.166; for analysis of this passage see here p.72 and 137. 480 Austin 1955, ad loc. observes that the synaloepha is a ‘metrical picture of urgency’. 481 Also notable is the lengthening in arsi of the final syllable of adloquitur. This phenomenon generally happens with syllables which were in origin long and are located before the main caesura. There is no lack, however, of ‘irrational’ lengthening, that is, of originally short syllables, as at Aen.2.411 nostrorum obruimur oriturque miserrima caedes or 4.64 pectoribus inhians spirantia consulit exta (further examples in Kent 1948). For discussion of the phenomenon see Nettle-

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tum sic reginam adloquitur cunctisque repente inprouisus ait: ‘coram, quem quaeritis, adsum, Troius Aeneas, Libycis ereptus ab undis.

(Aeneas unexpectedly reveals himself to the astounded Dido); and Aen.10.228 f. tum sic ignarum adloquitur: ‘uigilasne, deum gens, Aenea? uigila et uelis immitte rudentis.

(Cymodocea turns to Aeneas).482 Marked energy is also given to the verse by synaloepha which joins two words located between trihemimeral (1½) and hephthemimeral (3½),483 as at Aen.6.236 His actis propere exsequitur praecepta Sibyllae.

Here synaloepha and anapaestic rhythm (propere exsequitur) reinforce iconically the idea of the speed of the action.484 We find a similar stylistic effect at Aen.6.382 f. his dictis curae emotae pulsusque parumper corde dolor tristi; gaudet cognomine terra.

where, as in the preceding instance, after an ablative absolute synaloepha joins two words isolated between trihemimeral (1½) and hephthemimeral (3½), highlighting the consequences of the actions: Aeneas’ words drive anxiety and sadness out of Palinurus’ heart. In other examples synaloepha highlights the semantics of the adjective subitus, as at the paradigmatic Aen.11.608 ff.

ship’s Excursus to Conington–Nettleship 1881–18834, vol. III, pp.465–70; Norden 19574, pp.450 ff.; Austin 1971, ad Aen.1.308; Fordyce 1977, ad Aen.7.174, and 1961, ad Cat. 64.20; Horsfall 2008, ad Aen.2.411. On the lengthening at end of the hexameter and before quadrisyllabic nouns of Greek origin (e.g. G.4.137 tondebat hyacinthi; Aen.7.398 canit hymenaeos; 10.720 profugus hymenaeos; 11.69 languentis hyacinthi) see Fordyce 1977, ad Aen.7.398, and 1961, ad Cat. 64.20; on the lengthening of enclitic -que see here p.193, n.589). These prosodic singularities are ‘literary’ rather than expressive, constituting an elegant echo of Homer (in whom the phenomenon is frequent), and presumably also of Ennius. It is therefore unproductive to attempt to isolate a stylistic effect. 482 Also note the archaic patina of the genitive in -um (cf. Fordyce 1977, ad Aen.7.189), and again the monosyllabic line-end (cf. p.215). 483 On this rhythm, particularly liked by Virgil, see Winbolt 1903, p.177; Austin 1955, ad Aen.4.278; Williams 1960, ad Aen.5.1 and 1962, ad Aen.3.58; and Soubiran 1966, pp.314 f. 484 Cf. Austin 1977, ad loc.: ‘the rhythm suggests Aeneas’ speed, with its quick run to the fourthfoot caesura (no caesura in the third foot), and the slurring elision in propere exsequitur’).



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iamque intra iactum teli progressus uterque substiterat: subito erumpunt clamore furentisque exhortantur equos;

Here the expressiveness of the passage springs from a convergence of various stylistic factors: the rejet of substiterat reflects the sudden halt of the warriors, the après-rejet with synaloepha (subito erumpunt) highlights the immediacy of the attack, while the hypermetric syllable and enjambement underline the com­ motion of the battle.485 A similar stylistic effect characterizes Aen.7.92 ff. hic et tum pater ipse petens responsa Latinus centum lanigeras mactabat rite bidentis, atque harum effultus tergo stratisque iacebat uelleribus; subita ex alto uox reddita luco est:

and Aen.12.420 ff. fouit ea uulnus lympha longaeuus Iapyx ignorans, subitoque omnis de corpore fugit quippe dolor,

where the marked rhythmical difference between the two lines reflects the meticulous application of the treatment, followed by the sudden and unexpected cessation of pain.486 The synaloepha associated with this rhythm can mark a sense of unexpected commotion, as in the masterly example at Aen.8.1 ff. Vt belli signum Laurenti Turnus ab arce extulit et rauco strepuerunt cornua cantu, utque acris concussit equos utque impulit arma, extemplo turbati animi, simul omne tumultu coniurat trepido Latium saeuitque iuuentus effera.487

Here the decreasing length of the three temporal clauses before the main clause reflects, with powerful accelerando, the rapidity of Turnus’ military operations, while the three principal clauses express the immediacy of the warriors’ reaction 485 On this passage see p.145 and p.182. 486 Cf. Tarrant 2012, ad loc. 487 This and the next four passages are quoted by Soubiran 1966, p.631, n.1.

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at the signal to attack. In this fast-moving metrical–syntactical context (with two successive enjambements and the strongly expressive rejet of effera), the synaloepha in turbati animi contributes, together with other figures (note the omission of sunt and the asyndeton), to underscore the idea of the commotion and violence of war.488 This stylistic effect is confirmed, not only at Aen.11.451 f. extemplo turbati animi concussaque uulgi pectora et arrectae stimulis haud mollibus irae.

where the same hemistich is repeated, but also at Aen.11.618 f. Extemplo turbatae acies, uersique Latini reiciunt parmas et equos ad moenia uertunt;

with extemplo again in first position, and at Aen.9.498 f. hoc fletu concussi animi, maestusque per omnis it gemitus: torpent infractae ad proelia uires.

At Aen.9.734 f. agnoscunt faciem inuisam atque immania membra turbati subito Aeneadae.

the density of synaloephae clearly reflects the sense of agitation: the Trojans are in disarray as soon as they realize that Turnus is inside their encampment. We find the same effect at Aen.7.623 ardet inexcita Ausonia atque immobilis ante;

where, in a line articulated by repeated alliteration, the sequence of synaloephae blurs every metrical pause, underscoring the sense of ferment expressed by the semantics of the verse (notice ardet in emphatic position): a land once tranquil is now in the grip of a raging war. The effect of synaloepha is also clear at Aen.3.60 ff. omnibus idem animus, scelerata excedere terra, linqui pollutum hospitium et dare classibus Austros.

488 On asyndeton stressing an idea of speed and rapidity see p.15, n.48.



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where the series of synaloephae reflects the urgency of the decision, reached unanimously, as underlined by the juxtaposition omnibus idem.489

A) II b Violence The blurring of a caesura by means of synaloepha can be exploited to reinforce the semantics of verbs expressing violent action.490 A paradigmatic instance is at Aen.2.224 taurus et incertam excussit ceruice securim.

where the blurring of the caesura at penthemimeral (2½) disturbs the rhythm of the line, reflecting iconically the violent movement of the bull, who tosses the axe from his back.491 At Aen.9.52 en’ ait et iaculum attorquens emittit in auras,

the caesura at trihemimeral (1½) is blurred by the conjunction, and the caesura at penthemimeral (2½) once again by synaloepha, in iaculum attorquens, which here also highlights the semantics of the verse. To understand the stylistic effect of this ordo uerborum it will be enough to rewrite the line without synaloepha: * en’ ait et iaculum torquens emittit in auras

A compound of torqueo, one of Virgil’s preferred verbs to indicate throwing,492 is again involved in an iconic synaloepha, this time at blurring of the caesura at hephthemimeral (3½), at Aen.9.534 perque cauas densi tela intorquere fenestras.

Here again, rewriting the line will help us to understand the expressiveness of the metrical figure: 489 On the synaloephae see Williams 1962, ad loc.; on the juxtaposition omnibus idem, Horsfall 2006, ad loc. and here p.236. 490 Cf. Soubiran 1966, pp.619–622 (‘impression d’effort’). 491 On this synaloepha see Austin 1964, ad loc. (‘The jerky rhythm is good; the elision in incertam suggests the emptiness of the blow as it misses its mark’) and Horsfall 2008, ad loc. (‘The synaloepha at caesura clearly enough conveys the axe jerked out of the neck’). 492 Cf. Hardie 1994, ad Aen. 9.534.

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*perque cauas densi telum torquere fenestras

Synaloepha also blurs the caesura at hephthemimeral (3½) with iconic effect at Aen.11.879 qui cursu portas primi inrupere patentis,

where it underscores the violence and rapidity of inrumpo. The stylistic effect is also important when the caesura at trihemimeral (1½) is affected by synaloepha, as at Aen.5.456 f. praecipitemque Daren ardens agit aequore toto nunc dextra ingeminans ictus, nunc ille sinistra.

(Entellus batters Dares with repeated blows);493 and at Aen.11.556 quam dextra ingenti librans ita ad aethera fatur:

where the only instance of ita in synaloepha in Virgil (not considering the occurrence in the same phrase at Aen.10.459) is also significant. 494

A) II c Effort When synaloepha blurs a caesura and converges with the spondaic rhythm of a line, it can underscore strongly a sense of effort expressed by the context: the slow and ponderous reading mirrors the effort and breathlessness of a character. A typical example of the convergence of stylistic factors is at Aen.3.37 f. tertia sed postquam maiore hastilia nisu adgredior genibusque aduersae obluctor harenae,

The spondaic rhythm of the first line underscores the sense of effort expressed by maiore hastilia nisu, while in the next line the rejet of the verb adgredior, the

493 Cf. Soubiran 1966, p.621. Note here the use of the pleonastic (or ‘resumptive’) ille which, placed in the second of two sentences with the same subject, adds animation to the scene. Cf. Page 1898, ad G.3.216; Mynors 1990, ad G.2.435; Williams 1960, ad Aen.5.186 and 457; Austin 1971, ad Aen.1.3; Fordyce 1977 and Horsfall 2000, ad Aen.7.787 (with further references); Harrison 1991, ad Aen.10.384 and Hardie 1994, ad Aen.9.796 (both on resumptive ille quidem introducing a concessive participial clause. See also p.258, n.805). On the anticipatory ille see p.255, n.795. 494 On the rare synaloepha of the pyrrhic ita see Soubiran 1966, pp.302 and 306–307.



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spondaic rhythm of the second hemistich and the double synaloepha highlight Aeneas’ exertion.495 Spondaic rhythm and synaloepha also converge powerfully at G.2.526 inter se aduersis luctantur cornibus haedi.

(the exertion of the struggle); at Aen.6.358 paulatim adnabam terrae; iam tuta tenebam,

(Palinurus swims laboriously towards the shore);496 at Aen.8.447 f. ingentem clipeum informant, unum omnia contra tela Latinorum,

(the Cyclopes forge, with force and violence, Aeneas’ extraordinary shield, which must withstand every blow, as underscored by the juxtaposition unum omnia); and at Aen.4.397 f. tum uero Teucri incumbunt et litore celsas deducunt toto nauis

Particularly powerful are those passages where the synaloepha blurs both caesurae at trihemimeral (1½) and penthemimeral (2½), as at G.1.318 ff. omnia uentorum concurrere proelia uidi, quae grauidam late segetem ab radicibus imis sublimem expulsam eruerent:

and at Aen.12.720 ff. illi inter sese multa ui uulnera miscent cornuaque obnixi infigunt et sanguine largo colla armosque lauant, gemitu nemus omne remugit:

495 Cf. Williams 1962, ad loc.: ‘The line is given some added emphasis by the elision at the caesura in both third and fourth foot’. 496 Cf. Soubiran, 1966, p.620: ‘l’élision de paulatim […] fait du premier hémistiche un bloc sans solution de continuité: Palinure s’obstine dans son effort’ {the elision of paulatim […] makes the first half-line a block without development or resolution: Palinurus swims grimly on}. Cf. also Austin 1977, ad loc.: ‘his painful progress is marked by the spondees, with strong clash of ictus and speech-accent’.

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where the marked spondaic rhythm of line 720 underlines the effort,497 while the double synaloepha in the following line emphasizes the meaning of the verbs. We can add to this instance Aen.11.612 ff. continuo aduersis Tyrrhenus et acer Aconteus conixi incurrunt hastis primique ruinam dant sonitu ingenti perfractaque quadrupedantum pectora pectoribus rumpunt;

where the three synaloephae blur the caesurae at trihemimeral (1½) in three successive lines, emphasizing a sense of exertion and force.498

A) II d Gasping and pathetic synaloepha In the last section we underlined the stylistic mastery of synaloepha, which, cutting into the system of the caesurae, disturbs the scansion of the verse, with the effect of suggesting a sense of effort or laboriousness.499 Such interruption in the recitation can also be used by the poet to reflect mimetically a break in the voice (‘gasping synaloepha’).500 A paradigmatic instance is at Aen.6.489 ff. at Danaum proceres Agamemnoniaeque phalanges, ut uidere uirum fulgentiaque arma per umbras, ingenti trepidare metu: pars uertere terga, ceu quondam petiere rates, pars tollere uocem exiguam, inceptus clamor frustratur hiantis.

The synaloepha highlights, as we can see, the semantics of the passage, suggesting the break in the voices of the Greek ghosts, weakened by fear, in front of Aeneas.501 Aen.3.522 ff. is also expressive,

497 On this line see p.205; on the synaloepha in illi inter, Soubiran 1966, p.620. 498 On the polysyllabic ending (quadrupedantum), the only case in the Aeneid consisting of a common noun, see Horsfall 2003, ad loc.; on the battle polyptoton (pectora pectoribus), p.226. 499 It is correct to note that we do not in any way know with certainty how to pronounce lines with synaloepha at the point of a metrical pause. On the probable effect of this type of synaloepha on the reader see p.157, n.473. 500 Cf. Horsfall 2006, ad Aen.3.523. 501 Cf. Austin 1977, ad loc.: ‘the position of the epithet gives it great emphasis, and the elision of the final syllable is masterly, as the cry fades off, so does the word, left in the air at the pause that follows’. For analysis of the passage see p.48.



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cum procul obscuros collis humilemque uidemus Italiam. Italiam primus conclamat Achates, Italiam laeto socii clamore salutant.

where the synaloepha, stressing the terms of the repetition (Italiam. Italiam) which, although belonging to different periods, are pronounced in the same breath, provides the reader with a particular suggestion: it seems that Achates, his voice breaking with emotion, cries the name, Italia, twice, and is then followed by his companions.502 In a series of passages synaloepha blurs a caesura, reflecting the semantics of verbs which indicate a break in the voice. The expressiveness is clear, for example, at Aen.4.692 quaesiuit caelo lucem ingemuitque reperta.

where the articulation of the sequence lucem ingemuit with the synaloepha suggests the deep sigh of the dying Dido.503 We find a similar effect at Aen.9.332 ff. tum caput ipsi aufert domino truncumque relinquit sanguine singultantem; atro tepefacta cruore terra torique madent.

where synaloepha (here blurring the syntactical pause) and the phonetic effect of the line reinforce a sense of sobbing.504 The instances of exspiro in synaloepha also seem to have an iconic force: as at Aen.10.731

502 Horsfall 2006, ad loc. defines it as ‘gasping synaloepha’. The expressiveness of the figure is also observed by Williams 1962, ad loc.: ‘The threefold repetition of the word Italiam gives the dramatic emphasis required, with a suggestion also of the word passing from lip to lip. The heavy pause in line 523 after the run-on word gives rhythmical emphasis to reinforce the emphasis of diction’. On this passage see also p.100. 503 Cf. Austin 1955, ad loc.: ‘note the beautiful elision in lucem ingemuitque (Virgil could have written gemuitque if he had wished), so suggestive of Dido’s sigh, and of the failing of her strength, and of the emptiness of her quest’. 504 Cf. Hardie 1994, ad loc.: ‘the sound of the phrase reinforces the mechanical repetitiveness of sobbing’. The iconic effect of this line did not escape Pascoli, who borrows it in Gladiatores 72a ut te singultantem ulti conspeximus, further highlighting it with the phono-symbolic interaction of the cluster ‘ult’. On how Pascoli accepts technical lessons from Virgil (particularly the expressive use of rhythm) see Traina 1989, PL 3, pp.91–114.

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tundit humum exspirans infractaque tela cruentat.

at Aen.10.739 f. ille autem exspirans: ‘non me, quicumque es, inulto, uictor, nec longum laetabere;

at Aen.11.865 f. illum exspirantem socii atque extrema gementem obliti ignoto camporum in puluere linquunt;

and again at Aen.11.881 ff. nec miseram effugiunt mortem, sed limine in ipso, moenibus in patriis atque inter tuta domorum confixi exspirant animas.

We come now, however, to direct speech, where the mimetic force of synaloepha is often exploited with particularly evocative results. The instances in Virgil clearly have a model at Cat. 101.3 f. ut te postremo donarem munere mortis et mutam nequiquam alloquerer cinerem.

where the hard synaloepha in diaeresis of a pentameter and the sequence of three labiovelar sounds (qui/quam/que) suggest a break in the voice: the poet does not hold back his emotion when addressing his beloved brother for the last time.505 This passage, in terms of expressiveness, is not unlike Anchises’ emotional speech when he recalls the sad fate of the young Marcellus. Gasping synaloepha is actually used twice here, only a few lines apart, at Aen.6.867 f. tum pater Anchises lacrimis ingressus obortis: ‘o gnate, ingentem luctum ne quaere tuorum;

and at Aen.6.885 f. his saltem accumulem donis et fungar inani munere.’ 505 Cf. Quinn 1973, p.441 and Bellandi 2007, p.276, n.640. The same expressiveness is also found at Cat. 73.6 quam modo qui me unum atque unicum amicum habuit, a clear case of gasping synaloepha cited by Wilkinson 1963, p.55 (‘sobbing effect’).



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which also presents verbal analogies with the example from Catullus.506 In other passages a series of synaloephae seems to underline a note of horror or astonishment. A typical example is at Aen.3.655 ff. Vix ea fatus erat, summo cum monte uidemus ipsum inter pecudes uasta se mole mouentem pastorem Polyphemum et litora nota petentem, monstrum horrendum, informe, ingens, cui lumen ademptum.

where, in a strongly expressive context,507 the sequence of synaloephae, which links four words of the apposition (of which three are adjectives in asyndeton), blurs every metrical pause until the hephthemimeral (3½), with a striking legato effect suggesting fear and agitation: Aeneas shudders at recalling the sight of the gigantic monster.508 The sequence of the adjectives monstrum, horrendum, ingens in asyndeton and linked by synaloepha is used with the same stylistic effect in the clear selfecho at Aen.4.178 ff. illam Terra parens ira inritata deorum extremam, ut perhibent, Coeo Enceladoque sororem progenuit pedibus celerem et pernicibus alis, monstrum horrendum, ingens, cui quot sunt corpore plumae, tot uigiles oculi subter (mirabile dictu), tot linguae, totidem ora sonant, tot subrigit auris.

where the monstrous enormity of Rumour, also in apposition, is underscored.509 506 Cf. Austin 1977, ad loc.: ‘the elision itself is suggestive of a sob’. On this passage see also p 118. Another noteworthy instance is at Aen.2.756 f. inde domum, si forte pedem, si forte tulisset, / me refero: inruerant Danai et tectum omne tenebant, where the iconic expressiveness of the synaloepha (cf. Austin 1964, ad loc.: ‘The elision at the pause before inruerant suggests a gasp of horror’) converges with the anaphora in asyndeton (cf. p 128, n.418) of si forte which highlights a note of pathos in Aeneas’ words (cf. Horsfall 2008, ad loc. and Wills 1996, p.121). 507 Cf. Horsfall 2006, ad loc.: ‘Interlocking word order, spondaic rhythm. A prolonged concentration of ponderous effect’. Also notable here are 1) the pleonasm magna mole, often used to underline the excessive hugeness of monsters and warriors, as at Aen.8.199 magna se mole ferebat (referring to the monster Cacus) and at Aen.10.771 mole sua stat (about Mezentius) and 2) the rhyme in mouentem . . . petentem (cf. p.51, n.172). 508 For this interpretation see Pascoli 19426, ad loc. (‘tre parole di fila elise, per esprimere l’orrore’ {three words elided in succession, to express the horror}) and Winbolt 1903, p.180 (‘a soul full of horror’). On the iconic value of the passage see also Williams 1962, ad loc. and Soubiran 1966, pp.636 f. 509 Cf. Austin 1955, ad loc.: ‘the elisions and the rhythm make a violent and ungainly picture’.

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Synaloepha and the use of adjectives in asyndeton highlight a note of amazement – the boulder hurled by Turnus is massive – at Aen.12.896 ff. nec plura effatus saxum circumspicit ingens, saxum antiquum ingens, campo quod forte iacebat, limes agro positus litem ut discerneret aruis. uix illud lecti bis sex ceruice subirent, qualia nunc hominum producit corpora tellus;

Here the exceptional size of the object is also indicated by the two-part epanalepsis with an inserted word (saxum circumspicit ingens, / saxum antiquum ingens),510 by the spondaic rhythm511 and once again by the adjective ingens, thrown into relief both by its postposition at line-end and after the words in synaloepha, as in the preceding examples. To this passage we can compare Aen.6.552 ff. porta aduersa ingens solidoque adamante columnae, uis ut nulla uirum, non ipsi exscindere bello caelicolae ualeant; stat ferrea turris ad auras,

where a sense of monumental size, once more realized through double synaloepha and spondaic rhythm, is further married to the idea of the irremovability of the massive object.512 The stylistic effect is reinforced yet more by the clear self-echo at Aen.7.170 ff. Tectum augustum ingens, centum sublime columnis, urbe fuit summa, Laurentis regia Pici, horrendum siluis et religione parentum.

where again synaloepha, adjectives in asyndeton and spondaic rhythm contribute to demonstrate the huge size of the palace of Picus,513 marking it with a hallowed aura.514 510 On the epanalepsis see p.105. 511 Cf. Traina 20042, ad loc.: ‘la doppia sinalefe […] fa del primo emistichio iconicamente un unico blocco spondaico’ {the double synaloepha […] renders the first hemistich iconically into a solid spondaic block}, and Tarrant 2012, ad loc.: ‘the two elisions create a run of long syllables that suggests the mass and weight of the stone’. 512 Cf. Austin 1977, ad loc.: ‘the spondees suggest the heaviness and grimness of the gate’. 513 By regia we should understand a palace–temple. Cf. Fordyce 1977 and Horsfall 2000, ad loc. 514 Cf. Fordyce 1977, ad loc.: ‘the heavy line of spondees suggests the solemnity of the scene’. The expressiveness of the passage did not escape Statius, who recalls it at Sil.4.2.18 ff. tectum augustum, ingens, non centum insigne columnis, / sed quantae superos caelumque Atlante remisso / sustentare queant.



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The sense of mass can also be underscored by single synaloepha which links ingens to another adjective added in asyndeton, as at Aen.3.616 ff. hic me, dum trepidi crudelia limina linquunt, immemores socii uasto Cyclopis in antro deseruere. domus sanie dapibusque cruentis, intus opaca, ingens. ipse arduus, altaque pulsat sidera (di talem terris auertite pestem!)

which also highlights Achaemenides’ terror in recalling the monstrous abode of Polyphemus;515 at Aen.6.282 ff. in medio ramos annosaque bracchia pandit ulmus opaca ingens, quam sedem Somnia uulgo uana tenere ferunt, foliisque sub omnibus haerent.

with the same adjectives; and at Aen.8.619 ff. miraturque interque manus et bracchia uersat terribilem cristis galeam flammasque uomentem, fatiferumque ensem, loricam ex aere rigentem, sanguineam, ingentem, qualis cum caerula nubes solis inardescit radiis longeque refulget;

where, in a passage enriched by superb phonic texture (note the repeated homoeo­­ teleuton in -em and the rhyme at line-end in verses 620 f.), the adjectives in asyndeton and synaloepha (sanguineam, ingentem) underscore the marvel of Aeneas’ lorica. Less marked, but still important, are those instances where synaloepha, blurring a caesura, links a noun and an adjective indicating mass. Think of the powerful passage at Aen.6.185 ff. atque haec ipse suo tristi cum corde uolutat, aspectans siluam immensam, et sic forte precatur: ‘si nunc se nobis ille aureus arbore ramus ostendat nemore in tanto! quando omnia uere heu nimium de te uates, Misene, locuta est.’

515 For analysis of this passage see p.90.

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where the synaloepha in siluam immensam (note the absence of third-foot caesura) underscores the size of the forest, a cause of despair for Aeneas, who is in search of the Golden Bough.516 In direct speech density of synaloepha can reflect the emotion or agitation of the speaker (‘pathetic elision’).517 An exemplary instance occurs in the words of Aeneas in front of the body of Pallas: Aen.11.45 ff. non haec Euandro de te promissa parenti discedens dederam, cum me complexus euntem mitteret in magnum imperium metuensque moneret acris esse uiros, cum dura proelia gente. et nunc ille quidem spe multum captus inani fors et uota facit cumulatque altaria donis; nos iuuenem exanimum et nil iam caelestibus ullis debentem uano maesti comitamur honore. infelix, nati funus crudele uidebis! hi nostri reditus exspectatique triumphi? haec mea magna fides? at non, Euandre, pudendis uulneribus pulsum aspicies nec sospite dirum optabis nato funus pater. ei mihi, quantum praesidium Ausonia, et quantum tu perdis, Iule!’

where, in a passage with slow and solemn rhythm, the lines with double synaloepha emphasize Aeneas’ emotion and grief.518 Such density of synaloepha also suggests a pathetic note at Aen.9.481 ff.

516 See the comments of Pascoli 19426, ad loc.: ‘tutte e due le finali elise; effetto di spavento’ {both final words elided; effect of fear} and of Norden 19574, ad loc. (also with discussion of other passages), and the fine analysis of Austin 1977, ad loc. (‘the heavy rhythm expresses his des­ pondency: the spondees continue into the fourth foot with no third-foot caesura, there are two elisions of -am, the ictus and speech-accent clash strongly; even the fourth-foot caesura is barely felt because of the close connection of et with sic. It seems that there is no chance of finding the Bough in such immensity’). 517 The definition is by Gransden 20042, p.51 (on Aen.11.51). On density of synaloepha which expresses pathos or emotion in direct speech see Williams 1960, ad Aen.5.623–635 (Iris incites the Trojan women) and Tarrant 2012, p.42 (who notes the phenomenon at Aen.12 19–45, 632–649, 808–820 in the agitated speeches of Latinus, Turnus and Juno); on the effect of lack of synaloepha (which reflects a sense of calm and tranquillity) see Gransden 1991, p.25, and Tarrant 2012, ad Aen.12.109 (in particular on the convergence of spondaic rhythm and patterned word order). 518 For analysis of the passage see Gransden 20042, pp.50 f. and here, p.38. On the effect of a monosyllable placed before the penthemimeral (2½) and in synaloepha with the preceding word see p.83, n.275.



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‘hunc ego te, Euryale, aspicio? tune ille senectae sera meae requies, potuisti linquere solam, crudelis?

in the words of Euryalus’ distressed mother before the body of her beloved son (note also the pathetic apposition and the placing in rejet of the adjective crudelis), and at Aen.9.427 f. ‘me, me! adsum qui feci, in me conuertite ferrum, o Rutuli!

where the repetition of the personal pronoun is also pathetic (the first two occurrences are devoid of syntactical dependence): Nisus frantically tries to draw the enemy’s attention, to give his life in place of his beloved Euryalus.519 This passage can be compared to Aen.9.493 f. figite me, si qua est pietas, in me omnia tela conicite, o Rutuli, me primam absumite ferro;

where the sequence of synaloephae and the anaphora of the pronoun once more characterize words addressed to the enemy: Euryalus’ mother, by now in despair, asks that her own life be destroyed.520 Nor should Aen.3.639 f. pass unobserved: sed fugite, o miseri, fugite atque ab litore funem rumpite.

Here the sequence of synaloephae and the rejet of the imperative lend pathos and urgency to Achaemenides’ words.521 We find the same expressiveness at Aen.9.290 at tu, oro, solare inopem et succurre relictae.

where the triple synaloepha stresses the urgency in Euryalus’ request.522 In other instances synaloepha seems to suggest indignation or anger. A typical example is found at Aen.2.81 ff. 519 Cf. Hardie 1994, ad loc. For stylistic analysis of the passage also see here, p.122; Gransden 20042, p.56, who emphasizes the pathetic weight of synaloepha and anaphora of the pronoun, and Soubiran 1966, p.632. For the weight of the interjection o see Horsfall ad Aen.7.360. 520 Cf. Hardie 1994, ad loc. 521 Cf. p 113. 522 Cf. Hardie 1994, ad loc.

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fando aliquod si forte tuas peruenit ad auris Belidae nomen Palamedis et incluta fama gloria, quem falsa sub proditione Pelasgi insontem infando indicio, quia bella uetabat, demisere neci, nunc cassum lumine lugent:

where, in Sinon’s wily and deceitful words, pride in the past glory of his patron is emphasized by the strong rejet (gloria), while the triple alliteration of the prefix, insontem infando indicio (the only instance in the Aeneid),523 joined to double synaloepha, expresses his anger.524 Only a few lines further on, at Aen.2.92 ff., another sequence of synaloephae again underscores Sinon’s indignation: adflictus uitam in tenebris luctuque trahebam et casum insontis mecum indignabar amici. nec tacui demens et me, fors si qua tulisset, si patrios umquam remeassem uictor ad Argos, promisi ultorem et uerbis odia aspera moui.525

Synaloepha again emphasizes the semantics of the verb indignor at Aen.5.650 ff. ipsa egomet dudum Beroen digressa reliqui aegram, indignantem tali quod sola careret munere

in a heavy sequence of spondees,526 and of the verb exsecror at Aen.3.272 f. effugimus scopulos Ithacae, Laertia regna, et terram altricem saeui exsecramur Vlixi.

where the effect of the double synaloepha converges with the spondaic rhythm.527

523 Alliteration of the prefixes (cf. p.108, n.349) here produces ‘a strong cumulative effect’ (Winbolt 1903, p.162). 524 Cf. Horsfall 2008, ad loc.: ‘Heavy indignation, perhaps reinforced by furious gesture. Note also the sequence of strong synaloephae and the shortage of conventional caesurae, with repeated clash of ictus and accent’. On this and the next passage see also Soubiran 1966, p.633. 525 Cf. Austin 1964, ad Aen.2.93 (‘the double elision in casum, mecum suggests the sound of a sob’) and ad Aen.2.96 (‘the triple elision in this line shows plainly Sinon’s emotion’). On a mono­ syllable placed before the penthemimeral (2½) and in synaloepha with the preceding word see p.83, n.275. 526 Cf. Williams 1960, ad loc. 527 Cf. Williams 1962, ad loc.: ‘notice the vehemence of this line, reinforced by the spondaic movement with two heavy elisions’. See also Soubiran 1966, p.635.



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Finally we come to those instances where synaloepha obscures a syntact­ical pause in direct speech, reflecting, often in convergence with an interrogative, the emotion and indignation of the speaker. Typical are the two cases where the pronoun ego is in synaloepha before a syntactical pause: at Aen.11.392 ff. pulsus ego? aut quisquam merito, foedissime, pulsum arguet, Iliaco tumidum qui crescere Thybrim sanguine et Euandri totam cum stirpem uidebit procubuisse domum atque exutos Arcadas armis?

where Turnus rejects the idea that he could be defeated, and at Aen.12.880b ff. possem tantos finire dolores nunc certe et misero fratri comes ire per umbras! Immortalis ego? aut quicquam mihi dulce meorum te sine, frater, erit?

(Juturna now despises her immortality: without Turnus life does not make sense). Similar synaloepha is used at Aen.1.46 ff. ast ego, quae diuum incedo regina Iouisque et soror et coniunx, una cum gente tot annos bella gero. et quisquam numen Iunonis adorat praeterea aut supplex aris imponet honorem?’

when Juno, observing her failure in opposing the Trojans, asks with disdain if anyone would still recognize her power and continue to offer her sacrifice.528

A) III Synaloepha at the point of a syntactical pause As we saw in the preceding section synaloepha at the point of a syntactical pause can be particularly expressive. In a number of instances, when it involves words in rejet, it can strengthen a sense of immediacy or of direct consequence between two actions.529 An exemplary instance is at Aen.3.238 ff.

528 On this passage see Soubiran 1966, p.632. For other cases of synaloepha blurring a syntac­­ t­ical pause in direct speech see pp.113 f. 529 See the section ‘Stylistic effects of the après-rejet’, pp.130 ff.

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ergo ubi delapsae sonitum per curua dedere litora, dat signum specula Misenus ab alta aere cauo. inuadunt socii et noua proelia temptant,

where the rare synaloepha after the first dactyl (cauo. inuadunt) and with a long vowel blurs the syntactical pause, highlighting the immediacy of the action: at Misenus’ signal, Aeneas’ comrades immediately join battle.530 Another exemplary instance is at Aen.9.473 ff. Interea pauidam uolitans pinnata per urbem nuntia Fama ruit matrisque adlabitur auris Euryali. at subitus miserae calor ossa reliquit, excussi manibus radii reuolutaque pensa.

where synaloepha after the first dactyl strengthens the stylistic effect of the markedly dactylic après-rejet, underscoring the immediacy (subitus) of the psychological reaction of Euryalus’ mother, who collapses before the unendurable rumour of her son’s death.531 Virgil had already exploited the effect of synaloepha of a word in rejet in the Bucolics, as is clear, for example, at B.7.7 ff. uir gregis ipse caper deerrauerat: atque ego Daphnin aspicio. ille ubi me contra uidet: ‘ocius’, inquit ‘huc ades, o Meliboee;

where the immediacy of the action is again underscored.532 Particularly powerful is the example at Aen.9.37 ff. ferte citi ferrum, date tela, ascendite muros, hostis adest, heia!’ ingenti clamore per omnis condunt se Teucri portas et moenia complent.

530 For analysis of the passage see p.138. 531 See p.139. 532 The line is cited by Soubiran 1966, p.632, as a striking example of convergence between synaloepha and rejet (‘dans les Bucoliques, une série d’actions qui se suivent très rapidement est soulignée par des rejets et des élisions’ {in the Bucolics a series of actions which follow each other very rapidly is underlined by rejets and elisions}).



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where the synaloepha suggests the merging of Caicus’ rallying-call (heia!) with the shout his companions raise in answer to him (ingenti clamore).533 Also expressive are the examples at Aen.3.651 ff. omnia conlustrans hanc primum ad litora classem conspexi uenientem. huic me, quaecumque fuisset, addixi: satis est gentem effugisse nefandam.

(Achaemenides has scarcely seen the Trojan fleet before he immediately joins it to escape from the Cyclopes); and at Aen.2.172 f. uix positum castris simulacrum: arsere coruscae luminibus flammae arrectis,

where the immediacy, expressed by the adverb uix, here with temporal value,534 is also conveyed through placing the verb arsere in first position of the new syntactical start.535 Special attention should be paid, because of the important convergence of stylistic factors, to Aen.9.55b ff. Teucrum mirantur inertia corda, non aequo dare se campo, non obuia ferre arma uiros, sed castra fouere. huc turbidus atque huc lustrat equo muros aditumque per auia quaerit.

Here the synaloepha at the syntactical pause (fouere. huc) and the even rarer synaloepha between the bisyllable and monosyllable at line-end (atque huc) contribute to reinforce the energy of the passage.536 533 On the distinction of this synaloepha see Hardie 1994, ad loc.: ‘the third-foot elision over the speech-ending catches the effect as Caicus’ unceremonious and colloquial shout heia is immediately taken up by general shouting among the Trojans’. The framing of the line by the two verbs condunt and complent with alliterative prefixes and equal prosodic value is also worthy of note (cf. p.221). 534 On the temporal value of uix see Horsfall 2003, ad Aen.11.296. The immediacy expressed by the adverb can be emphasized by asyndeton (cf. Austin 1964, ad Aen.2.172; Harrison 1991, ad Aen.10.659); and it is often joined to the ‘dramatizing’ ecce (cf. Tarrant 2012, ad Aen.12.650). 535 Cf. Austin 1964, ad loc.: ‘the parataxis with arsere gives dramatic speed, stressing the im­ m­ediate reaction of the goddess; […] The elision at the pause before arsere is very striking: the grisly omen begins before the simulacrum has a chance to settle properly in the line’. 536 On the first synaloepha see Hardie 1994, ad loc. (‘elision over the caesura at a full stop conveys excitement’); on the very rare synaloepha between bisyllable and monosyllable at line-end see Winbolt 1903, p.172; Norden 19574, pp.438 f. and Soubiran 1966, pp.154 f. The only other in-

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The expressiveness of synaloepha is again evident at the oft-cited Aen.2.464b ff. conuellimus altis sedibus impulimusque: ea lapsa repente ruinam cum sonitu trahit et Danaum super agmina late incidit.

The hefty shove (impulimusque) is followed by brief swaying and then the sudden toppling of the tower, underscored by the après-rejet (ea lapsa . . . ) and synaloepha at the syntactical pause (impulimusque: ea).537

B) Synaloepha and hypermetric lines In this section we discuss the stylistic effects of hypermetre, the rare synaloepha between the final syllable of one line and the first syllable of the next.538 According to a judgement of Seneca reported by Gellius, hypermetre is used by Virgil to give an Ennian patina to his verses.539 It is possible, however, to give the phenomenon a stylistic interpretation. Virgil uses it, as we shall see, not only for literary reasons but also for its expressive strength.

stance (obviously without considering prodelision) is Aen.9.440 f. quem circum glomerati hostes hinc comminus atque hinc / proturbant, where the synaloepha of atque (see p.158, n.475) also places in relief the adverb of place and is followed by rejet of the verb (on this passage see pp.52 f.). 537 Cf. Austin 1964, ad loc.: ‘the pause is dramatic, and the elision heightens the effect: if the line is read aloud, with attention to both pause and elision, the voice cannot help being pulled up with a jerk at the caesura’. For analysis of the passage and for the effect of suspense suggested by the syllable -que (cf. Aen.5.446 ff.) see pp.64 f. 538 Already specified in antiquity with the use of the terms ‘synaphoea’, ‘episynaloepha’ or εἶδος Σοφόκλειον (cf. Körte 1912, pp.153–156). For Greek poetry the term συνάφεια is preferred, while in Latin studies ‘hypermetre’ is used. On hypermetre see Quicherat 1890, pp.51–55; Winbolt 1903, pp.148 ff.; the ample stylistic analysis of Merone 1969, pp.49–78; Soubiran 1966, pp.466– 468; and also the dispute between Fortassier (1979, pp.383–414; 1981, pp.65–68) and Soubiran (1980, pp.126–136). 539 Noct. Att.12.2.10 Vergilius quoque noster non ex alia causa duros quosdam uersus et enormes et aliquid supra mensuram trahentis interposuit, quam ut Ennianus populus adgnosceret in nouo carmine aliquid antiquitatis. It is important to note that hypermetre is avoided in Greek hexameter verse – the only recorded instance is at Call. Ep.41.1 ff. – and that Virgil is the Latin poet who makes the most systematic use of it. For a complete list of hypermetre recorded in Latin hexameter verse see Soubiran 1966, pp.466 f.



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B) I Hypermetre in lists We begin with the most common type of hypermetric line, in which the enclitic -que is the extra syllable (generally in the epic model of double -que540). This type of hypermetre is exploited to mark an idea of multitude in long lists which extend for at least two lines. A typical example in Latin verse is at Cat. 115.5 f. prata arua ingentes siluas saltusque paludesque usque ad Hyperboreos et mare ad Oceanum?

where the hypermetric syllable, making the pause at line-end awkward, seems to reflect the difficulty in articulating the long, interminable list. This also seems to be the effect which Virgil seeks at G.3.242 ff. Omne adeo genus in terris hominumque ferarumque et genus aequoreum, pecudes pictaeque uolucres, in furias ignemque ruunt: amor omnibus idem.

where the sense of the totality (omne is given prominence here by its position in the line and by adeo) of living beings animated by passion is underscored by the long list articulated by the series of conjunctions.541 Hypermetre has a similar expressiveness at Aen.4.558 f. 540 The double -que really belongs to the epic elevated style modelled on the Homeric τε . . . τε. The formula of the double -que, clearly convenient metrically, is generally used with elem­ ents which are directly correlated (e.g. itque reditque; noctesque diesque) and placed at lineend. See Christensen 1908, pp.165–211; Norden 19574, ad Aen.6.336; Austin 1955, ad Aen.4.83; Williams 1960, ad Aen.5.92; Eden 1975, ad Aen.8.94; Fordyce 1977, ad Aen.7.186; Skutsch 1985, ad Ann 170; Harrison 1991, ad Aen.10.91 (with ample bibliography). On -que . . . et, a poetic archaism (borrowed from the Homeric τε . . . καί) generally used to join two names, see Williams 1960, ad Aen.5.467; Harrison 1991, ad Aen.10 169 f.; on the rare -que . . . atque see Fordyce 1977, ad Aen.8.486; on the stylistic effect of a four-fold -que see Austin 1977, ad Aen.6.597 (‘The series of paratactic clauses here, with a four-fold -que, gives a rather breathless effect, perhaps meant to suggest the never-resting character of Tityos’ punishment’). 541 On adeo stressing the word it follows see Thomas 1988, ad loc. The effect of this hypermetre is borrowed by Ovid at Met.4.779b ff. passimque per agros / perque uias uidisse hominum simulacra ferarumque / in silicem ex ipsis uisa conuersa Medusa. The use is also expressive at Met.4.9b ff. parent matresque nurusque / telasque calathosque infectaque pensa reponunt / turaque dant Baccumque uocant Bromiumque Lyaeumque/ ignigenamque satumque iterum solumque bimatrem. The effect is different at Aen 1.448 f. aerea cui gradibus surgebant limina nexaeque / aere trabes, foribus cardo stridebat aënis, where the syllable -que is not necessary from a semantic point of view (cf. Austin 1971 ad loc. and here p.65, n.212), but has the function of emphasizing the word aere, which, picking up aerea, encloses the verse together with the adjective aënis at line-end: the temple which Dido erects to Juno is completely of bronze.

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omnia Mercurio similis, uocemque coloremque et crinis flauos et membra decora iuuenta:

where it has the function of highlighting the long list of physical attributes which make Aeneas like in every way to Mercury (omnia Mercurio similis);542 in the selfecho at Aen.9.650 f. omnia longaeuo similis uocemque coloremque et crinis albos et saeua sonoribus arma,

(Apollo appears in every way the old man Butes); and at G.3.448 ff. aut tonsum tristi contingunt corpus amurca et spumas miscent argenti uiuaque sulpura Idaeasque pices et pinguis unguine ceras scillamque elleborosque grauis nigrumque bitumen.

where, even although the hypermetric syllable is not the conjunction -que, the expressiveness of the metrical figure seems clear, as it underlines the length of the catalogue of ingredients.543 On the other hand, the expressiveness of hypermetre followed by a syntac­­­t­ical pause is slightly different, as at G.2.440 ff. ipsae Caucasio steriles in uertice siluae, quas animosi Euri adsidue franguntque feruntque, dant alios aliae fetus, dant utile lignum nauigiis pinus, domibus cedrumque cupressosque; hinc radios triuere rotis, hinc tympana plaustris agricolae et pandas ratibus posuere carinas.

542 On the adverbial accusative of reference omnia (after similis it is an invention of Virgil’s) see Austin 1955, ad loc. This passage recalls, with different expressiveness, the hypermetric line-end at G.2.344 f. si non tanta quies iret frigusque caloremque / inter, et exciperet caeli indulgentia terras, which, joined to the rejet of inter, is a parallel to the hypermetre at Aen.3.684 ff. contra iussa monent Heleni, Scyllamque Charybdinque / inter – utramque uiam leti discrimine paruo – / ni teneam cursus. 543 The other instances in the Georgics in which we find hypermetre without the enclitic -que are 1.295 f. aut dulcis musti Volcano decoquit umorem / et foliis undam trepidi despumat aëni and 2.69 f. inseritur uero et fetu nucis arbutus horrida, / et steriles platani malos gessere ualentis. An iconic interpretation has been advanced for the first passage (the hypermetre might reflect the liquid boiling over, cf. Winbolt 1903, p.150). There were attempts by scribes to ‘correct’ this particular metrical oddity (as also at G.2.69), changing it to et sulpura uiua (cf. Conte 2009, app. ad loc.).



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where the hypermetric syllable contributes, together with other devices, to lend energy to the passage. The use of the double -que (franguntque feruntque) underscores the sense of incessant repetition (adsidue), and the verbal anaphora (dant . . . dant) strengthens the idea of continuous production, while the hypermetre blurs the pause in syntax at line-end, highlighting the spasmodic activity of the farmers expressed by the anaphora (hinc . . . hinc).544

B) II Hypermetre and an effect of suspense The hypermetric syllable can have the effect of lengthening the pause at line-end, reflecting iconically an idea of suspense.545 A paradigmatic instance in this sense is found at Aen.6.602 f. quo super atra silex iam iam lapsura cadentique imminet adsimilis;

where the idea of suspense – with the stone on the point of falling – other than being expressed by the future participle, by geminatio of iam and by the sequence cadenti adsimilis, is also mirrored iconically by the metrical figure.546 At Aen.10.781 f. sternitur infelix alieno uulnere caelumque aspicit et dulcis moriens reminiscitur Argos.

the hypermetric syllable prolongs the pause at line-end, reflecting, with a note of pathos, the lingering of Antores, who at the end of his life gazes for the last time at the sky, remembering his own sweet land of Argos.547 The stylistic effect is not dissimilar from that of Aen.7.160 f. 544 A comparable effect is found at Aen.5.752 ff. ipsi transtra nouant flammisque ambesa reponunt / robora nauigiis, aptant remosque rudentisque, / exigui numero, sed bello uiuida uirtus. 545 This is the effect which Pascoli recognizes in the hypermetric syllable and which he shows graphically by points of ellipsis at Thallusa 4. It is interesting to note that prolonging the line in a hypermetric syllable is exploited as an icon of infinite time in Hor. Carm.2.3.27 f. sors exitura et nos in aeternum / exsilium impositura cumbae (cf. Wilkinson 1963, p.71; Traina 1998, PL 5, p.138). 546 Cf. Austin 1977, ad loc.: ‘cadenti adsimilis is even more dramatic than iam iam lapsura […] and the hypermetre is clearly pictorial’. 547 Cf. Pascoli 19426, ad loc.: ‘ipermetro a significare il lungo sguardo, pur d’un istante’ {hypermetre to indicate the long look, even if only for a moment}. On the pathos of the passage see Harrison 1991, ad loc. and Traina 1998, PL 5, p.80, n 12 (on dulcis underlining a sense of loss and melancholy).

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iamque iter emensi turris ac tecta Latinorum ardua cernebant iuuenes muroque subibant.

(the young Trojans linger, admiring the imposing palace of the Latins); and of Aen.8.228 f. ecce furens animis aderat Tirynthius omnemque accessum lustrans huc ora ferebat et illuc,

Here the dactylic rhythm of the first line reflects Hercules’ anger, while the lengthened pause at line-end strengthens the semantics of the adjective omnis and suggests, converging with the spondaic rhythm of the next line, his searching gaze.548

B) III Rapidity, agitation, anger If the hypermetric syllable is followed by a verb, it can have the effect of underscoring a sense of agitation or rapidity. This is the case at Aen.11.608 ff. iamque intra iactum teli progressus uterque substiterat: subito erumpunt clamore furentisque exhortantur equos;

where, in a passage of marked energy (note the rapidity expressed by the après-rejet), the hypermetric syllable throws the adjective furentis into relief (at line-end and in hyperbaton with equos) and converges with the rejet of the verb (exhortantur),549 further underscoring the excitement of the scene.550 548 For a fine stylistic analysis of the metrical patterns of this passage see Eden 1975, ad loc. It is well worth citing Pascoli 19426, ad loc.: ‘verso ipermetro a esprimere un lungo lavoro, senza fine’ {a hypermetric line for expressing an endless labour}. See also Aen.2.67 f. namque ut conspectu in medio turbatus inermis / constitit atque oculis Phrygia agmina circumspexit, where the spondaic rhythm of the line-end circumspexit underlines a sense of care and attention (cf. pp.196 f.). 549 Hypermetre is still associated with a sense of urgency, but with little stylistic effect, at Aen.7.470 ff. se satis ambobus Teucrisque uenire Latinisque. / haec ubi dicta dedit diuosque in uota uocauit, / certatim sese Rutuli exhortantur in arma. 550 For analysis of this passage see also p.145. The stylistic power of convergence of hypermetre and rejet of a verb is clear if we look at the imitation of Val.Fl. 4.293 f. illum insperata turbatum fraude furentemque / Oebalides prima refugit dum detonet ira, where the hypermetric syllable is not followed by a verb.



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Similar expressiveness is found at Aen.10.895 f. clamore incendunt caelum Troesque Latinique. aduolat Aeneas uaginaque eripit ensem

where the hypermetric syllable, followed by a syntactical pause and in the next line by the dactylic verb aduolat, makes a particular suggestion to the reader: both Trojans and Latins are shouting with excitement as Aeneas’ spear hits its target, when all at once the hero hurls himself at his enemy Mezentius.551

B) IV  Hypermetre and direct speech The hypermetric line in direct speech can be used with mimetic effects, as we have already seen with synaloepha. The best-known example is at Aen.4.628 ff. litora litoribus contraria, fluctibus undas imprecor, arma armis: pugnent ipsique nepotesque.’ Haec ait, et partis animum uersabat in omnis,

where the hypermetric syllable highlights the last word of Dido’s curse, ne­­ potesque, suggesting the weakening of her voice and a pause full of pathos: the Trojans’ descendants shall also be cursed.552 Horace also used hypermetre with strongly expressive finality at Carm.4.1.33 ff. sed cur heu, Ligurine, cur manat rara meas lacrima per genas? cur facunda parum decoro inter verba cadit lingua silentio?

551 For Pascoli 19426, ad loc. hypermetre is used here to ‘significare il grande infinito grido’ {indicate the deep endless groan} and he uses it deliberately (followed by points of ellipsis) to increase the effect of sound in Alle Kursistki 1 19 ff.: Voci di su la sua tomba / squillano, cantano, rombano . . . / Egli è risorto. (cf. Traina 1989, PL 3, p.113). 552 Austin 1955, ad loc., underlining how this hypermetric line closes not only a period but also a speech, observes: ‘the redundant syllable is left to die away in the pause that follows’. The well known interpretation of Wagner 1832, ad loc. is different; he sees in the hypermetre the reflection of Dido’s anger: ‘haud scio, an Virgilius ipsa hypermetri ratione aptissime adiuverit impetum irae in hanc extremam exsecrationem erumpentis’. The hypermetric line-end is echoed (without any mimetic expressiveness) by Ovid at Met.6.506 ff. utque fide pignus dextras utriusque poposcit / inter seque datas iunxit natamque nepotemque / absentes pro se memori rogat ore salutent. On the iconic polyptoton (litora litoribus; arma armis) see here p.226.

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where synaloepha of the hypermetric syllable imitates the weakening of the voice, underscoring the sense of the words.553 Not dissimilar is the effect of the device at Aen.2.745 f. quem non incusaui amens hominumque deorumque, aut quid in euersa uidi crudelius urbe?

where Aeneas emotionally recalls his desperation at the loss of his beloved Creusa, and in his words the hypermetric syllable suggests a break in his voice; and at Aen.1.331 ff. et quo sub caelo tandem, quibus orbis in oris iactemur doceas: ignari hominumque locorumque erramus uento huc uastis et fluctibus acti.

where hypermetre converges with rejet of the verb, underscoring the atmosphere of anxiety and bewilderment.

C) Writing verses in a Greek style: hiatus, spondaic lines, irrational lengthening, four-syllable line-ends While in many cases synaloepha is used iconically, as we have seen, other less common metrical-rhythmical figures – hiatus, four-syllable and spondaic lineends, and irrational lengthening – are used mainly for the clear archaic or Greek patina that they lend to the verse.554

C) I Hiatus We can draw a distinction between those instances where hiatus is used for its literary quality and those in which it is possible to find an expressive function.

553 See Wilkinson 1963, p.71. 554 On hiatus in Virgil, apart from the main commentaries (among which we have detailed notes by Austin 1971, ad Aen.1.16 (405 and 617) and 1955, ad Aen.4.235; Fordyce 1977, ad Aen.7.178; Harrison 1991, ad Aen.10.18 on hiatus of interjection o see Winbolt 1903, pp.195–199; Siedow 1911 (a first collection of instances of hiatus in hexameter poetry); Wilkinson 1963, p.78 (stylistic interpretation); Hellegouarc’h 1964, pp.256–258 (on monosyllables in hiatus); Veremans 1985, EV 2, pp.886–888 (with ample bibliography); and above all Trappes–Lomax 2004, pp.141–158, who cites and discusses the instances of hiatus in Virgil and Horace.



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C) I a Hiatus and the literary tradition Hiatus in Virgil often has the function of lending a Greek character to the verse, as appears clear from its frequent convergence with line-ends of clear Homeric or Alexandrian origin (four-syllable or spondaic) or with Greek names.555 The rarity and the literary flavour of the figure has the effect of lending solemnity and emphasis to the language.556 Although in some passages the hiatus is directly drawn from the Greek model – thinking here of Aen.3.464 dona dehinc auro grauia ac secto elephanto

where the hiatus copies πριστοῦ ἐλέφαντος from Od.18.196 and 19.564557 – in most instances it is used simply to add a Greek patina to the verse. A typical example is at Aen.10.136 inclusum buxo aut Oricia terebintho

where Virgil, in recapturing Nicander Ther.516, πύξου δὲ χροιῇ προσαλίγχιος Ὠρικίοιο

joins hiatus to the polysyllable ending of the model.558 The purpose of hiatus located in the fifth foot between adjective and proper noun (usually Greek) and in convergence with a spondaic line-end is clearly to lend a Greek flavour to the verse. The importance of a character is often emph­a­ sized in this way, as at Aen.1.617 f. tune ille Aeneas quem Dardanio Anchisae alma Venus Phrygii genuit Simoentis ad undam? 555 Cf. Fordyce 1977, ad Aen.7.631 and Trappes–Lomax 2004, pp.145–149, who, considering the instances of ‘Graecising hiatus’ as the norm in Virgil’s use (‘for the most part Vergil certainly treats hiatus as a Greek phenomenon and confines it to Graecising contexts’) suggests strongly that those examples which do not belong to this category should be amended. 556 Common in Greek poetry and in Latin comedy, the metrical figure of hiatus becomes quite rare in classical poetry (0.5% of lines in the Aeneid. Cf. Siedow 1911, p.59). At Cicero’s time it is avoided in correct pronunciation of Latin (cf. Cic. Orat.44.150) and seems to be perceived as a vice in writing verse (cf. Cic. Orat.45.152). Cf. Veremans 1985, EV 2, p.887. 557 The line is transmitted in the codices in the form dona dehinc auro grauia sectoque elephanto without the hiatus and with the problematic lengthening of the final syllable of grauia. The restoration of the hiatus is owed to Schaper’s inspired conjecture, on which see Conte 2013, pp.100 f. 558 On the Greek flavour of a line with hiatus and quadrisyllabic line-end see Norden 19574, p.438; Harrison 1991, ad loc.; Hardie 1994, ad Aen.9.477.

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(Dido asks Aeneas in amazement if he is really the famous son of Venus and Dardanian Anchises);559 at Aen.9.646b ff. formam tum uertitur oris antiquum in Buten. hic Dardanio Anchisae armiger ante fuit fidusque ad limina custos;

where the hiatus underscores the importance of Anchises, and, indirectly, of his trustworthy Butes, whose duties are elegantly placed to frame line 648; in the similar instance at Aen.11.29 ff. Sic ait inlacrimans recipitque ad limina gressum, corpus ubi exanimi positum Pallantis Acoetes seruabat senior, qui Parrhasio Euandro armiger ante fuit, sed non felicibus aeque tum comes auspiciis caro datus ibat alumno;

(here hiatus and spondaic line-end emphasize Evander’s royalty);560 and again at Aen.7.629 ff. quinque adeo magnae positis incudibus urbes tela nouant, Atina potens Tiburque superbum, Ardea Crustumerique et turrigerae Antemnae.

a passage to which a Homeric flavour is given, not only by the hiatus, the spondaic line-end and the compound turrigerae,561 but also by the list of the cities at war.562 559 Cf. Austin 1971, ad loc. Quint 11.3 176 is interesting: he cites the expression tune ille Aeneas with regard to the emphasis necessary in recitation to express amazement (as in this instance) or other sentiments. 560 On this self-echo, which links the characters of Pallas and Ascanius (each had an armour-bearer but a different destiny), see Moskalew 1982, p 182. The juxtaposition Pallantis Acoetes is also strongly expressive; it underscores the spatial and emotional closeness between Pallas and his old tutor Acoetes, once squire of the great Evander and now compelled to watch over the lifeless body of his young protégé (see p.230, n.712). On the elegant etymological link between the name Acoetes (from ἀ privative and κοιμᾶν ‘to sleep’) and the action of seruare see Horsfall 2003, ad loc.; on the pathetic strength of the passage and in particular of the sequence sed non felicibus auspiciis (modelled on Il. 2.859 ἀλλ’ οὐκ οἰωνοῖσιν ἐρύσατο κῆρα μέλαιναν) see Horsfall 2000, ad Aen.7.756. 561 The epithet turrigerae, while not attested in Greek, seems to be modelled on a plausible * πυργοφόροι (cf. Norden 19574, p.438). See Harrison 1991, ad Aen.10.169 f., who interprets the compound letifer, also used in a catalogue of Homeric flavour, as a calque of θανατηφόρος (Aesch. Cho.369, Soph. OT 181). 562 Lists in Virgil, of clear Homeric and Alexandrian pattern, are often characterized by hiatus between the final syllable of a word and the conjunction. Cf. B.3.6 et sucus pecori et lac subdu-



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The Graecising character of the figure also emerges clearly at Aen.3.73 ff. sacra mari colitur medio gratissima tellus Nereidum matri et Neptuno Aegaeo, quam pius arquitenens oras et litora circum errantem Mycono e celsa Gyaroque reuinxit immotamque coli dedit et contemnere uentos.

where hiatus is used twice in a line with Greek names and spondaic rhythm in fourth and fifth feet.563 At line 75 the compound arquitenens, of Homeric and Naevian flavour, contributes to the archaic patina, while the ample hyperbaton quam . . . reuinxit, which frames two lines, seems to suggest the long wandering of the island until moored down by Apollo’s arrows.564 Those instances of prosodic hiatus, with shortening of the final syllable (in thesi), which are rarer in Latin poetry than those in arsi, also have a clearly Greek precedent and are deliberately used by Virgil in lines of Homeric argument or which have Greek words, as at Aen.5.261 uictor apud rapidum Simoenta sub Ilio alto,

or at Aen.3.210b f. Strophades Graio stant nomine dictae insulae Ionio in magno,

where the metrical figure underscores the use of Greek diction (Graio nomine dictae).565

citur agnis; 10.13 illum etiam lauri, etiam fleuere myricae; G.1.341 tum pingues agni et tum mollissima uina. 563 On this rhythm see p.197, n.604; on the Hellenising flavour of the line, Horsfall 2006, ad loc.; on the double hiatus, Winbolt 1903, p.197. 564 Perkell 2010, ad loc. observes that the hyperbaton framing the two lines ‘encloses the wandering (errantem) island, suggesting both the island’s wandering and its ultimate securing in place by the god’. The interpretation of the figure advanced by Horsfall 2006, ad loc., while still holding central the idea of movement, is from a slightly different perspective (the focus is on the trajectory of the arrows); according to him ‘Hyperbaton conveys admirably the extent of the god’s bonds and their tight, enclosing effect’. On the iconic weight of this type of hyperbaton see here p.257. 565 Horsfall 2006, ad loc.: ‘Typical accumulation of metrical anomalies and extravagances (cf.7.555, 623, 631) in the presence of Greek names and themes’. For other instances of this type of hiatus (called also ‘semi-hiatus’ or ‘weak hiatus’) see Veremans 1985, EV 2, p.887.

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C) I b Hiatus and expressiveness In a number of instances hiatus can be used for expressive ends. Consider Aen.4.667 lamentis gemituque et femineo ululatu

and the analogous Aen.9.477 euolat infelix et femineo ululatu,

where, while the quadrisyllabic line-end and the hiatus might suggest a Greek model, the iconic expressiveness of the sequence femineo ululatu is, however, clear, suggesting prolonged wailing.566 Another classic example is at G.1.281 f. ter sunt conati imponere Pelio Ossam scilicet, atque Ossae frondosum inuoluere Olympum;

where the double hiatus in convergence with spondaic rhythm reflects iconically a sense of exertion and violence.567 The use of hiatus in direct speech is particularly expressive. A telling example is Aen.6.507 f. nomen et arma locum seruant; te, amice, nequiui conspicere et patria decedens ponere terra.’

where the shortening of the monosyllable te in hiatus does not go back to Homeric verse but, found in Theocritus and amply in Latin comedy (always on syllables not in arsi), probably constitutes a mimetic trait of speech.568 It has the function of

566 Norden 19574, p.438, supposes a Greek model (γυνακείῳ ὀλολυγμῷ) and compares to this line Ov. Met.11.17 tympanaque et plausus et Bacchei ululatus (where, however, the Greek patina is clear in the term Bacchei). On the iconic expressiveness see Austin 1955, ad Aen.4.667: ‘A fine onomatopoeic line (note the interplay of all five vowel-sounds) […] there is hiatus between femineo and ululatu, so that the -o is prolonged, as it were, to coalesce only slowly with the following -u- (oooululatu), like an actual sound of wailing’. 567 On the iconic expressiveness of the passage, probably suggested by the Greek model of Od.11.596a λᾶαν ἄνω ὤθεσκε, where the hiatus suggests metrically that Sisyphus, rolling his stone, is out of breath (cf. p.7, n.16), see Wilkinson 1963, p.78 (‘gasping hiatus’) and Mynors 1990, ad loc. Wills 1996, p.333, n.9 also hypothesizes a formal echo of the hiatus at Il.2.744a (τοὺς δ’ ἐκ Πηλίου ὦσε). 568 Cf. Soubiran 1966, p.374; Austin 1977, ad loc. (‘pathetic realism’) and Horsfall 2013, ad loc. (with further references). The other two instances of shortening of a monosyllable in Virgil are



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emphasizing the vocative amice in Aeneas’ emotional words: his regret at having been unable to give his beloved kinsman and friend Deiphobus proper burial remains strong. In other cases, when hiatus is placed before a syntactical pause, it can suggest a brief break in the speech, putting into relief the following word, 569 as at the expressive Aen.3.605 f. spargite me in fluctus uastoque immergite ponto: si pereo, hominum manibus periisse iuuabit.’

where it gives emphasis to the word hominum, highlighting a note of pathos in Achaemenides’ address to the Trojans: in his miserable condition to die at the hands of men, rather than be killed by the Cyclopes, would be a liberation.570 Hiatus is also expressive at Aen.9.291 f. hanc sine me spem ferre tui, audentior ibo in casus omnis.’

where it throws the word audentior into relief, highlighting the courage of the youthful Euryalus,571 and at Aen.12.31 promissam eripui genero, arma impia sumpsi.

where it emphasizes the sequence arma impia: the arms taken up by the Latins are impious, in that the fates favour Aeneas.572 An isolated, but striking, example is found at Aen.4.235 f. quid struit? aut qua spe inimica in gente moratur nec prolem Ausoniam et Lauinia respicit arua?

at B.2.65 te Corydon, o Alexi: trahit sua quemque uoluptas and B.8.108 credimus? an, qui amant, ipsi sibi somnia fingunt?. 569 On the stylistic effect of this type of hiatus see the ample note of Austin 1955, ad Aen.4.235. 570 Williams 1962, ad loc.: ‘the natural pause after pereo is accentuated as he stays for a mo­­ m­ent on the grim word, and emphasis is put on hominum, the key word of his speech’. 571 Euryalus refers to his own courage at both the beginning and end of his speech (ausis at line 281, audentior at line 291). Cf. Hardie 1994, ad loc. 572 Cf. Tarrant 2012, ad loc.: ‘almost every word in the line expresses L.’s retrospective condemnation of his action’.

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where the hiatus does not coincide with a syntactical pause but only with a metrical and logical one: Zeus seems to reflect over the possible motives for Aeneas’ preferences.573 In a series of passages hiatus is placed before an adverb of place or a demonstrative pronoun and does not seem to carry any particular expressiveness.574 The only example worthy of note appears to be at Aen.1.405 f. et uera incessu patuit dea. ille ubi matrem agnouit tali fugientem est uoce secutus:

where the hiatus of a short vowel, extremely rare in Latin poetry,575 is combined with the elegant contre-rejet, which presents the pronoun ille in first position. 576 Once more hiatus seems to suggest a pause, a moment of suspense: Aeneas has just recognized his mother and hurries to speak to her.577

C) I b 2 Hiatus and enantiometria A separate discussion is needed for those passages in which prosodic hiatus comes to realize the figure of enantiometria, that is, the contrasting prosodic quantities of a word which occurs twice in the same line (or in two consecutive lines).578 573 Cf. Austin 1955, ad loc., who draws attention to ‘a slight pause at the hiatus, as if Jupiter were musing over the possible reasons for Aeneas’ behaviour, or trying to decide exactly how to refer to the Carthaginians’. 574 Perhaps, as Austin 1955, ad Aen.4.235, notes, this hiatus is employed in speech and nar­­r­ative passages in correspondence with a fresh syntactical start: Aen.1.15 ff. quam Iuno fertur terris magis omnibus una / posthabita coluisse Samo. hic illius arma, / hic currus fuit; 5.735 f. concilia Elysiumque colo. huc casta Sibylla / nigrarum multo pecudum te sanguine ducet; 10.141 f. Maeonia generose domo, ubi pinguia culta / exercentque uiri Pactolusque inrigat auro (in this example the presence of a Greek word in the line can lead us to think that the hiatus is intended to have a Graecising effect. Cf. Harrison 1991, ad loc.). 575 The only other example is at B.2.53 addam cerea pruna (honos erit huic quoque pomo). Cf. Soubiran 1966, p.292 and Gérard 1980, p.12, and n.7 (a probable example also at Met.5.625). 576 On ille being placed in relief in contre-rejet see p 142, n.444. 577 Cf. Austin 1971, ad loc. and Lindsay 1922, p.240. On the probable Greek patina of this type of hiatus see Veremans 1985, EV 2, p.887 (with references). 578 On the phenomenon, over and above some commentators’ notes (among them Kenney 1971, ad Lucr.3.145; Munro 1978, ad Lucr.4.1259; Nisbet–Hubbard 1970, ad Hor. Carm 1.32,11; Austin 1955, ad Aen.4.159; Norden 19574, ad Aen.6.791; see also Ferrarino 1956, p.329; Bernardi Perini 19703, pp.55 f. and n.61; Soubiran 1995, pp.133 f.; Hofmann–Szantyr (Traina) 2002, p.225, n.464 (with further bibliography); and above all the work of Hopkinson 1982, pp.162–177 (with ample examples from both Greek and Latin poetry). In Greek poetry enantiometria, already relatively



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While in a number of examples enantiometria is used to add elegant vari­­at­ion to repeated words,579 as at Aen.2.663 natum ante ora patris, patrem qui obtruncat ad aras.580

where the prosodic variation of the first syllable of the repeated word is realized through the different treatment of the muta cum liquida sequence in patris patrem,581 in other instances the figure can be used with iconic effects. Typical of this use is B.3.78 f. Phyllida amo ante alias; nam me discedere fleuit, et longum ‘formose, uale, uale,’ inquit Iollas.

frequent in Homer, becomes a true affectation of the Hellenistic period, while in Latin we find a more limited use, perhaps also on account of a negative outlook on the poets’ part when faced by this metrical virtuosity (cf. Martial 9.11,13 ff.). 579 The repetition of a word can be varied not only by enantiometria but also by the related phenomenon of differing positions of the stressed syllable. On this phenomenon see Lachmann 1816, ad. Prop.2.3,43; Herescu 1960, pp.197–199; Soubiran 1966, p.616 (in convergence with synaloepha); Hopkinson 1982, pp 162–177 (who discusses the phenomenon together with enan­­t­iometria); Wills 1996, pp.467 ff. (‘ictus-shift’, with further bibliography at n.24). If we may define this figure simply in terms of pure metrical necessity – it is relatively normal for a repeated word in the hexameter to have the stressed syllable in different positions – other stylistic usage which can join with it to vary a verbal repetition cannot be ignored. Consider, for example, 1) the asymmetr­­ical omission of the second -que, an elegant expedient which serves as a connective, as at 11.171 Tyrrhenique duces, Tyrrhenum exercitus omnis (Fordyce 1977, ad Aen.7.75 observes that this stylistic use is met only in the second half of the Aeneid); and 11.641 ingentemque animis, ingentem corpore et armis; 2) the omission of the second et (cf. Fordyce 1977, ad Aen.7.327 odit et ipse pater Pluton, odere sorores), or 3) the repetition of two verbs in asyndeton (with variations in number and placed in initial positions in the respective cola), which lend the verse a languid Alexandrian flavour, especially in pathetic contexts, as at 10.429 sternitur Arcadiae proles, sternuntur Etrusci (cf. Harrison 1991, ad loc.); 11.191 spargitur et tellus lacrimis, sparguntur et arma; 11.818 f. labitur exsanguis, labuntur frigida leto / lumina (on the repetition of three verbs in asyndeton within a tricolon with variation of singular and plural see Tarrant 2012, ad Aen 12.826). 580 In the Aeneid the only other instance of enantiometria is at 6.791 hic uir, hic est, tibi quem promitti saepius audis, where (as at 4.22 solus hic inflexit sensus) the second hic keeps its original short quantity. Cf. Austin 1977 and Horsfall 2013, ad loc. (with ample bibliography). 581 The lengthening of the muta cum liquida sequence is already present in Greek verse, where it is acceptable in epic poetry but not in Attic comedy. Cf. Koster, 19532, pp.40–41. On the phe­­ n­omenon in Latin see Lindsay 1922, p.245, for whom the first attested use is found in Ennius and Lucilius; Timpanaro 1965, pp.1075–1103, and 1994, pp.194 ff. (polemic with Skutsch 1985, pp.55 f.); Pascucci 1966, pp.41–62, for a number of examples drawn from the language of comedy; Questa 1984, pp.277–290 (polemic with Pascucci 1975, pp.59–73); Bernardi Perini 1974, pp.11 f.; and for further bibliography Ceccarelli 1991, pp.295–298.

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where the enantiometria (ualē, ualě) realized by means of prosodic hiatus suggests iconically the progressive fading of the greeting.582 A similar effect is found, as already noted, at B.6.43 f. his adiungit, Hylan nautae quo fonte relictum clamassent, ut litus ‘Hyla, Hyla’ omne sonaret;

where the sequence Hylā Hylă indicates the poignant fading of the name’s echo.583 It is interesting to note that the expressiveness of the figure does not escape Ovid, who at Met.3.500 f. ‘heu frustra dilecte puer!’ totidemque remisit uerba locus, dictoque ‘uale’ ‘uale’ inquit et Echo

cites elegantly the two Virgilian passages, using the enantiometria to reflect the echo of the word uale.

C) II Polysyllables and Graecising line-ends Polysyllabic words, generally avoided in writing poetry, can be used at line-ends to lend a Greek patina to the verse.584 In the majority of instances we are dealing with Greek or other foreign proper names, which, often in long lists, contribute to elevate the stylistic register of the passage.585 A typical example is at Aen.6.479 ff.

582 Cf. Traina 19986, p.280: ‘nel prosodico affievolirsi della parola iterata è quasi lo spegnersi di un saluto, di un grido, verso il silenzio definitivo’ {the prosodic weakening of the repeated word is as the fading of a greeting, a sigh, towards definitive silence}, and Coleman 1977, ad loc.: ‘the diminuendo effect of ualē ualĕ is onomatopoeic’. 583 Cf. Cucchiarelli 2012, ad loc. 584 Hofmann–Szantyr (Traina) 2002, p.118 advise a certain caution in attributing a stylistic weight to words whose length is subject to aspects of inflection, while they recognize that ‘l’im­ piego di nomi propri greci, o comunque stranieri, di grande volume mira il più delle volte a effetti artistici’ {the use of Greek, or other foreign, proper names is intended to a great extent for artistic effect in most instances }. On the Graecising effect of polysyllabic line-ends – they are nearly always Greek proper nouns or other Greek names, such as hymenaei, hyacinthus, cyparissus and elephantus – see in particular Austin 1955, ad Aen.4.99 and Williams 1962, ad Aen.3.328; on the convergence with Graecising irrational lengthening see also Norden 19574, p.438; Fordyce 1977, ad Aen.7.398 (and 1961, ad Cat.64.20); Harrison 1991, ad Aen.10.720. 585 Over and above this literary expressiveness, polysyllabic line-ends are also employed to create a special effect. Cf. Williams 1960, ad Aen.5.589 (with examples).



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hic illi occurrit Tydeus, hic inclutus armis Parthenopaeus et Adrasti pallentis imago, hic multum fleti ad superos belloque caduci Dardanidae, quos ille omnis longo ordine cernens ingemuit, Glaucumque Medontaque Thersilochumque, tris Antenoridas Cererique sacrum Polyboeten Idaeumque etiam currus, etiam arma tenentem.

where the poet, in describing the array of the souls of the Trojan warriors who meet Aeneas in Hades, clearly adopts the model of the Homeric catalogue, also imitating the metrical–rhythmical aspects. The solemn cadences of line 483, consisting of only four words,586 are clearly modelled on Il.17.216b (Γλαῦκόν τε Μέδοντά τε Θερσίλοχόν τε) imitating its rhythm, the use of the enclitic conjunction, and the polysyllabic line-end.587 We can compare to this passage Aen.10.413 hic mactat Ladona Pheretaque Demodocumque,

which in its phrasing echoes the Homeric model at Il.21.209 ἔνθ’ ἕλε Θερσίλοχόν τε Μύδωνά τε Ἀστύπυλόν τε;588 and Aen.4.146 Cretesque Dryopesque fremunt pictique Agathyrsi;

(with lengthening in arsi of the first enclitic -que);589 and also the evocative fourword line at Aen.9.767 Alcandrumque Haliumque Noemonaque Prytanimque.

586 Cf. p.79, n.261. 587 Cf. Austin 1977, ad loc. The Homeric feeling of the passage is also confirmed in the following line by the expression tris Antenoridas, which recalls Il.11.59a τρεῖς τ’ Ἀντηνορίδας and also by the quadrisyllabic word at line-end (Poliboeten). In a similar context (still in a catalogue of souls of the dead) Virgil twice uses a polysyllabic line-end: Aen.6.445 ff. his Phaedram Procrinque locis maestamque Eriphylen / crudelis nati monstrantem uulnera cernit, / Euadnenque et Pasiphaen; his Laodamia / it comes. 588 Cf. Harrison 1991, ad loc. 589 The clear Homeric origin of the lengthening is confirmed by the fact that the enclitic -que 1) lengthens only if associated with another -que, following the Homeric model of the double τε 2) also lengthens, as in Homer, before a single consonant (cf. Aen.3.91 liminaque laurusque; 12.363 Chloreaque Sybarimque). Cf. Fordyce 1977, ad Aen.7.186 and Wills 1996, p.376, n.7 (with examples). See also Norden 19574, p.451; Postgate 1923, pp.32 ff.; Housman 19722, pp.1125 f.

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which reproduces word-for-word Il.5.678 Ἄλκανδρόν θ’ Ἅλιόν τε Νοήμονά τε Πρύτανίν τε 590 and also has lengthening in arsi of the third enclitic -que. The Greek flavour given to the verse by the line-end often has the function of highlighting the greatness of a character or the exceptional craftsmanship of an object.591 A typical example is found at Aen.3.464 ff. dona dehinc auro grauia ac secto elephanto imperat ad nauis ferri, stipatque carinis ingens argentum Dodonaeosque lebetas, loricam consertam hamis auroque trilicem et conum insignis galeae cristasque comantis, arma Neoptolemi.

where elephanto, in hiatus as in the Homeric model,592 underscores the precious material of the gifts, while a four-word line (466) emphasizes the weight of the silver and massive cauldrons.593 The apposition in rejet (arma Neoptolemi) underlines further the exceptional nature of the objects: the armour which Helenus gives to Aeneas was previously that of his enemy Neoptolemus. We can compare to this passage Aen.1.647 ff. munera praeterea Iliacis erepta ruinis ferre iubet, pallam signis auroque rigentem et circumtextum croceo uelamen acantho, ornatus Argiuae Helenae, quos illa Mycenis, Pergama cum peteret inconcessosque hymenaeos, extulerat, matris Ledae mirabile donum;

where the second hemistich of line 651 (in addition to the quadrisyllabic hymenaeos, the weighty word inconcessosque is also noteworthy) not only marks the Greek provenance and exceptional nature of uelamen (mirabile donum given by Leda to her daughter Helen, and now an offering from Aeneas to Dido), but also 590 This is the only instance in Virgil of exact reproduction of a line from Homer. Cf. Hardie 1994, ad loc. 591 The passage at Aen.3.399 ff. hic et Narycii posuerunt moenia Locri, / et Sallentinos obsedit milite campos / Lyctius Idomeneus; hic illa ducis Meliboei / parua Philoctetae subnixa Petelia muro does not express pathos or greatness, but is due simply to Virgil’s inclination and love of the musicality of proper names (cf. p.79) and geographical epithets (cf. Williams 1962, ad loc. and ad Aen.3.689). 592 See p.185. The same quadrisyllabic line-end is also used to emphasize a wondrous object, as the Gate of Dreams at Aen.6.895 altera candenti perfecta nitens elephanto, or the temple-door with historical reliefs in gold and ivory at G.3.26 in foribus pugnam ex auro solidoque elephanto. 593 On the effect of the spondaic word (ingens) in the first foot see p.109, n.354.



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its sinister and ominous character: the unlawful union of Helen and Paris foreshadows the no less doomed union between the Carthaginian queen and the Trojan leader. Aen.12.82 f. is also particularly striking: poscit equos gaudetque tuens ante ora frementis, Pilumno quos ipsa decus dedit Orithyia,

the spondaic line-end stresses the name of Orithyia, who gave the wondrous steeds to Pilumnus (the two proper names are elegantly placed to frame the line).594 A polysyllabic line-end has particular strength in direct speech, as is clear at Aen.6.392 ff. nec uero Alciden me sum laetatus euntem accepisse lacu, nec Thesea Pirithoumque, dis quamquam geniti atque inuicti uiribus essent.

(Charon recalls the illustrious but troublesome Greek heroes who had had the privilege to pass over the Acheron while yet living);595 Aen.4.215 ff. et nunc ille Paris cum semiuiro comitatu, Maeonia mentum mitra crinemque madentem subnexus, rapto potitur;

(Iarbas, full of anger and contempt, emphasizes the effeminacy of Aeneas and his men);596and again at Aen.3.325 ff. nos patria incensa diuersa per aequora uectae stirpis Achilleae fastus iuuenemque superbum seruitio enixae tulimus; qui deinde secutus

594 Cf. Traina 20042, ad loc.: ‘V. si è compiaciuto di far cozzare a cornice del verso l’antroponimo greco in clausola spondiaca (cf. Apoll. Rhod. 1, 212) col teonimo indigeno, Pilumno […] gettando così un ponte fra i due mondi del suo poema’ {V. was pleased to toss together, framed by the verse, the Greek personal names at spondaic verse-end […] with the native divine name, Pilumno […] building thereby a bridge between the two worlds of his poem}. See also p.224. 595 The word order is also interesting in sum laetatus, where the preceding copula puts the verbal form into relief. Cf. Horsfall 2013, ad loc. 596 Cf. Austin 1955, ad loc.: ‘note the quadrisyllabic ending […], a Greek-type ending to suit the “foreign” picture, upsetting the normal pattern’. Also notable is the use of the et ‘indignantis’, on which see Austin 1971, ad Aen.1.48b f. et quisquam numen Iunonis adorat / praeterea aut supplex aris imponet honorem?’ (‘et marks a querulous or angry tone’).

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Ledaeam Hermionem Lacedaemoniosque hymenaeos me famulo famulamque Heleno transmisit habendam.

where the four-word line suggests a note of pungent irony in Andromache’s words, who remarks on the grandness of the unfortunate nuptials for which she was spurned by Pyrrhus.597

C) III Σπονδειάζοντες Spondaic line-ends are known to give a Greek flavour to the verse.598 Used in Homer, they become a true affectation in Alexandrian verse and in the Latin poets inspired by it, as Cicero makes clear in a letter from Greece (Att.7.2.1) in which he sends Atticus a spondaic verse (flauit ab Epyro lenissimus Onchesmites), adding jokingly: ‘hunc σπονδειάζοντα si uoles cui τῶν νεοτέρων pro tuo uendito’. While in Catullus such lines recur quite frequently (30 instances in 408 lines) Virgil uses them much more sparingly (33 instances in around 12,000 hexa­ meters), motivated by stylistic needs.599 In many instances the line-end is clearly used to underscore the Greek patina of a verse containing Greek words, often in convergence with metrical figures of a Greek flavour – hiatus and syllabic lengthening.600 In addition to those instances we can notice a number of examples in which it is also possible to isolate an expressive value. A typical passage is at Aen.2.67 f. namque ut conspectu in medio turbatus inermis constitit atque oculis Phrygia agmina circumspexit,

597 On this passage see p.227; on the expressiveness of four-word lines see p.79, n.261. 598 On this type of line-end in addition to the notes by Williams 1960, ad Aen.5.320; Fordyce 1961, ad Cat. 64.3 and 1977, ad Aen.7.631; see also Norden 19574, pp.441–446 (tracing the history of the figure); Winbolt 1903, pp 128–134; Marouzeau 19462, p.86; Soubiran 1969, pp.329–349; Nardo 1975, pp.439–468 (for further bibliography Helzle 1992, pp.590–600 and Traina 1994, PL 4, p.226, n.4). 599 Cf. Norden 19574, pp.445 f. 600 A spondaic line-end is associated with a Greek word in 26 out of the 33 instances found in Virgil (cf. Norden 19574, p.446). It is used in a line with hiatus at B.7.53 Stant et iuniperi et casta­ neae hirsutae; G.4.463 atque Getae atque Hebrus et Actias Orithyia (cf. Thomas 1988, ad loc.) and in the examples already commented on at Aen.1.617 tune ille Aeneas quem Dardanio Anchisae; 3.74 Nereidum matri et Neptuno Aegaeo; 9.647 antiquum in Buten. hic Dardanio Anchisae; 11.31 seruabat senior, qui Parrhasio Euandro; and with lengthening of the syllable in arsi (cf. p.159, n.481) at G.2.5 muneribus, tibi pampineo grauidus autumno; Aen 9 9 sceptra Palatini sedemque petit Euandri. On the convergence of these stylistic factors see Williams 1960, ad Aen.5.320 and Fordyce 1977, ad Aen.7.631.



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where the spondaic line-end emphasizes Sinon’s concentration in watching the ranks of Trojans around him.601 To this example we can compare Aen.3.513 ff. haud segnis strato surgit Palinurus et omnis explorat uentos atque auribus aëra captat; sidera cuncta notat tacito labentia caelo, Arcturum pluuiasque Hyadas geminosque Triones armatumque auro circumspicit Oriona.

where the line-end not only underscores the words’ Greek character, but also, in a four-word line, highlights the concentration and skill of the helmsman Palinurus in navigating by observing the stars of the night sky.602 In other instances a spondee in fifth foot underlines a sense of effort, as at the paradigmatic Aen.3.549 cornua uelatarum obuertimus antemnarum,

where, in a four-word line, the sailors’ exertion in setting the yards is emph­a­ sized,603 or at Aen.7.634 aut leuis ocreas lento ducunt argento;

where the effort and laboriousness are reinforced by the succession, only found on two other occasions in Virgil, of two spondees in fourth and fifth feet.604 The spondaic line-end can moreover reinforce the semantics of a noun indic­ ating extension or duration, as at Aen.5.318 ff.

601 Cf. Austin 1964, ad loc. (‘the spondaic ending suggests not only weariness but caution and cunning’) and Hardie 1994, ad Aen.9.416. Spondees, not necessarily at line-ends, can suggest a sense of careful searching, as at Aen.12.466b f. solum densa in caligine Turnum / uestigat lustrans, solum in certamina poscit, where the anaphora of solum is also expressive (see p.124, n.398). 602 The dicolon abundans (omnis / explorat uentos atque auribus aëra captat), with omnis at line-end (see p.250), and the placing of verbs framing the following line (see p.222) contributes to highlight Palinurus’ concentration. 603 Cf. Winbolt 1903, p.131; Norden 19574, p.446; Soubiran 1959, p.43. 604 Winbolt 1903, pp.129 f., notes two strong tendencies associated with spondaic line-ends: 1) the line-ends with a quadrisyllable or trisyllable (the only exception in Virgil is Aen.3.12 (=8.679) magnis dis.) 2) the spondee is preceded by a dactyl; Virgil only breaks this rule three times, at G.3.276b depressas conuallis; Aen.3.74b Neptuno Aegaeo; and Aen.7.634 (quoted in the text above). Winbolt explains this last exception in terms of stylistic effect: ‘the working up of armour out of silver is a matter of great difficulty, and requires continuous effort’. On the expressive value of this particular line-end see also Fordyce 1977 and Horsfall 2000, ad loc.

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primus abit longeque ante omnia corpora Nisus emicat et uentis et fulminis ocior alis; proximus huic, longo sed proximus interuallo, insequitur Salius;

where the sequence longo interuallo is powerfully underlined by the heavy and slow rhythm of the spondaic line-end: Salius is closest to Nisus, but follows him only after a lengthy distance.605 Also noteworthy in this sense is B.4.48 f. adgredere o magnos (aderit iam tempus) honores, cara deum suboles, magnum Iouis incrementum!

where the spondaic line-end, converging with other stylistic devices (epiphonema, the hyperbaton magnos . . . honores, and the polyptoton magnos . . . magnum) lends solemnity to the language, and implicitly underscores the sense of growing increase in the semantics of incrementum.606

D) Stylistic effects of the disposition of caesurae In the main commentaries on the Aeneid there is no lack of observations on the collocation of caesurae in a verse.607 Such remarks rest upon a variety of evidence 605 Virgil makes expressive a Lucretian line-end (Lucr.2.295 copia nec porro maioribus intervallis and 4.187 quae quasi cuduntur perque aeris intervallum). Cf. Winbolt 1903, p.131: ‘a gap is fitly described by a word which produces a sense of suspension’. We should also notice the expressiveness of the dactylic rejet of emicat (cf. p.95, n.313), the postposition of sed, which contributes to put the adjective longo into relief (cf. p.55, n.183) and the figure of the correctio rei superioris (cf. p.51, n 171). 606 On the stylistic aspects of the passage and the semantics of incrementum see Traina 19862, PL 1, pp.219–226. Other notable instances are at Aen.12.863 quae quondam in bustis aut culminibus desertis, where the trisyllabic line-end preceded by a long final syllable stresses the parti­­ c­iple desertis, and, in particular, G.3.276 saxa per et scopulos et depressas conuallis, where the unusual rhythm is iconic, as Page 1898, ad loc. observes: ‘the opening dactyls express the bounds and leaps of the animals over “the boulders and rocks” and the balanced spondees of depressas convalles mark their smooth even gallop along the level valleys’. See also Mynors 1990, ad loc. 607 Over and above notes in the commentaries (which repeat the observations of Norden 19574, pp.425–434), see Winbolt 1903, pp.71–105; Marouzeau 19462, pp.301 f.; Wilkinson 1963, pp.70 f. (‘metaphor from verse-technique’) and Hellegouarc’h 1992, pp.11–26. Many of these stylistic comments refer to the correspondence or non-correspondence between metrical ictus and word accent (on this argument see Knight’s 1939 fine but controversial monograph), considering this aspect important, which is perhaps better left, as being almost debatable (ample bibliography in Traina 19986, pp.293 f.). Such comments, however, can prove useful: they cover passages with rhythmical particulars which are often stylistically important: the correspondence of the metric­



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in the text: the Latin hexameter tends to make the syllable in arsi coincide with the word accent in the last two feet, unlike in the first four feet,608 so as to avoid the sequence of long monosyllable + spondaic word after the penthemimeral (2½) (Marx’s Law),609 to avoid a double break at fourth and fifth trochee,610 and to avoid having a third foot trochaic caesura which is not associated with masc­u­­ line caesurae.611 We shall make a distinction between those instances which present a dearth of masculine caesurae and those in which such caesurae converge with a marked spondaic rhythm. al ictus and word accent is in fact due to the rare lack of masculine caesurae (cf. Thomas 1988, p.31 and Tarrant 2012, p.39). 608 On this argument see Wilkinson 1963, pp.120 ff.; the discussions of Eden 1975, pp.196 f.; Thomas 1988, pp.28–32; and Tarrant 2012, pp.38 f. 609 On Marx’s Law see Hellegouarc’h 1964, pp.106 ff.; Tordeur 1992, p.295; Arena 1997, pp.784– 789; Traina 1998, PL 5, p.128 (with further bibliography at n.7); Conte 2013, pp.115 f. (on G.4.348). Marx 1922, p.198 observes that in the Latin hexameter (from Catullus onwards), if following the penthemimeral (2½) there is a sequence of long monosyllable and a spondaic word, the monosyllable is usually postpositioned, as in the paradigmatic Troiae qui of the first line of the Aeneid. The sequence of type qui Troiae with correspondence of arsis and word-accent in fourth foot, is acceptable, as Marx himself observes, after a strong syntactical pause at penthemimeral (2½) or in the presence of anaphora or antithesis. From analysis of the instances in the text it emerges clearly that Marx’s law is not an unbreakable norm, but simply a strong tendency. In the choice of readings attention should also therefore be paid to the stylistic strength of the ordo uerborum. If we think of Aen.12.641 occidit infelix nostrum ne dedecus Vfens, the reading of P nostrum ne (supported by Traina 1998, PL 5, pp.127–132 and accepted by Conte 2009) is preferable to that of Mrωγ (ne nostrum), not only because of Marx’s Law, but also for the emphasis which it gives to the possessive, stressed by its marked prenominal position (cf. p.217, n.671), and by anastrophe of ne (cf. p.55, n.183). Cf. Tarrant 2012, ad loc. 610 The trochaic caesura at fourth and fifth foot is generally avoided because of the effect of anticipation it lends to the line-end (‘double ending’ or ‘false ending’). Cf. Maas 1902, p.527; Norden 19574, ad Aen.6.140 f.; Austin 1955, ad Aen.4.58, 1964, ad Aen.2.380, and 1971, ad Aen 1.188; Williams 1960, ad Aen.5.52; Fordyce 1977, ad Aen.7.27 (see also Gransden 1976, ad Aen.8.452 f. on the false ending at the fourth foot diaeresis). In the Aeneid around 100 lines present this rhythm, but the number is significantly reduced if we do not include those instances with the enclitic -que. If we are looking for evidence of a stylistic effect, we can observe that this rhythm is associated in a number of examples with a sense of speed (cf. Norden 19574, p.428 and Perret 1954, p.192), as at Aen.2.379 f. improuisum aspris ueluti qui sentibus anguem / pressit humi nitens trepidusque repente refugit; 2.465 sedibus impulimusque: ea lapsa repente ruinam (cf. p.64). On the effect of trachaic caesura in fourth foot see p.201, n.617. 611 The trochaic caesura at third foot, common in Homer (on the Graecising effect see Norden 19574, p.432; and Hardie 1994, ad Aen.9.731 f.), is generally associated in Virgil with a strong caesura at second and/or fourth foot (cf. Tarrant 2012, p.39). If it is followed by a strong syntactical pause it dominates the ‘compensating’ strong fourth-foot caesura, as at Aen.10.32 Italiam petiere, luant peccata neque illos (cf. Harrison 1991, ad loc.; Austin 1977, ad Aen.6 117).

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D) I a Lines with a dearth of masculine caesurae From stylistic point of view it is important to note that verses which lack masc­u­ line caesurae have similarity of theme and motif. In a first category of instances – which we can define as ‘narcotic lines’ – the dearth of masculine caesurae lends the verse a languid rhythm, reinforcing the idea of sleep or death expressed by the semantics of the terms.612 Typical of these instances is Aen.4.486 spargens umida mella soporiferumque papaver.

where the rhythm reinforces the sense of sopor (also expressive in this sense is the heavy six-syllable soporiferumque).613 It is interesting to note that the stylistic effect does not escape Pascoli (‘il verso stesso col suo andare significa sonno {the line itself with its movement indicates sleep}’)614 who uses it in clear imitation at Gladiatores 457 circum per loca maesta soporiferasque tenebras

This interpretation becomes more than a simple suggestion if we compare the line to a rich number of passages which present clear semantic and rhythmical affinities, beginning with Aen.5.856 tempora cunctantique natantia lumina soluit.

where the diminuendo effect is also expressive: the progressive decrease in the number of syllables in the final three words reflects Palinurus’ gentle and gradual sinking into sleep. The narcotic effect of this rhythm is also clear at Aen.4.81 luna premit suadentque cadentia sidera somnos,615 612 On the expressive use of this rhythm see Winbolt 1903, p.94; Norden 19574, pp.429 and 434; Marouzeau 19462, p.302; Wilkinson 1963, pp.72 and 125 f. 613 Cf. Austin 1955, ad loc. (‘there is no strong caesura anywhere, only a weak pause in the third and the fifth foot; the whole rhythm is dreamy and dropping’), and, on the spondaic word (spargens) in the first foot, here p.109, n.354. A comparable effect, but less obvious, is found at G 1.78 urunt Lethaeo perfusa papauera somno, where the idea of sleep is suggested by the sequence perfusa papauera somno (cf. Wilkinson 1963, p.75). 614 Pascoli 19426, ad loc. and again, in the letter to G. Chiarini (1900, p.927: ‘è chiaro che il verso ha da esprimere il languore del sonno prodotto dall’incantesimo’ {the line is clearly intended to express the languor of sleep brought about by enchantment}. On Pascoli’s interpretation of the metrical ictus see Traina 1989, PL 3, pp.100–107. 615 Cf. Austin 1955, ad loc.: ‘The rhythm of 81 itself suggests sleep (cf.486), with no strong caesura, and the regular diminishing of the three final words’. For a comparable effect see Traina



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at Aen.2.8b f. et iam nox umida caelo praecipitat suadentque cadentia sidera somnos.

and again at G.4.496 fata uocant, conditque natantia lumina somnus616

The effect is also notable at Aen.6.283b f. quam sedem Somnia uulgo uana tenere ferunt, foliisque sub omnibus haerent.

where, in a line with trochaic caesurae at first, second and fourth feet, it is not by chance that the verse describes the dwelling-place of dreams.617 In a series of instances the rhythm accompanies the idea of eternal sleep, as at Aen.10.745 f. olli dura quies oculos et ferreus urget somnus, in aeternam clauduntur lumina noctem.

(also notable here the diminuendo effect618 and the two strong oxymoron dura quies and ferreus somnus),619 at Aen.6.522 dulcis et alta quies placidaeque simillima morti.

1998, PL 5, p.37, who on Cat.5.5 nobis cum semel occidit breuis lux observes that the diminuendo in the last three words of the line is ‘icona del progressivo dileguare della luce’ {an icon of the light’s progressive vanishing}. 616 Cf. Horsfall 1995, p.243: ‘The rhythm (caesura at 2S, Greek caesura in 3rd. foot, bucolic diaeresis) is evocative of the slow drift into death’. 617 Cf. Austin 1977, ad loc.: ‘The line has a notable rhythm, fluttering lightly like the Dreams’. On the effect of trochaic caesura in fourth foot (Ennian flavour and iconic expressiveness) see Norden 19574, pp.428 f.; Wilkinson 1963, pp.125 f.; Conte 19852, pp.6 f.; in both fourth and fifth foot, here, p.199, n.610. 618 The diminuendo effect also accompanies the idea of death at Aen 10.418 ut senior leto canentia lumina soluit and 10.463 uictoremque ferant morientia lumina Turni.’. 619 Cf. Harrison 1991, ad loc., who, apart from pointing out the parallel at Aen.12.309 f. olli dura quies oculos et ferreus urget / somnus, in aeternam conduntur lumina noctem (the only variation is conduntur-clauduntur), also highlights the sequence lumina noctem (‘juxtapositional oxymoron’), which has a clear model at Cat. 51.11 f. gemina teguntur / lumina nocte.

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where we should notice the presence of trochaic caesurae at first, second and fourth feet.620 In other instances the rhythm lends the verse ‘a released movement’,621 particularly adapted to expressing a sense of tossing in the waves, as at Aen.1.101 scuta uirum galeasque et fortia corpora uoluit!’

and the analogous Aen.1.119 arma uirum tabulaeque et Troia gaza per undas.

where the rhythm reinforces the picture of bodies and weapons at the mercy of the sea’s swell. A lack of masculine caesurae can also reflect a sense of an unstoppable and continual movement, as in the lines of Horace at Ep.1.2.41b ff. qui recte vivendi prorogat horam, rusticus exspectat dum defluat amnis: at ille labitur et labetur in omne volubilis aevum

where the rhythm reflects iconically the flowing of the river without end;622 or again at G.1.514 fertur equis auriga neque audit currus habenas.

(the driver loses control of the chariot).623 In other passages the lack of a principal caesura highlights metrically a sense of instability, difficulty and anxiety. A typical example is found at Cat. 64.114 f. ne labyrintheis e flexibus egredientem tecti frustraretur inobseruabilis error.

620 Post-Virgilian epics also exploit the stylistic effect of the diminuendo, as is clear, for example, in Val.Fl. 1.300 mox ubi victa gravi ceciderunt lumina somno; Stat. Theb.2.30 f. ni deus horrentem Lethaeo uimine mulcens / ferrea tergemino domuisset lumina somno; and Sil. 7.204 donec composuit luctantia lumina Somnus. 621 Cf. Wilkinson 1963, p.126. We need to note that this particular rhythm (with correspondence of arsis and word accent) can also be exploited as a mimetic trait of speeches, as emerges in a number of verses in Horaces’s Satires and Epistles (Cf. Cupaiuolo 1963, pp.13 f.). 622 The rhythm has a similar expressiveness at Enn. Ann.505 Sk. Labitur uncta carina per aequora cana celocis and at G.3.446b f. udisque aries in gurgite uillis / mersatur missusque secundo defluit amni (cf. Wilkinson 1963, p.123). 623 Cf. Thomas 1988, ad loc.



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where the elegant four-word line, without a strong metrical pause, underscores the feeling of bewilderment belonging to confused and anxious wandering. Virgil gives us similar expressiveness at Aen.5.588 ff. ut quondam Creta fertur Labyrinthus in alta parietibus textum caecis iter ancipitemque mille uiis habuisse dolum, qua signa sequendi frangeret indeprensus et inremeabilis error:

where in line 591 the absence of a caesura at second and fourth feet (only diaeresis of third trochee) and the two polysyllabic words help to emphasize the anguished monotony of the intricate and twisted path inside the labyrinth.624 The iconicity of the rhythm is also clear at Lucr. 4.455 ff. tum vigilare tamen nobis et membra movere nostra videmur et in noctis caligine caeca cernere censemus solem lumenque diurnum,

624 See Norden 19574, p.433; Wilkinson 1963, p.71; Marouzeau 19462, p.302 (who compares to this line Enn. Ann.42 Sk. Corde capessere: semita nulla pedem stabilibat, highlighting the effect of the almost total lack of metrical pauses: ‘ces deux vers expriment l’idée d’une marche hésitante, hors de tout chemin tracé ou dans les détours d’un labyrinthe’ {these two lines express the idea of a hesitant walk, either beyond any trodden path or within the curves of a labyrinth}); Williams 1960, ad loc. (who observes that the rhythm ‘conveys a strange feeling of monotony and sameness, and the long words help in giving an unforgettable and magnificent representation of the feeling of being lost in an interminable maze’) and also Pascoli 1900, p.208: ‘nota il suono del verso, con gli accenti del metro e della parola in accordo, e con apparente cesura trocaica, in realtà con la semiternaria e semisettenaria sul medesimo monosillabo della disperazione, in (= non). Pronunzia bene e sentirai il gelo’ {notice the sound of the verse, with metrical accent and word-accent in agreement; it also contains an apparent trochaic caesura, but actually caesurae at semiternaria (1½) and semiseptenaria (3½) on the same monosyllable of despair “in” (= non). Pronounce it well and you will feel the ice}. (– this particular caesura is defined as ‘cesura in tmesi’ by Müller 18942, p.199 and 461, as ‘quasi-caesura’ by Bailey 1947, ad Lucr. 2.1059, and as ‘incisione attenuata’ by Viparelli 1990, p.97. Cf. Traina 1989, PL 3, p.106, n.66 and 1998, PL 5, p.131, n.17). A similar effect is found at the self-echo of Aen.6.27 hic labor ille domus et inextricabilis error (cf. Austin 1977, ad loc.). Also clearly iconic is Enn. Ann.221 Sk. Cui par imber et ignis, spiritus et grauis terra (cf. Skutsch 1985, ad loc.: ‘The line is metrically monstrous, being divided into two equal halves by diaeresis after the spondiac third foot. Is the rhythm used symbolically to describe the monster?’); G.1.350 det motus incompositos et carmina dicat (see Marouzeau 1948, p.106 and Thomas 1988, ad loc.: ‘the rare and clumsy rhythm (no third-foot caesura) emphasizes the uncouth nature (incompositos) of the rustic dance’) and Hor. Ars 263 non quivis videt immodulata poemata iudex, where in a line lacking caesurae Horace mocks ironically lines of this type (cf. Marouzeau 1936, p.59 and 19462, p.301; Wilkinson 1963, p.70).

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echoed by Virgil at Aen.12.909b ff. nequiquam auidos extendere cursus uelle uidemur et in mediis conatibus aegri succidimus

Here, at line 910, the trochaic caesura in the first two feet and the monosyll­­able in arsi powerfully underscore that sense of total exhaustion and helplessness belonging to anxious dreams, while the verbal rejet (succidimus) highlights the notion of falling.625

D) I b Masculine caesurae and spondaic rhythm In this section we discuss a number of passages to which the convergence of masculine caesurae and spondaic rhythm lend an expressive weight.626 A typical example is at Aen.3.207 f. uela cadunt, remis insurgimus; haud mora, nautae adnixi torquent spumas et caerula uerrunt.

where, after the dactylic contre-rejet (haud mora, nautae), which stresses the speed with which the command is followed, the spondaic rhythm expresses the oarsmen’s exertion.627 And we find the same at Aen.1.117 f. torquet agens circum et rapidus uorat aequore uortex. apparent rari nantes in gurgite uasto,

625 Cf. Tarrant 2012, ad loc., who notes that the substitution in the Virgilian line of uelle for nostra ‘produces both alliteration and greater stress on frustrated desire’. The stylistic importance of the Virgilian passage is finely analyzed by Pascoli 19426, ad loc.: ‘il senso di languore di questo verso è dato dalla coincidenza di accenti grammaticali e ritmici sulle prime due arsi e la cadenza trocaica alla seconda arsi; lo sforzo della sosta forzata dalla proclitica in, in terza arsi’ {the feeling of languor in this line is given by the coincidence of word-accent and rhythmical accent on the first two syllables in arsi, the trochaic cadence at the second arsi, and the effort of the forced pause of the proclitic ‘in’, at the third arsi}. Cf. Traina 1989, PL 3, pp.105 f. 626 In the terminology of Knight 1939 this rhythm is termed ‘heterodyne’ (in opposition to ‘homodyne’, the rhythm that implies correspondence of arsis and word accent) and from an expressive viewpoint seems to express ‘obstruction and effort’ (p.295). On the stylistic effect of this type of verse see also Eden 1975, ad Aen.8.452 f. 627 Cf. Williams 1962, ad loc. and Soubiran 1959, p.43. On the heavy bucolic punctuation see p.37, n.126.



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where the spondees of line 118, in contrast to the dactylic rhythm of the preceding verse, reflect the struggles of the shipwrecked men at the mercy of the breakers;628 again at Aen.7.164 f. aut acris tendunt arcus aut lenta lacertis spicula contorquent cursuque ictuque lacessunt:

the spondaic sequence in the first line stresses the exertion needed to stretch the bow; the dactyls of the succeeding verse reflect the velocity of the shot;629 in the similar example at Aen.9.665 intendunt acris arcus ammentaque torquent.

and again at Aen.6.643 contendunt ludo et fulua luctantur harena;

the rhythm once more reflects exertion.630 Finally we cannot pass without comment Aen.8.452 (= G.4.174) illi inter sese multa ui bracchia tollunt

where the rhythm reflects iconically the measured force of the Cyclopes in forging metal,631 and the similar examples at G.3.220 illi alternantes multa ui proelia miscent

and at Aen.12.720 illi inter sese multa ui uulnera miscent632 628 Cf. Austin 1971, ad loc. The position of the verb apparent is also iconic here, as it is at G.1.404 (on which see Thomas 1988, ad loc.: ‘the placement at the beginning of the line and sentence conveys the bird’s sudden appearance; V. so uses the same verb, with the same effect, at A.2.483– 4 (in anaphora) and 622’). 629 Cf. Fordyce 1977, ad loc., who observes the tendency to use series of spondees in contexts which express exertion. 630 At Aen.1.53 luctantis uentos tempestatesque sonoras the particular rhythm converges with the expressiveness of the four-word line (cf.p.79, n.261), underscoring iconically the semantics of the participle. 631 See the stylistic analysis of Eden 1975, ad loc. and of Fordyce 1977, ad loc. On inter sese, Ennian and epic, see Harrison 1991, ad Aen.10.146 f. 632 We find the same beginning at Aen.10.146 f. Illi inter sese duri certamina belli / contulerant.

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In these lines the sequence multa ui not only follows Marx’s Law, but also helps to realize an iconic rhythm, which here augments the sense of the blows’ violence.633

E) Stylistic effects of a monosyllable at line-end As is well-known, the last two feet of the hexameter are characterized by a recurrent and easily recognizable rhythm which allows correspondence of arsis and word-accent. When this does not happen, as in hexameters with a monosyllable at line-end, the rhythmical digression from the norm can be used for expressive ends. The stylistic importance of this rhythm, already clear to the ancient world, has been noted in the main commentaries and discussed in a series of specific studies.634 Virgil actually uses a monosyllable at line-end sparingly635 and for precise stylistic reasons; it lends the line an archaic patina636 and in a number of instances provides powerful iconic expressiveness. 633 Cf. Austin 1977, ad Aen.6.349: ‘ui multa would have given coincidence of ictus and speech-accent, whereas multa ui gives clash and so emphasizes the violence’. On Marx’s Law see p.199, n.609. 634 Among the ancient opinions see, for example, Serv. ad Aen.5.481 (who defines pessimus as the ‘uersus in monosyllabum desinens’), and, with the opposite view, Quint. Inst.8.3.20, who observes, on line-ends: ‘clausula ipsa unius syllabae, non usitata, addit gratiam’. Among commentators on the Aeneid, who generally accept the observations of Norden 19574, pp.438–439, see Austin 1955, ad Aen.4 132, and 1971, ad Aen.1.101; Williams 1960, ad Aen.5.481; Fordyce 1977, ad Aen.7.592; Harrison 1991, ad Aen.10.2. On the monosyllable at line-end also see Harkness 1910, pp 154–174 (in both Latin prose and poetry); Marouzeau 19462, pp.313–316 (acute observations on style); Nougaret 1948, pp.267 ff. (stylistic interpretation); Hellegouarc’h 1964, pp.50–69 (statistical data and an ample collection of passages); Hough 1975, pp.16–24 (a stylistic interpretation of the phenomenon in the Aeneid); Hofmann–Szantyr (Traina) 2002, p.121, n.222 (who observe that the use of the line-end in elevated poetry throws the monosyllable into relief, while in low poetry it breaks the rhythm, bringing it close to the sermo) and for further bibliography Traina 1994, PL 4, p.227, n.6. 635 The statistical data indicate a use which is stylistically motivated also for this device. In particular it is important to underline the clear-cut difference in the percentage of use in Ennius (8%, cf. Skutsch 1985, pp.49 f. The figure needs to be understood in the light of the fragmentary nature of the surviving work) and in Lucretius (5.9% in the first book of De rerum natura – largely of unimportant words, verbal forms of sum and fio, or the nouns res and uis used without any particular expressiveness) compared with Virgil (1.5% in the first two books of Aeneid, and 1.8% in books 6 and 7). Cf. Hellegouarc’h 1964, p.52 tab. 6. We need to note that in rhythmical and stylistic terms a monosyllable preceded by another monosyllable has an archaic patina (cf. Norden 19574, pp.438 f. and examples at p.448) and lends the line a more normal rhythm (cf. Austin 1955, ad Aen.4.224 and Williams 1960, ad Aen.5.372). 636 See in particular Fordyce 1977, ad Aen.7.592 and Harrison 1991, ad Aen.10.2.



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–– Rex, deus The lines in the Aeneid in which the noun rex is placed at line-end have a clear Ennian origin; the disposition lends the verse an evocative archaic patina, with the effect of raising the stylistic register of the passage. Think of the use which Virgil makes of the Ennian sequence diuum pater atque hominum rex (Ann.203 Sk.) repeated in full at Aen.1.65 f. ‘Aeole, namque tibi diuum pater atque hominum rex et mulcere dedit fluctus et tollere uento,

where Juno in her captatio beneuolentiae in front of Aeolus, reverts to high-sounding and solemn circumlocution, to highlight the power of Jupiter: the abilities which Aeolus has were given to him by the king of men and gods.637 The sequence suggests emphasis and pathos at Aen.2.647 ff. iam pridem inuisus diuis et inutilis annos demoror, ex quo me diuum pater atque hominum rex fulminis adflauit uentis et contigit igni.’

(Anchises, by now discouraged and tired, stresses the inevitability of his misfortunes, which have been caused by the father of the gods himself);638 and at Aen.10.743 f. ‘nunc morere. ast de me diuum pater atque hominum rex uiderit.’

(Mezentius on the point of killing the warrior Orodes).639 The simple sequence deum rex also lends solemnity to the language, as appears clear at Aen.3.374 ff. ‘Nate dea (nam te maioribus ire per altum auspiciis manifesta fides: sic fata deum rex sortitur uoluitque uices, is uertitur ordo), 637 The vocative Aeole is emphasized by the following parenthesis with explanatory weight. Cf. Williams 1962, ad Aen.3.374. 638 The sense of loss is highlighted by alliteration of the prefixes (p.108, n.349), which isolates the words inuisus and inutilis, and by the rejet of the verb demoror. The duplication of the dicolon abundans is also expressive (cf. p.35, n.118) – here with the equivalent terms fulminis and igni framing the line (cf. p.225, n.692), which suggest a note of despair in Anchises’ words. 639 On Mezentius’ ethos (‘not a sceptical atheist, but a proud man who defies and disobeys the gods’) see Harrison 1991, ad loc. (with further references).

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(in Helenus’ oracular words, the sequence stresses the destiny of Aeneas’ voyage); at Aen.12.849 ff. hae Iouis ad solium saeuique in limine regis apparent acuuntque metum mortalibus aegris, si quando letum horrificum morbosque deum rex molitur, meritas aut bello territat urbes;

(in a sequence of words with alliteration and in homoeoteleuton, it evokes the idea of the terrifying power of Jupiter).640 The two passages where the ablative plural of deus is placed at line-end are also clearly Ennian in character.641 At Aen.3.9 ff. et pater Anchises dare fatis uela iubebat, litora cum patriae lacrimans portusque relinquo et campos ubi Troia fuit. feror exul in altum cum sociis natoque penatibus et magnis dis.

Aeneas recalls, not without a note of emotion, everything he had saved from the flames of his homeland. The solemnity of the language is marked by the rhythm, unusual and modelled on Ennian antecedents, and on the spondaic magnis dis at line-end, equal to epiphonema in terms of expressiveness.642 The other example is at Aen.8.678 f. hinc Augustus agens Italos in proelia Caesar cum patribus populoque, penatibus et magnis dis,

where, in a clear self-echo linking Augustus to Aeneas, the same line-end, penatibus et magnis dis, lends expressiveness to the solemn list, which here underscores the legality of Octavian’s rule: he is the head of the Senate and of his people, the protector of the traditional Roman religion.643

640 Cf. Tarrant 2012, ad loc., who observes that the line-end deum rex focuses ‘attention on Jupiter’s capacity as ruler’. For the phono-symbolic value of the ‘u’ sound see p.128, n.414. 641 The model is Ann.190 Sk. Dono – ducite – doque – uolentibus cum magnis dis. 642 Cf. Williams 1962, ad loc. (‘There is no strong caesura in the third or fourth foot […], the fifth foot is spondaic […] and the line ends in a monosyllable’) and Horsfall 2006, ad loc. (‘Concentr­a­ tion of metrical effects focuses attention on the virtual epiphonema’). 643 Cf. Eden 1975, ad loc. and, on the self-echo, Moskalew 1982, p.136 (‘Augustus is seen as the direct heir of Aeneas and the guardian of the patrii penates (2.717) rescued from the flames of Troy’).



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–– Vis It is also useful to examine the antecedents in epic poetry for the monosyllable uis at line-end. Six examples in Ennius and thirteen in the first three books of Lucretius appear to confirm that this line-end should be seen as a trait of epic poetry. In Ennius the device lends a marked energy to the verse, reinforcing the semantics of the word uis, as appears clear at Ann.151 Sk. Romani scalis: summa nituntur opum ui

where, in a context of battle, the line-end and the spondaic rhythm highlight the sense of effort.644 Virgil, in homage to his predecessor, quotes him at Aen.12.552 pro se quisque uiri summa nituntur opum ui; 645

and, again in a battle context, at Aen.9.530 ff. Turris erat uasto suspectu et pontibus altis, opportuna loco, summis quam uiribus omnes expugnare Itali summaque euertere opum ui certabant,

where the sense of striving is also thrown into relief by the dicolon abundans (summis uiribus expugnare and summa euertere opum ui), here in the form of hysteron proteron, and by the rejet of the verb certabant.646 The line-end is also important at Aen.10.864 f. ultor eris mecum, aut, aperit si nulla uiam uis, occumbes pariter;

644 We find the same effect at Ann.405 Sk. Aedificant nomen, summa nituntur opum ui. 645 On the expressiveness of this line see Traina 20042, ad loc., who notes the emphasis on summa, placed between the two caesurae (cf. p.237, n.738), ui at line-end, and the diminuendo effect (cf. p.213, n.659). 646 On the dicolon abundans see p.35, n 118; on the hysteron proteron see p.223, n.684; on the synaloepha at the fifth trochee (euertere opum) see Soubiran 1966, pp.551 f.

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where the alliteration of Ennian origin, uiam uis,647 evokes, in Mezentius’ words to his war-horse, a sense of the broken strength of both warrior and steed, as they make their way forward amidst their foes; and at Aen.11.371 ff. scilicet ut Turno contingat regia coniunx, nos animae uiles, inhumata infletaque turba, sternamur campis. etiam tu, si qua tibi uis, si patrii quid Martis habes, illum aspice contra qui uocat.’

Drances stresses the gap between the unfortunate Rutulians, forced to fight for a cause which does nothing for them, and Turnus, who is promised the prize of a royal wife. The monosyllable, placed at line-end in the hypothetical period, assumes a particular importance: Turnus’ power and courage are now debated among his people.648 Finally, at Aen.4.132 Massylique ruunt equites et odora canum uis.

the line-end underscores the keenness and speed of the hounds with a clear expressive iconicity which we shall discuss in the next section.649 –– Ruo + monosyllable at line-end In a series of instances, as we indicated above, the monosyllabic line-end highlights iconically the semantics of the verb ruo.650 A clear example is found at G.3.255 f. ipse ruit dentesque Sabellicus exacuit sus et pede prosubigit terram, fricat arbore costas

647 Cf. Harrison 1991, ad loc. and Austin 1964, ad Aen.2.494. On this passage see also p.130. 648 A whole series of stylistic factors converges in this passage: asyndetic opposition in Turno . . . nos, pathetic apposition in animae uiles, inhumata infletaque turba (cf. p.45, n.159), the rare juxtaposition of two compounds with the negative prefix in- (cf. Horsfall 2003, ad loc.), and the duplication of the personal pronouns tu . . . tibi. 649 Cf. Austin 1955, ad loc.: ‘The line has a bustling, agitated close instead of a calm, smooth one, and the metre itself shows the excitement of the scene, with the hounds poking about vigorously and appearing in unexpected places’. On the periphrasis with uis, Homeric in origin, see Maurach 1983, pp.30 ff. 650 See Marouzeau 19462, p.314.



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which describes the violent rush of the Sabine boar.651 The scene is borrowed, joined to a monosyllable at line-end, by Horace at Ep.2.2.75 hac rabiosa fugit canis, hac lutulenta ruit sus:

In other examples the verb ruo is used for the sudden signs of the arrival of a season, as at G.1.312 f. atque, ubi iam breuiorque dies et mollior aestas, quae uigilanda uiris? uel cum ruit imbriferum uer,

or of night, as at Aen.2.250 Vertitur interea caelum et ruit Oceano nox

where the semantics of the line is also highlighted by the dactylic rhythm and the monosyllabic line-end, here with syllable-doubling (Oceano nox).652 –– Collision, collapse, opposition The energy given by a monosyllable at line-end is particularly suitable for expressing an idea of a violent move, of collision, of collapse, and in general of a motion’s sudden halt. The iconic expressiveness is clear at Aen.1.104 f. franguntur remi, tum prora auertit et undis dat latus, insequitur cumulo praeruptus aquae mons.

651 Cf. Thomas 1988, ad loc.: ‘the abruptness of the monosyllabic line-ending reinforces the sense of the verb’. The stylistic effect is different at Aen.8.82 f. candida per siluam cum fetu concolor albo / procubuit uiridique in litore conspicitur sus, where the emphasis is not on a violent movement but on the surprise of a miraculous vision (conspicitur): the hyperbaton detaches the monosyllable sus by some distance from the adjective candida, creating a growing expectation in the reader (see p.259). In Hor. Ars 139 parturient montes, nascetur ridiculus mus clearly alludes to the exiguus mus of G.1.181; the phonic joke -us mus seems to lend a comic note to its appearance and the monosyllable reflects iconically the size of the tiny mouse (cf. Eden 1975, ad Aen.8.43). 652 Cf. Austin 1964, ad loc.: ‘the end-pattern […], with its disturbance of the normally smooth rhythm, suggests the swift onrush of nightfall as “at one stride comes the dark”’. On syll­abledoubling see p.77, n.254. The passage is also interesting as a formal echo of Od.5.294b ὀρώρει δ’ οὐρανόθεν νύξ, where the descent of night is described (on this “literary” use of a monosyllabic line-end see p.212, n.657).

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where the dactylic rhythm and the monosyllabic line-end suggest to the reader the rushing of the wave and its sudden crash down onto the vessel.653 Those passages where, in a battle context, the word uir is repeated in poly­ ptoton654 and placed at line-end are clearly iconic. Think of the passages at Aen.10.360 f. haud aliter Troianae acies aciesque Latinae concurrunt, haeret pede pes densusque uiro uir.

(the excitement of the conflict is highlighted by polyptoton and the verbal rejet);655 at Aen.10.734 f. obuius aduersoque occurrit seque uiro uir contulit, haud furto melior sed fortibus armis

(the dactylic rejet expresses the effort of the action);656 and at Aen.11.632 implicuere inter se acies legitque uirum uir,

An image of collapse, like conflict, can be expressed by means of the rhythm of a monosyllable at line-end, as in the well-known example at Aen.5.481 sternitur exanimisque tremens procumbit humi bos.

which vividly portrays the heavy fall of the animal to the ground following Entellus’ violent blow.657 The line will be borrowed by Juvenal at 10.268 et ruit ante aram summi Iouis ut uetulus bos

653 Cf. Soubiran 1959, p.43 and Austin 1971, ad loc. (‘the mountainous waves rear up metrically’). 654 Cf. p.226. 655 Cf. Harrison 1991, ad loc. On this passage see also here p.90, n.294. 656 Cf. Harrison 1991, ad loc. 657 Probably a formal echo of Od.3.430b ἦλθε μὲν ἂρ βοῦς, where the stylistic effect is, however, less marked because the monosyllable is preceded by two other monosyllables. We can also consider, as a formal echo of Homer, Aen.2.355 sic animis iuuenum furor additus. inde, lupi ceu, which recalls the expression λύκοι ὣς at Il.11.72 and 16.156 (cf. Norden 19574, p.439; Austin 1964, ad loc.; Wills 1996, p.21) and probably also the other instances of sus at line-end, such as Aen.8.83, which might be modelled on Od.19.439 and 19.449 (cf. Norden 19574, p.441; von Albrecht 2006, p 166, n.563) or on Lucr.5.25 (cf. Fordyce 1977, ad Aen.7.592).



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who, in his description of Priam’s death, joins to the monosyllable bos the verb of movement ruo, demonstrating his deep understanding of the stylistic effects of the Virgilian examples.658 Finally we should note a number of instances in which the monosyllable can reinforce a sense of restraint or solidity expressed by the semantics of the verse. Typical is Aen.10.801 f. telaque coniciunt proturbantque eminus hostem missilibus. furit Aeneas tectusque tenet se.

where the fresh syntactical start after the rejet of the noun missilibus expresses Aeneas’ raging reaction, as he protects himself with his shield against the thrown weapons. The monosyllable se, which is not expressive in itself, coincides with the alliterative sequence tectusque tenet to realize a powerful diminuendo effect, iconic of Aeneas’ strength and solidity.659 The monosyllable at line-end has similar expressiveness at Aen.10.769 ff. hunc contra Aeneas speculatus in agmine longo obuius ire parat. manet imperterritus ille, hostem magnanimum opperiens, et mole sua stat;

In the scene of the duel between Aeneas and Mezentius, Virgil highlights the difference in ethos between the two characters, repeated in a series of skilful stylistic comparisons. At line 770, Mezentius’ provocative stance is contrasted, with marked verbal juxtaposition (ire parat. manet), with the powerful vitality of Aeneas, highlighted by the dactylic rejet extending to the penthemimeral (2½) (obuius ire parat). The importance of the line-end mole sua stat needs to be measured in this context: the pleonasm (mole sua)660 and the emphasis on the verb

658 Another example in Virgil is at Aen.7.789 f. at leuem clipeum sublatis cornibus Io / auro insignibat, iam saetis obsita, iam bos, where, however, the double monosyllable does not interrupt the rhythm of the line-end (cf. p.206, n.635): the location at line-end throws into relief the final moment of the miraculous metamorphosis only just now perfected, as underscored by the anaphora of iam (cf. Fordyce 1977, ad loc.). 659 Cf. Harrison 1991, ad loc.: ‘The archaic final monosyllable […] expresses Aeneas’ solidity’. For a similar diminuendo effect see Aen.10.258 f. principio sociis edicit signa sequantur / atque animos aptent armis pugnaeque parent se, where the monosyllabic pronoun, also following an alliterative sequence, helps to highlight a sense of excitement; and Aen 12.552 pro se quisque uiri summa nituntur opum ui, on which see p.209. 660 On this pleonasm see Harrison 1991, ad loc.

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highlight the physical bulk and obstinacy of Mezentius, who, confident of his own strength, awaits his enemy.661 –– Excitement, agitation, emotion The rhythm which a monosyllable at line-end gives to the verse is particularly fitting to underscore a sense of excitement, agitation or emotion, especially in direct speech. An exemplary instance is at Aen.5.623 ff. ‘o miserae, quas non manus’ inquit ‘Achaica bello traxerit ad letum patriae sub moenibus! o gens infelix, cui te exitio Fortuna reseruat?

where the excitement is expressed at line 623 by the rare sense-pause after the fourth trochee,662 and in the following line by the verbal enjambement (traxerit), by the unusual rhythm with syntactical pause at the end of the fifth foot, and above all by the double monosyllable o gens, at line-end and in interlinear juxtaposition with the adjective infelix.663 It is not by chance that in the words of Iris at Aen.5.637b ff. “hic quaerite Troiam, hic domus est” inquit “uobis.” iam tempus agi res, nec tantis mora prodigiis. en quattuor arae Neptuno: deus ipse faces animumque ministrat.’

a monosyllabic line-end is again used to highlight a sense of urgency, expressed by the semantics of the words iam tempus agi res and by the enjambement (arae / Neptuno).664

661 Cf. Page 1900, ad loc.: ‘The rhythm is intended to suggest rugged strength’. The verbal form stat can also be emphasized at the beginning of a line (cf. Traina 1994, PL 4, pp.66 f.), as at Aen.5.437 f. stat grauis Entellus nisuque immotus eodem / corpore tela modo atque oculis uigilantibus exit, where it highlights iconically the strength of Entellus firmly standing his ground (grauis . . . immotus). Cf. also p.158, n.476. 662 On the rare sense-pause after the fourth trochee see Winbolt 1903, p.44 and Williams 1960, ad Aen.5.166–7. 663 On this passage see p.47, n.164; on the effect of double monosyllable at line-end after a syntactical pause see Williams 1960, ad loc. and here, p.87, n.286. 664 Also noticeable is the staccato effect at line 638, on which see Williams 1960, ad loc. (‘Notice the staccato nature of these short sentences, three in succession without the verb expressed’). On staccato in direct speech see Austin 1964, ad Aen.2 151; Tarrant 2012, ad Aen.12.425 and here p.87, n.286.



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A sense of agitation is also particularly clear at Aen.10.228 f. tum sic ignarum adloquitur: ‘uigilasne, deum gens, Aenea? uigila et uelis immitte rudentis.

where the synaloepha ignarum adloquitur, the rejet of the vocative, and the archaic-sounding sequence deum gens at line-end, all lend an agitated rhythm to Cymodocea’s words.665 A separate discussion is merited at Aen.4.314 ff. mene fugis? per ego has lacrimas dextramque tuam te (quando aliud mihi iam miserae nihil ipsa reliqui), per conubia nostra, per inceptos hymenaeos, si bene quid de te merui, fuit aut tibi quicquam dulce meum, miserere domus labentis et istam, oro, si quis adhuc precibus locus, exue mentem.

a passage in which a series of stylistic devices contribute to lend pathos and agitation to Dido’s words. The strong bond which unites Dido and Aeneas is highlighted in the first line by the juxtaposition of tuam te at line-end and the placing of the personal pronouns mene . . . te to frame the verse.666 The emotionalism of the passage is reflected in the tortuous syntax, looking at the very ample hyperbaton te . . . oro (with the spondaic verb thrown into relief in rejet), the vertical hyperbaton istam . . . mentem, and the number of words in lines 314 and 317 (nine and ten respectively),667 which suggests distressed diction. Further strong expressiveness is given to line 316, a clear imitatio in phrasing and rhythm of Catullus 64.141 (sed conubia laeta, sed optatos hymenaeos), which with a graver tone further underscores the bitterness in Dido’s words.668

665 For the stylistic weight of this synaloepha see p.160. The archaic patina of the sequence deum gens (genitive in -um + final monosyllable) is noted by Harrison 1991, ad loc. 666 At this line we should take note of ‘Wackernagel’s law’, according to which pronouns without emphasis and particles are placed in second position, especially in invocations, even if that leads to hyperbaton, as in this instance (per ego has lacrimas) and at Aen.12.56, on which see Tarrant 2012, ad loc. (with bibliography). 667 On ten-word lines see Austin 1955, ad loc. (with examples) and Tarrant 2012, ad Aen.12.48 (cf. p.87, n.286). 668 On this allusion see Wills 1996, p.21 and 355. On the unusual rhythm (no strong caesura in the third and fourth feet) that seems to divide the line into two nearly equal parts see Winbolt 1903, p.100; Norden 19574, p.432; Austin 1955, ad loc.; on the ‘Graecising’ quadrisyllabic line-end in a verse with a Greek noun see here pp 192 ff.

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The expressive weight of the monosyllable at line-end is again clear at Aen.6.345 f. qui fore te ponto incolumem finisque canebat uenturum Ausonios. en haec promissa fides est?’

where it highlights Aeneas’ emotion and anger at the sight of his companion Palinurus in the Underworld.669 Another expressive example is found at Aen.2.169 f. ex illo fluere ac retro sublapsa referri spes Danaum, fractae uires, auersa deae mens.

which describes the misfortune that struck the Danaans after Ulysses had stolen the Palladium.670 Here we have a powerful convergence of asyndeton, which divides line 170 into three independent cola (the three consequences of the misdeed), and the monosyllable mens at line-end, which in diminuendo (auersa deae mens) closes the period with a strong image: the goodwill of the goddess is now lost.

669 Norden 19574, p.440, n.7, reports the judgement of Scaliger 1607, p.484, who on the expressiveness of this line-end observes: ‘nihil enim aptius indignationi, quam oratio desinens in mono­­ syllabum’. 670 The first line is a self-echo (cf. Knight 19662, p.255 and Horsfall 2008, ad loc.) of G.1 199b f. sic omnia fatis / in peius ruere ac retro sublapsa referri: after the nefas, as by an inevitable law of nature, it becomes impossible to turn back.

Chapter 3  Word order and meaning After having analysed the main metrical and metrical–syntactical figures, it will be useful to examine more closely the other means which the poet has at his disposal to lend expressiveness to the language. We shall discuss in particular marked or emphatic order, the stress given to a word in a key position in the line, the juxtaposition of words semantically related, and hyperbaton in a single line (the most stylized) or joined to enjambement. We need to emphasize once again that the inevitable need for categorization should not lead us to forget that stylistic figures often converge in a single passage and are not in themselves expressive, but must be weighed in their context and in the light of the semantics of the words used.

A) Marked order A study on the expressiveness of the ordo uerborum cannot fail to recognize, even if only with a brief nod, the simplest strategy for lending emphasis to a word: marked order. As a general rule a qualifying adjective is placed before its noun, while a possessive adjective normally follows the noun.671 In a number of passages, the possessive is emphasized not only by its pos­ ition before the noun but also by a series of stylistic features. Typical of this is Aen.7.98 f. externi uenient generi, qui sanguine nostrum nomen in astra ferant,

where the possessive is placed at the line-end, before the enjambed noun (nomen). To this we can add that the contrasting semantics with externi is marked by col­l­ocation at the two extremities of the verse.672

671 On the possessive see Marouzeau 1922, pp.133–148 and Nisbet 1999, pp.142 f. (a useful discussion with examples drawn from Horace’s Odes); on the adjective (also including demonstrative, indefinite, numeral and quantifying adjectives) see Devine–Stephens 2006, especially pp.403–481 (the adjective precedes the noun, with the exception of adjectives indicating mater­ ial, seasons, inherent properties, geographical places, and adjectives ending in -arius). 672 On framing the line with semantically related words see pp.221 ff.

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In other passages an ample hyperbaton contributes to emphasizing the possessive, as at Aen.9.560 f. increpat his uictor: ‘nostrasne euadere, demens, sperasti te posse manus?’

Turnus knows that the enemy cannot escape his hands; and at Aen.9.783 ff. unus homo et uestris, o ciues, undique saeptus aggeribus tantas strages impune per urbem ediderit? iuuenum primos tot miserit Orco?

where Mnestheus reprimands his men: Turnus is sowing panic, in spite of being alone and shut within their ramparts. Turning now to adjectives, the marked position, as we have seen, is postnominal and therefore we find expressiveness in an example such as Aen.2.216 ff. post ipsum auxilio subeuntem ac tela ferentem corripiunt spirisque ligant ingentibus; et iam bis medium amplexi, bis collo squamea circum terga dati superant capite et ceruicibus altis.

where the adjective ingens is given particular emphasis by its marked position and the syntactical pause between fifth and sixth foot.673 Convergence of hyperbaton and enjambement can also contribute to an augmented effect as, for example, at Aen.8.203 f. Alcides aderat taurosque hac uictor agebat ingentis, uallemque boues amnemque tenebant.

where ingens is lent further weight by being placed in rejet.

B) Key positions: beginning and end of line; unimportant words at line-end As we often observed in the stylistic analysis, the beginning and end of the line are particularly marked, in that they must be clearly perceptible in recitation.

673 On two monosyllables expressing excitement in this position after the strong syntactical pause see p.87, n.286; on colourless word at line-end, p.219, n.675; on ingens, p.31, n.107.



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In Virgil the placing of unimportant words at line-end is therefore rare.674 When such a word is logically connected to what follows, it can be used to leap over the limits of the line with a strong enjambement, as is clear at Aen.12.353 ff. hunc procul ut campo Turnus prospexit aperto, ante leui iaculo longum per inane secutus sistit equos biiugis et curru desilit atque semianimi lapsoque superuenit et pede collo impresso dextrae mucronem extortquet et alto fulgentem tingit iugulo atque haec insuper addit:

Here the very unusual position of atque at line-end highlights, together with other enjambements, the speed and unbroken pace of the action.675 674 On this tendency to avoid neutral words (prepositions, conjunctions, particles, relative pronouns, adverbs etc.) at line-end, which is more noticeable in the later books of the Aeneid, see Norden 19574, pp.400 ff. (with material from Lucretius and Virgil); Gransden 1991, p.31, and ad Aen.11.471. The phenomenon is interpreted as the result of emphasis at line-end by Williams 1960, ad Aen.5.733: ‘As a general rule the key position at the end of the line is occupied by a noun or a verb; adjectives are less common in this position (sometimes they may be given emphasis in this way, e.g. 100); adverbs and particles are rarer still’. See also Eden 1975, ad Aen.8.71: ‘colourless monosyllables rarely end a verse in Virgil as they do in Lucretius, because they cannot bear the emphasis of that position in the Virgilian hexameter’. 675 On the unusual location of atque at line-end (the only other example in Virgil is at Aen.12.615) see Gransden 20042, pp.48 f. and Tarrant 2012, ad loc. Over and above passages with ille in contre-rejet (cf. p.142, n.444), we also find expressiveness 1) in narrative passages where the colourless word at line-end highlights an idea of excitement or speed (cf. Nisbet 1999, p.146, ad Carm.2.6.1 ff. Septimi, Gades aditure mecum et / Cantabrum indoctum iuga ferre nostra et / barbaras Syrtis: ‘persistent scurrying’) as at 9.55b ff. Teucrum mirantur inertia corda, / non aequo dare se campo, non obuia ferre / arma uiros, sed castra fouere. huc turbidus atque huc / lustrat equo muros aditumque per auia quaerit, where the synaloepha at the point of the syntactical pause (fouere. huc) highlights the excitement (cf. Hardie 1994, ad loc. and here p.177) and the similar 9.440 f. quem circum glomerati hostes hinc comminus atque hinc / proturbant (see p.52); and in examples of striking contre-rejet as at 2.216 ff. post ipsum auxilio subeuntem ac tela ferentem / corripiunt spirisque ligant ingentibus; et iam / bis medium amplexi (p.88); 3.219 f. huc ubi delati portus intrauimus, ecce / laeta boum passim campis armenta uidemus (the only occurrence in Virgil of ecce at line-end. Cf. Horsfall 2006, ad loc.); 4.253b ff. hinc toto praeceps se corpore ad undas / misit aui similis, quae circum litora, circum / piscosos scopulos humilis uolat aequora iuxta (on the iconic expressiveness of this passage see p.253, n.789); 12.525b ff. non segnius ambo / Aeneas Turnusque ruunt per proelia; nunc, nunc / fluctuat ira intus; 2) in examples of direct speech, as at 8.568 ff. non ego nunc dulci amplexu diuellerer usquam, / nate, tuo, neque finitimo Mezentius umquam / huic capiti insultans tot ferro saeua dedisset / funera; 5.632 ff. o patria et rapti nequiquam ex hoste penates, / nullane iam Troiae dicentur moenia? nusquam / Hectoreos amnis, Xanthum et Simoenta, uidebo?, where the negative adverb is given further emphasis at line-end and in enjambement – for similar examples not in direct speech see 4.529 ff. at non

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The emphasis belonging to the beginning of the line is particularly clear in instances of rejet. It is enough here to cite Aen.3.635b ff. et telo lumen terebramus acuto ingens, quod torua solum sub fronte latebat, Argolici clipei aut Phoebeae lampadis instar,

where, as well as the drama of the rejet, which emphasizes the semantics of ingens, we should observe the rarity of a spondaic word in the first foot.676 Collocation at line-end can be exploited to emphasize an adjective in both an unmarked position, as at Aen.4.211 ff. femina, quae nostris errans in finibus urbem exiguam pretio posuit, cui litus arandum cuique loci leges dedimus, conubia nostra reppulit ac dominum Aenean in regna recepit.

infelix animi Phoenissa, neque umquam / soluitur in somnos oculisue aut pectore noctem / accipit and 12.921b ff. murali concita numquam / tormento sic saxa fremunt nec fulmine tanti / dissultant crepitus (cf. Tarrant 2012, ad loc.: ‘numquam . . . sic is a stronger form of non . . . sic, the usual intro­­ duction for such negative comparisons; the force of numquam is heightened by its position in the line’) – at 2.664 ff. hoc erat, alma parens, quod me per tela, per ignis / eripis, ut mediis hostem in penetralibus utque / Ascanium patremque meum iuxtaque Creusam / alterum in alterius mactatos sanguine cernam?; 6.560 f. ‘quae scelerum facies? o uirgo, effare; quibusue / urgentur poenis? quis tantus plangor ad auras?’ (cf. Austin 1977, ad loc.); and at the two examples with quantus at line-end: 11.283b f. experto credite quantus / in clipeum adsurgat, quo turbine torqueat hastam (cf. Gransden 1991, ad loc.: ‘The effect is to throw immense emphasis on Aen’s towering presence in the field’) and 11.57b f. ei mihi, quantum / praesidium Ausonia, et quantum tu perdis, Iule!’. Also noteworthy are 10.53b ff. magna dicione iubeto / Karthago premat Ausoniam: nihil urbibus inde / obstabit Tyriis and 10.890 f. multa mouens animo iam tandem erumpit et inter / bellatoris equi caua tempora conicit hastam, where the colourless words inde and inter at line-end have a ‘literary’ value recalling the style of Ennius (cf. Harrison 1991, ad loc.). 676 On the stylistic importance of a spondaic word in the first foot see p 109, n.354. The expressiveness of the placing of ingens (on this adjective see p.31, n.107) is equally clear in other examples in Virgil, where it converges with further stylistic factors: G.1.476 f. uox quoque per lucos uulgo exaudita silentis / ingens (rejet, cf. p.109); Aen.3.465b f. stipatque carinis / ingens argentum Dodonaeosque lebetas (four-word line, cf. p.79, n.261); 12.887 f. Aeneas instat contra telumque coruscat / ingens arboreum (asyndeton bimembre adiectiuorum in enjambement, cf. p.91, n.297); 12.926b f. incidit ictus / ingens ad terram duplicato poplite Turnus (syntactical start at bucolic diaeresis and spondaic rhythm with iconic value, cf. p.134).



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(the emphasis on the possessive nostra, which here underscores Iarbas’ pride, depends upon its position at line-end and the rare juxtaposition with the noun),677 and a marked position, as at the previously quoted Aen.7.596b f. te, Turne, nefas, te triste manebit supplicium, uotisque deos uenerebere seris.

Virgil also makes elegant use of framing the line with words which have a grammatical or semantic relationship. There are many examples where the line is framed between two verbal forms, often alliterative, isosyllabic and rhyming.678 Look, for example, at Aen.12.54 f. At regina noua pugnae conterrita sorte flebat et ardentem generum moritura tenebat:

with homoeoteleuton,679 or at Aen.9.38b f. ingenti clamore per omnis condunt se Teucri portas et moenia complent.

where the two verbs are alliterative, isosyllabic and isoprosodic. In many examples the words framing the line have semantic analogies, as at Aen.11.398 inclusus muris hostilique aggere saeptus.680

or are repeated, as at Aen.12.29 uictus amore tui, cognato sanguine uictus

677 On juxtaposition of two words in grammatical homoeoteleuton and ending in -ă see p.27, n 98. For analysis of this passage see p.49. 678 On verbs placed to frame the line see Kvičala 1881, pp.278 ff. (lists all 284 instances in the Aeneid); Norden 19574, pp.392 f.; Wilkinson 1963, p.217; Quinn 1968, pp.420 f.; Görler 1985, EV 2, p.275. On the closure effect of this structure, as of other types of chiasmus exploited to end a section, see Pasini 1991, pp.121 ff. (a full detailed analysis of chiasmus in Virgil). 679 Cf. Tarrant 2012, ad loc.: ‘the framing verbs may suggest Amata’s vehemence and persistence’. 680 Other instances of ‘iconic collocation of correspondence’ at the extremities of the line (cf. Traina 19912, PL 2, p.32) are at: Aen.2.28 desertosque uidere locos litusque relictum; 2.80 finxit, uanum etiam mendacemque improba finget; 2.564 respicio et quae sit me circum copia lustro; 5.612 desertosque uidet portus classemque relictam; 11.902 deserit obsessos colles, nemora aspera linquit; and 12.120 uelati limo et uerbena tempora uincti.

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where the repetition of the participle is thrown into relief by its location at the two ends of the line.681 In other instances the configuration framing the verse is joined to the dupl­i­ cation of dicolon abundans,682 as at Aen.3.718 conticuit tandem factoque hic fine quieuit.

where conticuit and quieuit are almost synonymous. As often happens with dicolon abundans, the ‘variation’ can add expressiveness to the ‘theme’, as at Aen.10.685 f. ter conatus utramque uiam, ter maxima Iuno continuit iuuenemque animi miserata repressit.

(the participle miserata expresses pity); at Aen.3.513b f. omnis explorat uentos atque auribus aëra captat;

(captat further stresses the helmsman’s scrutiny); at Aen.9.431 f. talia dicta dabat, sed uiribus ensis adactus transabiit costas et candida pectora rumpit.

(candida pectora683 suggests Euryalus’ unweathered pallor); at Aen.11.98b f. nec plura effatus ad altos tendebat muros gressumque in castra ferebat.

681 Cf. Tarrant 2012, ad loc.: ‘L. repeats a word that highlights his powerlessness in the face of external pressures’. On instances of framing repetition see Wills 1966, pp.427–430. 682 The instances in the Aeneid of dicolon abundans (on the figure see p.35, n.118) with verbal forms framing the verse are at: 1.622; 2.1, 267, 537; 3.188, 718; 4.339, 506; 5.234, 292, 429, 528; 6.111, 159; 8.78, 591; 9.338, 432, 553, 671, 718; 10.163, 686; 11.99, 315, 346; 12.246, 696. On dicolon abundans with nouns framing the verse see p.225, n.692. 683 The poetic plural pectora, which enlarges the image, is expressive. On the poetic plural, a device which is useful for avoiding metrical constraints but is also a strong stylistic resource, in addition to the detailed notes of Williams 1960, ad Aen.5.98; Eden 1975, ad Aen.8.29 (on pectora); Fordyce 1977, ad Aen.7.445 (especially on words indicating emotions); the observations of Norden 19574, pp.408 f.; and the comprehensive study of Maas 1902, pp.479 ff.; Schink 1911; Gummere 1934 (specifically on Virgil); see also Maurach 1983, pp.35 f.; Lunelli–Janssen 19883, pp.101 ff. (with further bibliography at n.46) and Kraggerud 1988, EV 4, pp.149 ff.



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(homoeoteleuton and spondaic rhythm highlight Aeneas’ slowness as he returns sadly to the camp); and at Aen.4.506 f. intenditque locum sertis et fronde coronat funerea;

(the rejet of the adjective funerea is particularly striking). In other examples the words framing the verse are associated with the figure of hysteron proteron (similar to dicolon abundans), as at Aen.10.819b f. tum uita per auras concessit maesta ad Manis corpusque reliquit.684

Framing the line can also be exploited to highlight a relationship of significant contrast: between two nouns, as in the well known example at Aen.1.209 spem uultu simulat, premit altum corde dolorem.685

or in the names of two opposing warriors, as at Aen.9.590 ff. Tum primum bello celerem intendisse sagittam dicitur ante feras solitus terrere fugacis Ascanius, fortemque manu fudisse Numanum686

or between two contrasting adjectives, as at G.1.379 ff.

684 Cf. also Aen.1.123; 2.134; 5.292; 6.331; 10.820. On hysteron proteron, the figure of Homeric origin (cf. Grazzini 2014, pp 144 f., n.2, with references) by which two temporal actions are inverted (the best-known Virgilian example is at Aen.2.353 moriamur et in media arma ruamus), over and above the notes by the main commentators (Norden 19574, p.379; Conway 1935, ad Aen.1.90; Harrison 1991, ad Aen.10.140; Horsfall 2000, ad Aen.7.7 and 2008, ad Aen.2.353; Tarrant 2012, index s.v. hysteron proteron), see Maurach 1983, pp.100 f.; Zaffagno 1985, EV 2, pp.871–874; Görler 1985, EV 2, p.274; Hoffmann–Szantyr (Traina) 2002, pp.26 f. and 282. 685 The same expressiveness is found at Aen.4.172 coniugium uocat, hoc praetexit nomine cul­ pam (cf. Austin 1955, ad loc.: ‘the antithesis between coniugium and culpam […] is strikingly shown by the position of the two words “framing” the line’). 686 Cf. Hardie 1994, ad loc.: ‘Ascanius’ name is postponed, receiving further emphasis at the beginning of a line that closes with the name of his victim’. On this type of verbal antithesis at an emphatic point of the line (‘opposition by position’) see Harrison 1991, p.289. Other notable instances are at Aen.2.275; 10.311, 814; 12.943.

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saepius et tectis penetralibus extulit oua angustum formica terens iter, et bibit ingens arcus687

In the majority of instances the framing of the verse highlights a similarity of a semantic kind, as at Aen.7.804 (=11.433) agmen agens equitum et florentis aere cateruas,

where the words agmen and cateruas belong to the same semantic register.688 In a number of examples the nouns are almost synonyms, as at Aen.9.173 rectores iuuenum et rerum dedit esse magistros.689

or form part of a hendiadys, as at Aen.11.704 consilio uersare dolos ingressus et astu690 687 On this passage see p.34. The same type of framing is also found at Aen.1.547 aetheria . . . umbris; 3.2 immeritam . . . superbum (cf. p.44); 7.426 Tyrrhenas . . . Latinos; 12.797 mortalin decuit uiolari uulnere diuum? (cf. Tarrant 2012, ad loc.: ‘the artful word order places semantically opposed terms at ends of the line’). Another notable example is at Aen.9.344 f. Fadumque Herbesumque subit Rhoetumque Abarimque, / ignaros, Rhoetum uigilantem et cuncta uidentem, on which see Hardie 1994, ad loc.: ‘The general statement ignaros is then qualified by a partial exception, uidentem at the end of the line contrasting with ignaros at the beginning, in what seems to be an elliptical correctio rei superioris’ (see p.51, n.171 on this figure). 688 Cf. Aen.1.51 nimborum . . . Austris; 4.673 unguibus . . . pugnis; 6.674 riparum . . . riuis; 7.635 uomeris . . . aratri; 7.640 loricam . . . ense; 7.664 pila . . . dolones; 7.747 uenatu . . . glaebis; 8.80 re­ migio . . . armis; 8 96 arboribus . . . siluas; 8.708 uela . . . funis; 11.86 pectora . . . ora; 11.136 fraxinus . . . pinus; 11.382 agger . . . fossae; 11.575 spicula . . . arcum; 11.711 ense . . . parma; 12.306 ense . . . securi; 12.706 moenia . . . muros. Among examples of adjectives framing the verse see 9.470 ingentis . . . altis (cf. Hardie 1994, ad loc.); 11.65 arbuteis . . . querno; and 12.559 immunem . . . quietam. 689 Cf. Hardie 1994, ad loc.: ‘a line suggestive of authority and discipline without reference to specific offices. rectores and magistros are close in sense’. See also Aen.4.274 Ascanium surgentem et spes heredis Iuli (the two names of Aeneas’ son are placed at the ends of the line), and 8.334 Fortuna omnipotens et ineluctabile fatum (fortuna and fatum are here identified as equivalent, cf. Fordyce 1977 ad loc.). 690 Cf. Gransden 1991, ad loc.: ‘consilio . . . et astu is a kind of hendiadys, reinforcing the sense of dolos’. On hendiadys, a phenomenon similar to epexegesis (cf. Grassi 1984, EV 1, p.883), consisting of dividing a concept into two of its aspects (principal and secondary), placing them on the same level, see Maurach 1983, pp.19 ff.; Calboli 1985, EV 2, pp.220 f. (with ample biblio­­g­­r­aphy); Lunelli–Kroll 19883, pp.30 ff.; Hofmann–Szantyr (Traina) 2002, pp 159 f. (for biblio­g­raphy on Virgil n.301); the notes of Eden 1975, ad Aen.8.436 (with useful discussion of various types of paratactic figures) and Mynors 1990, ad G.2.192. In the most typical examples the device



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or are linked by epexegesis, as at Aen.1.68 Ilium in Italiam portans uictosque penates:691

or once again form a dicolon abundans, as at Aen.6.165 aere ciere uiros Martemque accendere cantu.692

Finally those lines framed between colour terms cannot pass without notice, as at Aen.9.163 purpurei cristis iuuenes auroque corusci.693

C) Significant juxtapositions [Il poeta] Parla quasi un certo altro linguaggio perché ha certe altre cose da dire [ . . . ] E questo non lo fa, o lo fa ben di rado, e ancor più di rado felicemente, con l’inventar vocaboli novi [ . . . ] ma con accozzi inusitati di vocaboli usitati. He [the poet] speaks almost another language because he has other things to say [. . . ]. And this he does not do, or does very seldom, and even less seldom well, with the invention of new words [. . . ] but with unusual combinations of usual words}. (Manzoni, Discorso del romanzo storico, Tutte le opere, p.503, Milano 1813).

In the Aeneid a rather emphatic stylistic stratagem is to place together two words which are semantically correlated (with the effect of highlighting the bond of

divides the form from the material, as at G.2.192b pateris libamus et auro (on the instances in which hendiadys is adopted because of the metrical awkwardness of aureus see Fordyce 1977, ad Aen.7.142); in other examples it shades into hendiadys ‘of closer definition’, as at G.3.320 f. uictum . . . et uirgea . . . / pabula (see Mynors 1990, ad G.2.192) while in other examples, as at Aen.1.738b f. hausit / spumantem pateram et pleno se proluit auro, we can also talk of dicolon abundans in that the concept is split between two clauses (see p.139, n.440). 691 Cf. Austin 1971, ad loc. Also cf. Aen.3.148 effigies sacrae diuum Phrygiique penates. 692 Cf. Horsfall 2013, ad loc.: ‘A fine ringing line, framed by the abls., and then by the infins., with the two objects juxtaposed at mid-line.’ See also Aen.2.649 fulminis adflauit uentis et conti­ git igni and 3.362b f. namque omnis cursum mihi prospera dixit / religio, et cuncti suaserunt numine diui (cf. Horsfall 2006, ad loc.); for instances of dicolon abundans with verbal forms framing the line see p.222, n.682. 693 Cf. Hardie 1994, ad loc.: ‘A symmetrical line conveying the proud beauty of young warriors soon to be slaughtered’. Cf. Aen.1.593 argentum . . . auro; 5.87 caeruleae . . . auro; 9.270 aureus . . . rubentis (cf. Hardie 1994, ad loc.). Over and above the collocation framing the verse, the relationship between colour words can be highlighted by juxtaposition (cf. p.236).

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friendship, love, or hostility between the respective referents), two adjectives of significant similarity or contrast, or two personal pronouns or possessive adjectives.694

C) I Polyptoton: conflict, proximity, similarity Polyptoton is the figure which iconically mirrors most directly a sense of proximity (‘icon of contact’)695 and is often used in a battle context (‘battle polyptoton’),696 as at the paradigmatic Aen.10.360 f. haud aliter Troianae acies aciesque Latinae concurrunt, haeret pede pes densusque uiro uir.

where, used three times in two lines and in coincidence with a verbal rejet, it lends iconic expressiveness to the scene.697 The effect of the figure is also clear at Aen.4.628 f. litora litoribus contraria, fluctibus undas imprecor, arma armis: pugnent ipsique nepotesque.’

where, in Dido’s words, the double polytoton, with variation by the inserted juxtaposition fluctibus undas, accentuates the hostility which will divide the two nations.698 694 On these juxtapositions see Worstbrock 1963, pp.165 f. and Harrison 1991, pp.288 ff. 695 Cf. Traina 20042, ad Aen.12.748. 696 Cf. Wills 1996, pp.194–202. 697 On this passage see also p.90, n.294 and p.212. For probable models for this type of polyptoton (cf. Harrison 1991 ad loc. and Wills 1996, pp 194 f.) see Il 13.131 (=16.215) ἀσπὶς ἄρ’ ἀσπίδ’ ἔρειδε, κόρυς κόρυν, ἀνέρα δ’ ἀνήρ; Tyrt. 11.31–3 West καὶ ποδὰ πὰρ ποδὶ θεὶς καὶ ἐπ’ ἀσπίδος ἀσπίδ’ ἔρεισας; and, in Latin poetry, Enn. Ann.584 Sk. premitur pede pes atque armis arma te­ rentur (see Skutsch 1985, ad loc. for further examples); and above all Bibac. frg. 34 Blänsdorf pressatur pede pes, mucro mucrone, uiro uir (cf. Macr. Sat.6.3.5). On polyptoton of the word uir in contexts of battle see also Aen.10.734 f. obuius aduersoque occurrit seque uiro uir / contulit (cf. p.212); and 11.631 f. tertia sed postquam congressi in proelia totas / implicuere inter se acies legitque uirum uir. On polyptoton of pes see Traina 20042, ad Aen.12.748 insequitur trepidique pedem pede feruidus urget (who observes that here the figure is an ‘icona del contatto’). Polyptoton also emphasizes contact between parts of the body at Aen.5.429 immiscentque manus manibus pugnamque lacessunt and 8.485 f. mortua quin etiam iungebat corpora uiuis / compo­ nens manibusque manus atque oribus ora. 698 Cf. Austin 1955, ad loc.: ‘Nothing could better express the interlocked struggle of Rome and Carthage than these two lines, with their juxtaposition of repeated nouns in different cases. Luc­



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In other examples polyptoton highlights a sense of an affectionate bond (‘amorous and fraternal polyptoton’),699 as at the paradigmatic Hor. Sat.2.6.80 f. rusticus urbanum murem mus paupere fertur accepisse cavo, veterem vetus hospes amicum;

or a sense of physical resemblance, as at Aen.1.684b notos pueri puer indue uultus,

or identifies a shared condition, as at Aen.3.329 me famulo famulamque Heleno transmisit habendam.700

where we need to note the emphatic use of the enclitic -que, syntactically superfluous.701

C) II Juxtaposition: conflict, hostility, love, filial relationships Like polyptoton, juxtaposition of two words (usually proper names of warriors or tribal names) can reflect iconically proximity, hostility, or an affectionate relat­ ionship between the two referents. We shall begin with examples of juxtaposition of opposing names.702 A paradigmatic passage is at Aen.10.12 f. cum fera Karthago Romanis arcibus olim exitium magnum atque Alpes immittet apertas:

retius could have written fluctibu’ fluctus, and perhaps Virgil regretted that his stricter code forbade this’. On the effect of the hypermetre see p.183. 699 Wills 1996, pp.202–206. The ‘amorous polyptoton’, absent in Virgil, is the polyptoton of terms indicating parts of the body in erotic contexts, as at Ov. Am.3.7.10 lasciuum femori supposuitque femur. 700 On this passage see also pp 195 f. Cf. Aen.5.569 paruus Atys pueroque puer dilectus Iulo and 9.327 rex idem et regi Turno gratissimus augur. A similar effect can be achieved through the juxta­ position of two words, as at 1.574 Tros Tyriusque mihi nullo discrimine agetur; 10.108 Tros Ru­ tulusne fuat, nullo discrimine habebo; 11.592 Tros Italusque, mihi pariter det sanguine poenas. 701 Cf. p.65, n.212. 702 On the figure see Harrison 1991, pp.288 ff. and Horsfall 2003, ad Aen.11.141.

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where the juxtaposition of the two names Karthago Romanis, divided by the caesura, reinforces the sense of hostility between the two countries, expounded upon in the following line.703 As we have already noted, similar expressiveness characterizes Aen.1.12 ff. Vrbs antiqua fuit (Tyrii tenuere coloni) Karthago, Italiam contra Tiberinaque longe ostia, diues opum studiisque asperrima belli;

where the word Karthago is thrown into relief in the second line in rejet and in juxtaposition with the land of its future rival;704 while at Aen.3.500 ff. si quando Thybrim uicinaque Thybridis arua intraro gentique meae data moenia cernam, cognatas urbes olim populosque propinquos, Epiro Hesperiam (quibus idem Dardanus auctor atque idem casus), unam faciemus utramque Troiam animis;

the juxtaposition of the place-names Epiro Hesperiam (linked by synaloepha) reinforces the sense of the proximity and fusion of the two peoples.705 In the majority of examples the juxtaposition is of the names of two warring peoples, as at Aen.11.629 bis Tusci Rutulos egere ad moenia uersos,

and at Aen.10.88 ff. nosne tibi fluxas Phrygiae res uertere fundo conamur? nos, an miseros qui Troas Achiuis obiecit?706

where it adds emphasis to Juno’s heart-broken words.707 703 Cf. Harrison 1991, pp.288 ff. 704 Cf. p.156. 705 Cf. p.155. 706 Cf. Harrison 1991, ad loc.: ‘note the deliberate juxtaposition of the names of warring parties’. Cf. also Aen.12 189 non ego nec Teucris Italos parere iubebo. 707 The two rejets are expressive in this sense (cf. p.119). Also noteworthy is the use of the enclitic -ne that, usually added to the word which the speaker feels to be the most important (cf. Austin 1955, ad Aen.4.32), stresses the pronoun nos, here ‘incredulous and colloquial in tone’ (Harrison 1991, ad loc.). For similar examples with personal pronouns see also Aen.1.37b f. ‘mene



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The juxtaposition can highlight the sense of conflict between a single warrior and a region, as at Aen.11.141 quae modo uictorem Latio Pallanta ferebat.708

and at Aen.12.231b f. en, omnes et Troes et Arcades hi sunt, fatalisque manus, infensa Etruria Turno:

or of a single warrior against a multitude of foes, as at Aen.12.628: ingruit Aeneas Italis et proelia miscet,709

We also find a powerful juxtaposition at Aen.3.170b f. Corythum terrasque requirat Ausonias; Dictaea negat tibi Iuppiter arua.’

incepto desistere uictam / nec posse Italia Teucrorum auertere regem?, where, again in Juno’s words, her indignation is expressed by the infinitive ‘indignantis’ desistere (cf. Austin 1971, ad loc.); Aen.9.199 f. ‘mene igitur socium summis adiungere rebus, / Nise, fugis? (see Hardie 1994, ad loc. for examples of mene at start of direct speeches) and at Aen 12.947b f. ‘tune hinc spoliis indute meorum / eripiare mihi? (cf. Tarrant 2012, ad loc.). The enclitic -ne also highlights meaningful words at 4.32 solane perpetua maerens carpere iuuenta (cf. Austin 1955, ad loc. and here p.233); 4.38b placitone etiam pugnabis amori?; 4.234 Ascanione pater Romanas inuidet arces? (see p.231). The forms with apocope, which is known to be normal before words beginning with a conson­ ant, have been interpreted as a colloquial trait (cf. Soubiran 1966, p 153) and seem to be used largely to lend an angry tone to an interrogative: 3.319b Pyrrhin conubia seruas?’; 10.668 f. ‘omnipotens genitor, tanton me crimine dignum / duxisti et talis uoluisti expendere poenas?; 12.503b tanton placuit concurrere motu, / Iuppiter, aeterna gentis in pace futuras? (cf. Tarrant 2012, ad loc.); 12.797 mortalin decuit uiolari uulnere diuum? (on opposite terms framing the line see p.224, n.687); 12.874b talin possum me opponere monstro? For disjunctive indirect interrogatives Virgil prefers to use the double -ne, rare in prose (cf. Williams 1960, ad Aen.5.702–3). 708 Cf. also Aen.9.738 nec muris cohibet patriis media Ardea Turnum (here the juxtaposition of Turnus’ name and his native land highlight a note of contempt in the words of his enemy Pandarus, cf. Hardie 1994, ad loc.); Aen.11 166b ff. quod si immatura manebat / mors gnatum, caesis Volscorum milibus ante / ducentem in Latium Teucros cecidisse iuuabit, where, in addition to the juxtaposition Latium Teucros, the juxtaposition in rejet, mors gnatum, is also important (cf. p.234, n.725). 709 The verb ingruit, which generally refers to an army and not to an individual (cf. Tarrant 2012, ad loc.), is used deliberately here to underscore Aeneas’ warlike rage: the hero is alone but fights like a whole army.

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where a second adjective is placed after the adjective in rejet, marking an idea of opposition.710 At Aen.2.274 ff. ei mihi, qualis erat, quantum mutatus ab illo Hectore qui redit exuuias indutus Achilli uel Danaum Phrygios iaculatus puppibus ignis,

the adjective Phrygios, unnecessary for understanding the text, is juxtaposed to the word Danaum, to underline the Phrygian/Danaan contrast.711 Juxtaposition can highlight a direct bond of affection, such as between a parent and child.712 Consider the lines at Aen.10.800 dum genitor nati parma protectus abiret,

(juxtaposition underscores Lausus’ piety in saving his father Mezentius);713 at Aen.8.382 f. ergo eadem supplex uenio et sanctum mihi numen arma rogo, genetrix nato.714

(Venus is pressing in her attempt to obtain new arms for her beloved son from her husband); and at Aen.1.589b ff. namque ipsa decoram caesariem nato genetrix lumenque iuuentae purpureum

710 Cf. Horsfall 2006, ad loc.: ‘Significant juxtaposition of opposed toponyms, given added force by enjambement’. The juxtaposition is also expressive at Aen.3.417b f. uenit medio ui pontus et undis/ Hesperium Siculo latus abscidit and 7.233 nec Troiam Ausonios gremio excepisse pigebit. 711 Cf. Austin 1964 and Horsfall 2003, ad loc. 712 Cf. Harrison 1991, p.288: ‘Occasionally juxtaposition suggests not opposition but affinity or association between words’. At Aen.10 189 namque ferunt luctu Cycnum Phaethontis amati the juxtaposition of the proper names highlights a bond of love, while at 11.30 f. corpus ubi exanimi positum Pallantis Acoetes / seruabat senior, it emphasizes the affection between the elderly Acestes and his young and unfortunate protégé (see p.186, n.560). 713 Harrison 1991, ad loc. observes that the juxtaposition here underscores ‘Lausus’ pietas in saving his father’. 714 Cf. Fordyce 1977, ad loc.: ‘the correlatives emphasize the bonds of affection between mother and son’. For ancient criticism on the passage – it seemed quite strange that Venus should ask her husband to make arms for a son who is not his – see Eden 1975, ad loc.



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(Venus again bestows beauty and splendour on Aeneas). Particular emphasis is given by the juxtaposition at Aen.6.820b f. natosque pater noua bella mouentis ad poenam pulchra pro libertate uocabit.

where the word pater has a concessive value (Brutus did not hesitate even when putting his own sons to death); and at Aen.4.232 ff. si nulla accendit tantarum gloria rerum nec super ipse sua molitur laude laborem, Ascanione pater Romanas inuidet arces?

where it emphasizes Aeneas’ shameful behaviour (‘will Ascanius’ father deny to his son the hills of Rome?’).715 At Aen.10.466 tum genitor natum dictis adfatur amicis:

the juxtaposition, as well as highlighting the father/son relationship,716 reflects the physical closeness of the two speakers, as also at Aen.4.92 talibus adgreditur Venerem Saturnia dictis:717

and at Aen.12.138 ff. extemplo Turni sic est adfata sororem diua deam, stagnis quae fluminibusque sonoris praesidet

where the words diua deam are put into relief in enjambement.718 715 On the effect of the juxtaposition ipse sua see p.237, n.737. Also note the expressiveness at Aen.4.351 ff. me patris Anchisae, quotiens umentibus umbris / nox operit terras, quotiens astra ignea surgunt, / admonet in somnis et turbida terret imago, where the powerful juxtaposition me patris (cf. Austin 1955, ad loc.) is emphasized by the ample hyperbaton (patris . . . imago) which reflects Aeneas’ emotion: his father’s ghost often appears to him in his dreams, reminding him of his duty towards his own elevated destiny. Also see p.255. 716 Cf. Harrison 1991, ad loc.: ‘the juxtaposition significantly stresses family ties’ (he finds a Greek parallel at Eur. Her.31. παῖς πατρός). 717 Cf. Austin 1955, ad loc.: ‘Note the juxtaposition Venerem)(Saturnia, a syntactical picture of their conference’. 718 Cf. Tarrant 2012, ad loc.: ‘“goddess to goddess”, cf. Od. 5 97 θεὰ θεόν; the juxtaposition expresses the closeness (and isolation from Jupiter) that Juno is aiming for’.

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C) III Juxtaposition of adjectives of significant affinity In a number of passages Virgil juxtaposes two adjectives which have notable affinities, in order to augment the expressiveness. The effect is clear in instances of adjectives indicating mass, as at Aen.4.199 f. templa Ioui centum latis immania regnis, centum aras posuit

and at Aen.5.404 f. obstipuere animi: tantorum ingentia septem terga boum plumbo insuto ferroque rigebant.719

and in examples of adjectives similar in meaning, as at Aen.7.397 f. ipsa inter medias flagrantem feruida pinum sustinet

and Aen.9.71 f. inuadit sociosque incendia poscit ouantis atque manum pinu flagranti feruidus implet.

where, in each example, the juxtaposition of words indicating intense fire, both literally and metaphorically, is particularly expressive.720 In other instances other figures contribute to increase the expressiveness of the passage, as at Aen.6.754 f. et tumulum capit unde omnis longo ordine posset aduersos legere et uenientum discere uultus.

where the juxtaposition omnis longo converges with the ample hyperbaton omnis . . . uultus (Anchises looks for a place from which Aeneas can see clearly the long procession of souls); and at Aen.6.194b ff. 719 At Aen.1.192 f. nec prius absistit quam septem ingentia uictor / corpora fundit humi the juxtaposition ingentia uictor highlights Aeneas’ strength, when he succeeds in killing stags of huge size (Austin 1971, ad loc. observes that in the juxtaposition ‘there is a hint that Aeneas had a difficult task’). Juxtaposition of adjectives is also expressive at 2.50 ff. sic fatus ualidis ingentem uiribus hastam / in latus inque feri curuam compagibus aluum / contorsit: Laocoön hurls the huge spear with all his force (for analysis of the passage see p.75 and 131). 720 Cf. Horsfall 2000, ad loc.



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cursumque per auras derigite in lucos, ubi pinguem diues opacat ramus humum.

where the hyperbaton detaches and isolates the adjectives pinguem and diues.721 Finally, the expressiveness of adjective juxtaposition in direct speech is clear, as we can see at Aen.10.829 f. hoc tamen infelix miseram solabere mortem: Aeneae magni dextra cadis.’

Aeneas has dealt the young Lausus a mortal blow and now laments his premature death; in his words the juxtaposition infelix miseram shows clearly his emotion and pity.722 Equally expressive is the example at Aen.4.32 f. solane perpetua maerens carpere iuuenta, nec dulcis natos Veneris nec praemia noris?

Anna, in order to persuade Dido to yield to her love for Aeneas, holds out to her the danger of remaining single for ever (solane perpetua), renouncing hope of children and the joy of love.723

C) IV Oxymoron by position; unus–omnes; contrasting colour terms Another elegant stylistic device is the juxtaposition of two terms of significant contrast.724 An excellent example is at Aen.11.59 ff. Haec ubi defleuit, tolli miserabile corpus imperat et toto lectos ex agmine mittit mille uiros qui supremum comitentur honorem intersintque patris lacrimis, solacia luctus exigua ingentis, misero sed debita patri;

721 For other examples of the juxtaposition omnis longus see p.254, n.791; on pinguem diues see Austin 1977, ad loc.: ‘the careful chiastic arrangement of juxtaposed epithets and nouns is notable: the richness of the Bough enriches the ground beneath’. 722 On infelix, a sympathetic epithet for the victim in Virgil, see Harrison 1991, ad Aen.10.324 f. 723 Cf. Austin 1955, ad loc.: ‘the juxtaposition of the two adjectives is effective’. For the collo­­ c­ation of the enclitic -ne on the word pronounced with major emphasis see p.228, n.707. 724 Cf. Maurach 1983, pp 99 f.; Görler 1985, EV 2, p.276, and especially Harrison 1991, p.288.

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where the emphasis on the adjectives exigua ingentis, skilfully juxtaposed and placed in rejet, increases the pathos of the apposition.725 In many instances the juxtaposed terms are separated by the caesura at penthemimeral (2½): at Aen.11.362 nulla salus bello: pacem te poscimus omnes,726

at Aen.12.800 ff. desine iam tandem precibusque inflectere nostris, ne te tantus edit tacitam dolor et mihi curae saepe tuo dulci tristes ex ore recursent.

(Jupiter, with a note or irony or playing the role of an elegiac lover, finds it moving to see sadness painted on his wife Juno’s sweet face);727 at Aen.6.563 nulli fas casto sceleratum insistere limen;

at Aen.4.424 i, soror, atque hostem supplex adfare superbum.

at Aen.6.382 f. his dictis curae emotae pulsusque parumper corde dolor tristi; gaudet cognomine terra.

(Palinurus can rejoice for a little: this corner of land will bear his name) and at Aen.10.832b f. et terra subleuat ipsum sanguine turpantem comptos de more capillos. 725 The same effect is found at Aen.11.166 f. quod si immatura manebat / mors gnatum (cf. Horsfall 2003, ad loc.: ‘Slight hyperbaton and the monosyllabic subject postponed and run over […] to place ‘death’ and ‘son’ in juxtapositio oppositorum’). 726 Cf. Horsfall 2003, ad loc.: ‘The sequence at caesura is typical opposition by juxtaposition’. For a similar expressiveness see Cat. 64.175 f. nec malus hic celans dulci crudelia forma / consilia in nostris requiesset sedibus hospes! also with a striking interlinear hyperbaton (malus . . . / . . . hospes, cf. p.256, n.799). 727 Cf. Tarrant 2012, ad loc., who also notes that the double imperative (desine . . . inflectere) in a syntactically self-contained line usually, as here, expresses authority and control. Note also the combination, archaic in flavour, of possessive and descriptive adjectives (cf. p.91, n.297).



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with a pathetic note: the well-kempt hair is now soiled with blood. Juxtaposition can also apply to two words placed at the beginning or end of a verse, as at Aen.3.438 f. Iunoni cane uota libens dominamque potentem supplicibus supera donis;

and in the self-echo at Aen.8.60 f. Iunoni fer rite preces iramque minasque supplicibus supera uotis.728

The ordo uerborum is noteworthy at Aen.3.181 seque nouo ueterum deceptum errore locorum.

where the juxtaposition nouo ueterum converges with the interlocking hyper­ baton to reflect iconically a sense of the confusion.729 Special treatment is owed to the recurring juxtaposition of the unus–omnes type, as at Aen.12.834 ff. sermonem Ausonii patrium moresque tenebunt, utque est nomen erit; commixti corpore tantum subsident Teucri. morem ritusque sacrorum adiciam faciamque omnis uno ore Latinos;

where, in Jupiter’s words to Juno, the device highlights the idea of fusion: Trojans and Latins will have the same customs and the same language.730 This juxtaposition can also highlight a sense of the individual as opposed to a multitude, as at Aen.3.716 f. Sic pater Aeneas intentis omnibus unus fata renarrabat diuum cursusque docebat.

728 On this self-echo see Moskalew 1982, p.123 and Horsfall 2006, ad Aen.3.438: ‘the found­ationprodigy and the reconciliation with Juno are therefore intertwined motifs’. 729 Cf. pp.248 f. 730 On this passage see p.156. The juxtaposition is again used with striking effect in direct speech at Aen.2 102 f. quidue moror? si omnis uno ordine habetis Achiuos, / idque audire sat est, iamdudum sumite poenas.

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(Aeneas, alone, captures the attention of all those listening)731 or an idea of sim­ ilarity of intent or opinion, as at Aen.5.615b f. heu tot uada fessis et tantum superesse maris, uox omnibus una;732

and at Aen.3.60 omnibus idem animus, scelerata excedere terra,

where the juxtaposition is declined in the form omnibus–idem.733 Another striking juxtaposition is that between colour-words,734 as at Aen.12.247 namque uolans rubra fuluus Iouis ales in aethra735

or at Aen.12.67 ff. 731 Similar expressiveness at Aen.12 143 ff. scis ut te cunctis unam, quaecumque Latinae / magnanimi Iouis ingratum ascendere cubile, / praetulerim, where the elegant location of Latinae in the relative clause instead of in the main clause leaves the adjective cunctis without a noun (cf. Tarrant 2012, ad loc.), highlighting further the juxtaposition cunctis unam; and at Aen 12.271b f. quos fida crearat / una tot Arcadio coniunx Tyrrhena Gylippo. 732 Cf. also Aen.10.182 ter centum adiciunt (mens omnibus una sequendi); 10.201 Mantua diues auis, sed non genus omnibus unum, where what is held in common is the genus; 11.132 dixerat haec unoque omnes eadem ore fremebant (with clear pleonasm); G.4.184 omnibus una quies operum, labor omnibus unus. 733 Cf. Horsfall 2006, ad loc.: ‘A familiar juxtaposition of opposites’. See also Aen.4.581 idem omnis simul ardor habet, rapiuntque ruuntque; 7.393 idem omnis simul ardor agit noua quaerere tecta. 734 On this device, of Alexandrian origin, see Thomason 1923, pp.334 ff. (on its stylistic use in Ciris and in Ovid); Lyne 1978, p.29 (on Ciris); and Coleman 1999, p.89. Among the most obvious examples in Catullus it is useful to cite 64.308 f. candida purpurea talos incinxerat ora, / at rose­ ae niueo residebant uertice uittae (with two juxtapositions in successive lines); also interesting is the example at Ciris 511 purpureas flauo retinentem uertice uittas, where the juxtaposition is entered in a ‘silver line’ following the Alexandrian style (cf. p.240). 735 Cf. Traina 20042, ad loc.: ‘due cromonimi accostati a contrasto, il rosso del primo mattino […] e il bruno dorato dell’aquila’ {two colour words juxtaposed in contrast, the red glow of dawn […] and the golden brown of the eagle}. See also G.1.467 cum caput obscura nitidum ferrugine texit (cf. Thomas 1988, ad loc.); Aen.8.720 ipse sedens niueo candentis limine Phoebi; 9.50 portat equus cristaque tegit galea aurea rubra; and for examples of more implicit colour words Aen.2.272b f. aterque cruento / puluere (cf. p.43); 6.136b f. latet arbore opaca / aureus et foliis et uento uimine ramus (cf. Austin 1977, ad loc. and here p.39); 10.161b f. iam quaerit sidera, opacae / noctis iter (cf. p.42); 11.876 f. uoluitur ad muros caligine turbidus atra / puluis (cf. p.42).



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Indum sanguineo ueluti uiolauerit ostro si quis ebur aut mixta rubent ubi lilia multa alba rosa, tales uirgo dabat ore colores.

where we are struck not only by the juxtaposition in rejet of the adjective alba and the noun rosa, but also by the intricate ordo uerborum, which reflects the idea of blending.736

C) V Juxtaposition of personal and possessive pronouns Juxtaposition of personal pronouns can be particularly expressive, a language trait often exploited in poetry to give prominence to a sense of a tight emotional bond, especially in contexts of extreme pathos.737 A paradigmatic example is at Aen.4.333 ff. tandem pauca refert: ‘ego te, quae plurima fando enumerare uales, numquam, regina, negabo promeritam, nec me meminisse pigebit Elissae, dum memor ipse mei, dum spiritus hos regit artus.

where the sequence ego te, put into relief by the ample hyperbaton, highlights the tight bond which had joined Aeneas to Dido and which the Trojan hero cannot and will not now deny.738

736 Cf. p.249. 737 On the reciprocal attraction of pronouns see Norden 19574, ad Aen.6.37; and Horsfall 2000, ad Aen.7.427 (with bibliography). On the juxtaposition of ipse and the possessive (emphasizing the possessor and what he possesses) see Norden 19574 and Austin 1977, ad Aen.6.780 et pater ipse suo superum iam signat honore?; Austin 1955, ad Aen.4.233 nec super ipsa sua molitur laude laborem. A similar expressiveness is found at Aen.12.638a uidi oculos ante ipse meos, where the hyperbaton of ante is also worth noting (the only other example in Virgil is at G.2.536. Cf. Traina 1998, PL 5, p.130). 738 Austin’s note, 1955, ad loc., deserves to be quoted in full here: ‘English cannot bring out the force of this juxtaposition; the two persons concerned face each other syntactically, as it were, and the importance for both of what is being said receives clear emphasis. Ego is often used at the beginning of a reply to a criticism, marking the personal reaction of the speaker to what has been said’. Note also the mise en relief of the word numquam between the two caesurae (on this type of rhythmical expressiveness see Hellegouarc’h 1962, p.244 with examples and 1978, p.393), the rare trochaic caesura at fourth and fifth foot at line 335 with the effect of ‘false ending’ (cf. Austin 1955, ad loc. and here p.199, n.610), and the sequence hos regit artus (monosyllable+bisyllable+bisyllable) at line-end (cf. p.36, n.124).

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In a number of instances a personal pronoun and a possessive are jux­­t­aposed, as at Aen.12.872 ‘quid nunc te tua, Turne, potest germana iuuare?

where the juxtaposition underscores the family bond, reflecting all Juturna’s despairing helplessness in the face of Turnus’ unavoidable fate: not even she, his sister, can save him from the destiny of his death.739 The device is again used in a highly pathetic context at Aen.11.845 ff. non tamen indecorem tua te regina reliquit extrema iam in morte, neque hoc sine nomine letum per gentis erit aut famam patieris inultae.

(in Opis’ emotional words the juxtaposition marks the tight bond between Camilla and Diana); and at Aen.9.486b f. nec te tua funere mater produxi pressiue oculos aut uulnera laui,

(Euryalus’ mother laments her inability to have given her beloved son honourable funeral rites). In some particularly pathetic passages duplication of the device is strongly significant, as at Aen.4.28 f. ille meos, primus qui me sibi iunxit, amores abstulit; ille habeat secum seruetque sepulcro.’

where Dido vehemently underscores the strong bond which links her to her dead husband Sychaeus.740

739 Cf. Tarrant 2012, ad loc.: ‘here alliteration suggests powerful feeling; the juxtaposition of te tua is also expressive’. The word order is particularly successful at Aen.9.600 en qui nostra sibi bello conubia poscunt!, where nostra is juxtaposed with sibi and bello with conubia (cf. Hardie 1994, ad loc.) 740 Cf. Austin 1955, ad loc.



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D) Hyperbaton, between the literary tradition, expressiveness and iconicity A study on the expressiveness of word order cannot fail to analyse the figure of hyperbaton. In addition to the more common forms we find others, clearly expressive, which are used deliberately to emphasize one part of a passage, to create suspense in the reader, or to underscore iconically the semantics of a line.741 In my study I distinguish between hyperbatons which concern adjectives and nouns in the same line and those associated with enjambement.

D) I Hyperbaton in single lines: ‘golden lines’ and hyperbaton framing the verse ‘Golden line’742 has been defined as a particular kind of verse containing two nouns and two adjectives, in hyperbaton and separated by a verbal form (abCAB), as at Cat. 64.59 irrita uentosae linquens promissa procellae.

741 For a diachronic and comparative analysis of hyperbaton from a colometric viewpoint see Conrad 1965, pp.198–257 and Pearce 1966, pp.140–171 and pp.298–320 (Habinek 1985, pp.51–66 takes the same position); Stevens 1953, pp.200–205 for a number of stylistic considerations; Postgate 1916, pp.142–146 for analysis of unusually bold poetic dislocations and hyperbatons of difficult interpretation; Prescott 1912, pp.35–58 and Amacker 1971, pp.267–291 on the collocation of noun and adjective in corresponding metrical positions. For the combination of two nouns and two adjectives in the same line (framing hyperbaton and interlocking hyperbaton) see Hodgam 1921, pp.193–195 and above all Young 1932, pp.515–522, who provides much interesting statistical data on Catullus and Virgil (Ciris, Culex and Aetna), useful for tracing the latter’s stylistic evo­­ l­ution; and also, on Virgil, Norden 19574, pp.391 f. and Lyne 1978, p.24 (on Ciris); and on Catullus, Patzer 1955, pp.77–95 and Ross 1969, pp.132–137. 742 The epithet of ‘golden line’ is owed to a short note in the text of Burles 1652, p.357 (‘If the Verse doe consist of two Adjectives, two Substantives and a Verb onely, the first Adjective agreeing with the first Substantive, the second with the second, and the Verb placed in the midst, it is called a Golden Verse’) and was then repeated in the better known and happier formulation of Dryden 1685 in the Preface to Silvae (criticizing the excessive use of golden lines by Claudian, he observes: ‘perpetually closing his sense at the end of a verse, and that verse commonly which they call golden, or two substantives and two adjectives with a verb betwixt them to keep the peace’), which, being more generic, also includes lines with chiasmus of the abCBA type (the term ‘golden line’ is now used for both kinds of verse). On golden lines see Winbolt 1903, pp.219 ff.; Norden 19574, p.394; Marouzeau 19462, pp.320 f.; Williams 1960, ad Aen.5.46; Wilkinson 1963, pp.215 f.; and above all the study of Mayer 2002, pp.139–179, with the history of the figure, stat­ istical data and ample bibliography (see in particular p 168, n.1 for modern references to the golden line).

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This strongly stylized structure can also be composed in the chiastic form (abCBA), as at Aen.5.46 annuus exactis completur mensibus orbis,

– a ‘silver line’ – and in the more simple form of the hyperbaton framing the verse, as at Aen.6.137 aureus et foliis et lento uimine ramus,

a ‘bronze’ line (both ‘silver’ and ‘bronze’ lines can also be defined as ‘enclosing word order’).743 These lines, rare in Ennius and Lucretius, but widely used in Cat. 64, demonstrate a clear neoteric affectation. Virgil takes sparing advantage of them, progressively decreasing their use between the Bucolics and the Aeneid and using them deliberately to lend a neoteric patina to a line.744 This can be clearly seen, for example, in the fourth Bucolic, where the percentage use of hyperbaton framing the line indicates the Catullan character of this composition.745 Over and above their place in the literary tradition, these lines are also used by Virgil to give clear expressive effects. By means of a structure which is in itself closed, they are exploited to close periods, often in correspondence with the end of a paragraph or a whole section, as, for example, at the close of the first Eclogue, at B.1.83 maioresque cadunt altis de montibus umbrae.746

743 The definitions ‘silver’ and ‘bronze’ are due to Wilkinson 1963, pp.216 f. ‘Enclosing word order’ on the other hand is a more generic definition which embraces these two types of verse (and also other hyperbatons) and which makes reference to the colometric function of these structures, often used to highlight independent cola (cf. Pearce 1966). Silver and bronze lines can also be defined as ‘framing hyperbatons’. 744 Cf. Young 1932, pp.518 ff.; and Lyne 1978, p.24, who, on golden and silver lines observes of the evolution in Virgil’s style: ‘after the Eclogues Vergil moves rapidly away from a frequent to a highly selective use of such stereotypes’. 745 Cf. Clausen 1994, ad B.4.4: ‘Lines framed by an adjective and a noun are especially frequent in Cicero’s Aratea and Catullus 64, the latter a poem V. had in mind as he wrote E.4 […] It is no accident, therefore, that such lines are more frequent in E.4 than in any other E.’. 746 For a fine stylistic analysis of this verse see Traina 19862, PL 1, pp 175 ff. On the closure function of the enclosing word order see Wilkinson 1963, p.215; Pearce 1966, pp.153 ff.; on the same function of the golden line see Hoffer 2007, pp.321 f.; and the notes of Thomas 1988, ad G.1.117 (ad G.2.531 on the silver line) and Conte 1974, ad Phars.6.239 on the use in the Pharsalia.



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or are used at an opening, as at B.2.1 Formosum pastor Corydon ardebat Alexin,747

A golden line can be further used to present a particularly striking juxtaposition of adjectives, as at Aen.4.139 aurea purpuream subnectit fibula uestem.

where the material and the colour are placed side by side;748 while a framing hyperbaton, apart from its well-known effect of highlighting independent syntactical cola, often has the stylistic function of emphasizing the adjective at the beginning of the verse.749 This can indicate great size, as at Aen.10.245 ingentis Rutulae spectabit caedis aceruos.’750

or colour, material or physical characteristics, as at Aen.12.602 purpureos moritura manu discindit amictus751

or can be in some other way particularly significant, as at Aen.7.361 f. nec matris miseret, quam primo Aquilone relinquet perfidus alta petens abducta uirgine praedo?

747 See also B.10.1 Extremum hunc, Arethusa, mihi concede laborem and for other instances in Latin poetry see Hoffer 2007, pp.318 f. 748 Other particularly striking juxtapositions are found at G.1.468 impiaque aeternam timuerunt saecula noctem; Aen.5.297 regius egregia Priami de stirpe Diores; 11.589 tristis ubi infausto committitur omine pugna. 749 On adjectives emphasized by means of framing hyperbaton see Conte 1974, ad Phars.6.163 securasque fragor concussit Caesaris aures. 750 The recurrence of adjectives indicating great size or mass is significant (in these instances hyperbaton strengthens the semantics of the adjective), as with ingens (G.3.413; Aen.5.118; 9.15); magnus (B.4.5; G.1.158; Aen.1.675, 716; 6.28); maximus (G.1.244, 429); multus (Aen 1.412; 7.183; 11.581); plurimus (Aen.6.659); tantus (Aen.4.553); immensus (Aen.7.377); immanis (Aen.10.887). Hyperbaton emphasizes the idea of wholeness at Aen.1.74 (omnis) and 1.233 (cunctus). 751 Cf., for example, purpureus (Aen.3.405); caeruleus (5.819); aureus (6.137); ferreus (11.817); turbidus (6.296); canens (10.192); spumeus (10.212); uuidus (B.10.20); frigidus (G.2.484; 4.261; Aen.10.452); obscurus (G.4.60).

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with the striking arching alliteration (perfidus . . . petens . . . praedo) which probably reinforces the contempt expressed in the passage.752 It is also interesting to note how these lines are often associated with recurring images, almost as if their elegant stylization were the most congenial form for conveying exceptional content. Divine apparitions, prodigies and miraculous works of art are described in verses which, with their closed structure, constrains the reader/listener towards an interpretative effort, to linger on the masterly form of the expression.753 If we look once again at Aen.4.138 f. cui pharetra ex auro, crines nodantur in aurum, aurea purpuream subnectit fibula uestem.

we see how this elegant line spotlights on the stage one particular of Dido’s magnificent appearance.754 While the word order in these examples is clearly expressive – the digression from the norm alerts the reader to the exceptional nature of the content – in other lines it can rather reflect, directly and iconically, the meaning of a passage, as we shall see in the next section.

D) II Hyperbaton in single lines and iconicity As repeatedly observed, rhythm, metrical and metrical–syntactical figures can be exploited to reinforce iconically the semantics of a passage. In this section 752 Cf. Horsfall 2000, ad loc. (on arching alliteration see here, p.52, n.174). Other strongly expressive examples are at G.3.518 maerentem abiungens fraterna morte iuuencum; 4.498 in­ ualidasque tibi tendens, heu non tua, palmas (the phrase in apposition upsets the ordo uerborum and heightens the pathos of the passage); Aen.2.3 Infandum, regina, iubes renouare dolorem; 2.202 sollemnis taurum ingentem mactabat ad aras (the spondaic rhythm indicates solemnity or exertion); 11.582b ff. sola contenta Diana / aeternum telorum et uirginitatis amorem / intemerata colit (cf. Gransden 1991, ad loc.: ‘the strikingly symmetrical v. 583, with its enclosing word-order and assonance of -orum . . . -orem, is “framed” inside the two participial adjectives contenta . . . intemerata: the effect is to emphasise C.’s self-contained and sequestered life.’). 753 Habinek 1985, pp.51–66, discussing lines with two adjectives and two nouns in hyperbaton, notes that, out of the 57 examples in the first 6 books of the Aeneid, 32 mark a rhetorical transition and 13 are used in descriptive passages (works of art, divine apparitions and prodigies). These observations are further expanded and strengthened in the detailed analysis of Hoffer 2007, pp.299–340 (especially pp.324–330). 754 The line is a self-echo of Aen.1.492 aurea subnectens exsertae cingula mammae (referring to the terrifying Penthesilea): Dido is magnificently splendid, but at the same time potentially destructive.



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we tackle the clearest and most striking type of iconic expressiveness, variously defined as ‘mimetic syntax’, ‘metaphor from word order’, or ‘pictorial arrangement of words’.755 This particular kind of iconicity consists of bringing the object or objects described onto the scene and mirroring them by means of the word order, inviting the reader to a synaesthetic experience of the verse.756 Once again, we need to remember that hyperbaton is not in itself expressive, but can only be interpreted iconically on the basis of the semantics of the context. In my analysis I distinguish between different types of iconicity. The iconic hyperbaton, in accordance with the semantics of the words used, can variously reflect a linear image, an idea of cover, of wrapping around, of crossing or of separation.

D) II a Linear hyperbaton While it has been widely shown that in English poetry longer lines than normal in the context in which they are used can reflect iconically long objects, such as weapons, rivers and snakes,757 in Latin poetry this type of iconicity seems to be associated with lines with framing hyperbaton. The reader/listener, to join the adjective to its noun, is obliged to read or listen to the entire line, which, unfragmented syntactically, appears longer than the other lines in the context. The recurrence of framing hyperbatons with words indicating long objects, and in particular snakes (from now on we shall speak of ‘snake lines’),758 is a clear indication of deliberate use. The following diagram shows clearly that the words serpens and anguis759 are significantly used in framing hyperbatons with greater frequency than words indicating other animals.760 755 See p.8, n 18. 756 Cf. Lateiner 1990, p.204: ‘the reader synaesthetically experiences, by the spatial relationship of the words, what the lexical denotation of the verse describes’. 757 Nänny 1999, pp.157–188, in his fundamental study, analyses a broad sweep of English poetry from the 17th to the 20th century (Milton, Dryden, Pope, Blake, Wordsworth, Shelley, Tennyson, Dickinson etc.) showing through outstanding examples the clear iconic use of long lines (and also of short), often exploited as an ‘imagic icon of length, distance, duration or, more metaphorically, of vastness, great height, swelling, spreading, stretching and width’. See here p.13. 758 This type of icon is particularly common in English poetry. Cf. Nänny 1999, p.160: ‘the long line has been often used as an icon of the lengthiest animal, namely the snake’. 759 Of the 13 occurrences in which serpens and anguis are associated to an adjective, 6 are in framing hyperbaton: B.8.71; G.1.244, 2.154; Aen.2.379; 5.273; 8.300. 760 There are no instances of framing hyperbaton with the nouns taurus (8 occurrences with an adjective) and leo (3 occurences with an adjective) while the 2 instances of framing hyperbaton with ceruus are due to the presence of the adjective ingens, which is iconically reinforced by the figure.

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14 12 10

total occurences of noun with adjective

8 6 4

enclosing word order

2 0

snake

deer

bull

lion

eagle

A paradigmatic instance of a snake line is at Aen.2.379 f. improuisum aspris ueluti qui sentibus anguem pressit humi nitens

where the framing hyperbaton reproduces the lengthened body of the snake.761 In other instances, however, the semantics of the line do not justify an iconic interpretation, as for example at G.2.153 f. nec rapit immensos orbis per humum neque tanto squameus in spiram tractu se colligit anguis.

where the description is rather of the circular image of a snake coiled up (in this example we note only the emphasis placed on the adjective at the beginning of the line).762 Another interesting category of linear hyperbaton comprises the lines which describe tapered weapons, that is, spears, arrows, or javelins. 761 The passage is imitated, structurally as well, at Stat. Theb.11.310 ictus ut incerto pastoris uulnere serpens and Sil. 1.286 calcatus rupit letali uulnere serpens. At Sil. 2.547 multus colla micat squalenti tergore serpens the ample hyperbaton iconically highlights the semantics of the adjective immanis, as at Culex 163 immanis uario maculatus corpore serpens, where the image of the snake is described in an elegant silver line (cf. also Sil. 3 191 ater letifero stridebat turbine serpens with expressive juxtaposition of the adjectives). 762 The same applies to the imitation at Aetna 47 squameus intortos sinuat uestigia serpens and at G.1.244 maximus hic flexu sinuoso elabitur Anguis (here the hyperbaton throws the semantics of maximus into relief).



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In English poetry an exemplary line is found in Pope’s translation of Iliad 17, lines 815–820, where the long verse is an icon of the javelins and their long flight: But if the Savage turns his glaring Eye, They howl aloof, and round the Forest fly. Thus on retreating Greece the Trojans pour, Wave their thick Falchions, and their Jav’lins show’r: But Ajax turning to their Fears they yield, All pale they tremble, and forsake the Field.

We can also find examples of this subtle type of iconicity in Latin poetry, as at Enn. Ann.356 Sk. Missaque per pectus dum transit striderat hasta

(the lance goes through the chest); or at Aen.5.502 primaque per caelum neruo stridente sagitta

(the arrow flies across the sky). Another recurrent icon, associated in English poetry with long lines, is that of rivers or flowing water.763 In Latin we find a typical example at Aen.6.659 plurimus Eridani per siluam uoluitur amnis.

where the framing hyperbaton underscores the semantics of plurimus and suggests iconically the idea of length and movement (per siluam).

D) II b Framing hyperbaton and icons of closure, cover, containment, and crossing The inflected nature of Latin allows a ‘displacement’ of words which is difficult to reproduce in modern languages. This peculiarity is exploited by the poets to create verses of a subtle and complex iconicity, which reflect an idea of covering, wrapping up, containment, crossing etc. A memorable instance of an icon of cover is found at Aen.4.124 (=165)

763 Cf. Nänny 1999, p.163: ‘Under the category of lengthy phenomena also a stream of water (or of any liquid, e. g. milk or tears) must be mentioned’. Paradigmatic long lines are found Dryden’s Cymon and Iphigenia (vv 104–110), Milton’s Paradise Lost (5.306) and Pope’s Iliad (v.235).

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speluncam Dido dux et Troianus eandem where the framing hyperbaton encloses the words Dido and dux, juxtaposed and linked by alliteration: Dido and Aeneas are together inside the same cave.764 It is interesting to note that this is not an isolated example and that the picture given by this type of icon is frequently realized by means of hyperbaton with the word antrum, as at G.4.152 Dictaeo caeli regem pauere sub antro.765

Similar, from an iconic viewpoint, to the concept of covering is that of wrapping around, encircling and containing: a noun and an adjective wrap round the entire line, underscoring its semantics. A clear example is at B.3.45 et molli circum est ansas amplexus acantho,

where the hyperbaton reinforces the semantics of circum,766 reflecting the twining of the sinuous acanthus around the handles of the cup.767

764 Paratore 1978, ad loc. observes how ‘il sostantivo e il suo attributo inquadrino l’intero verso abbracciando entro sé le due persone di Enea e della regina che nella grotta troveranno rifugio e incentivo al fatale oblio’ {the noun and its adjunct frame the whole verse, embracing between them the two characters of Aeneas and the Queen, who find shelter and an incentive for fatal oblivion in the cave}, while Williams 1972, ad loc. points out that ‘the postponed et seems to link the two unsuspecting subjects more closely’. 765 Such an icon, different from the linear type, can also be realized through a hyperbaton which is shorter than the whole line, as is clear at Aen.1.52b uasto rex Aeolus antro; 3.641b cauo Polyphemus in antro; Val.Fl. 3.636b curvo tacitus leo condidit antro; 8.315b infausto sese occulit antro; Stat. Theb.4.108b glaucoque caput submersus in antro. 766 Nänny 1999, p.168, notes that ‘frequently the word “(a)round” occurs in a long line as if to suggest the length of a circuit’. The semantics of circum are also reinforced by the iconic hyper­ baton at Aen.1.311 arboribus clausam circum atque horrentibus umbris; 1.368 taurino quantum posset circumdare tergo; 9.70 aggeribus saeptam circum et fluuialibus undis; Stat. Theb.8.676b magna trepidum circumligat umbra. 767 This verse is cited by Habinek 1985, p.61, as an example of enclosing word order with a descriptive value (‘work of art’).



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The hyperbaton can also highlight iconically the semantics of uincio, as at Aen.1.337 purpureoque alte suras uincire coturno.768

or of contineo, as at G.1.259 Frigidus agricolam si quando continet imber, 769

Another iconic hyperbaton which recurs particularly often is that which describes a subject inside a space. A typical example is at Aen.8.31 f. huic deus ipse loci fluuio Tiberinus amoeno populeas inter senior se attollere frondes

where the iconic value is created not only by placing inter between adjective and noun,770 but also in the disposition of the words in the line: the ancient river seems surrounded by foliage.771 In many instances the hyperbaton concerns a word indicating a place (mare, pontus, caelum, campus . . . ), as, for example, at Aen.3.104b medio iacet insula ponto,772 768 Also cf. B.7.32 puniceo stabis suras euincta coturno; Aen.8.286 populeis adsunt euincti tempora ramis. 769 Eden 1975, ad Aen.8.32, on the iconicity of this passage, observes: ‘the agricola is literally “hemmed in” by the frigidus . . . imber’. Among icons of containment are Aen.5 116 uelocem Mnestheus agit acri remige Pristim and 5.118 ingentemque Gyas ingenti mole Chimaeram, where framing hyperbaton, used twice in three lines, paints the picture of a character inside a ship. 770 On the collocation of inter see p 17 and p.55, n.60. 771 Cf. Eden 1975, ad loc.: ‘the senior literally appears placed between populeas . . . frondes […]: word-symmetry is accommodated to sense with almost neoteric playfulness’. Similar expressiveness is found at G.3.488 inter cunctantis cecidit moribunda ministros and at Hor. Carm.3.18.13 inter audaces lupus errat agnos. A sense of movement through a place is prevalent in the clearly iconic lines at B.8.13 inter uictrices hederam tibi serpere laurus (cf. Coleman 1977, ad loc.: ‘the meaning is reflected in the word order’ and Clausen 1994, ad loc.: ‘The intertwining word-order is no doubt intentional’) and at B.5.84 saxosas inter decurrunt flumina uallis, while an idea of separation is iconically depicted at G 1.510 uicinae ruptis inter se legibus urbes (cf. Thomas 1988, ad loc: ‘word-order reflects sense, as uicinae and urbes are placed at the beginning and end of the line, and the mediating phrase inter se is surrounded by the telling combination ruptis... legibus’), at the similar Aen 12.583 exoritur trepidos inter discordia ciuis and at Aen.12.487 diuersaeque uocant animum in contraria curae (cf. Tarrant 2012, ad loc.: ‘the separation of adj. and noun mirrors the internal division described’). 772 Similar expressiveness at Aen.4.386a omnibus umbra locis adero (cf. Austin 1955, ad loc.: ‘Note too the interpolation of umbra between omnibus and locis, natural but very effective’);

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or at Aen.12.80 illo quaeratur coniunx Lauinia campo.’

where the figure has an iconic value and at the same time has the function of closing direct speech.773 Finally, there are a number of noteworthy examples similar to the line at Aen.4.570b sic fatus nocti se immiscuit atrae.

where the hyperbaton converges with synaloepha of a monosyllable, reflecting an idea of disappearance: Mercury disappears, wrapped round by darkness.774

D) II c Interlocking hyperbaton and the icon of mixture In a number of passages the poet uses interlocking hyperbaton (abAB) to reflect the idea of confusion or mixture expressed by the past participle of misceo,775 as at the rather enchanting B.4.18 ff. Ac tibi prima, puer, nullo munuscula cultu errantis hederas passim cum baccare tellus mixtaque ridenti colocasia fundet acantho. but also at Stat. Theb.1.370b hiberno deprensus nauita ponto; 6.484b medio stant uela tumentia ponto, where the intensive weight of medius (cf. Fordyce 1961, ad Cat. 64.149, and 1977, ad Aen.7.372; Austin 1964, ad Aen.2.533; Harrison 1991, ad Aen.10.41; Horsfall 2000, ad Aen.7.372) is highlighted by the iconic word order (cf. Hardie 1994, ad Aen 9.28 medio dux agmine: ‘the position of dux in the middle of medio . . . agmine mirrors the sense’). Also at Hor. Carm.1.1.14 Myrtoum pavidus nauta secet mare; Carm.1.5.1 Quis multa gracilis te puer in rosa (cf. Nisbet 1999, p.140: ‘the girl and the boy are in the middle of the line surrounded by multa rosa’); Carm.2.6.21 f. ille te mecum locus et beatae / postulant arces (the striking juxtaposition of the pronouns highlights the chain of friendship); Epod.15.1b caelo fulgebat luna sereno. 773 Tarrant 2012, ad loc. highlights the framing hyperbaton’s function of closure (‘a weighty line, heavily spondaic with framing adjective and noun, brings a feeling of closure to the speech and the scene’), while Traina 20042, ad loc. points out its iconic character (‘L’iperbato a cornice del v. apre uno spazio al cui centro campeggia il premio della lotta, la donna’ {the framing hyperbaton opens up a space in the centre of which is placed the prize of the struggle, the woman}. Statius’ apparent imitation at Theb.6.865b f. is clearly iconic: medio coniunx stat candida prato / uictorem exspectans (where again the prize of the struggle is contained in an open space). 774 For this and other examples see pp.153 ff. 775 Cf. Lateiner 1990, p.217 (on Met.3.423b in niueo mixtum candore ruborem): ‘a word for mix will be dropped into the words of its line […] The arrangement of a line thus mimics its meaning’.



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(two interlocking hyperbatons in three lines).776 This structure becomes partic­u­ larly poignant, however, at Aen.2.608 f. hic, ubi disiectas moles auulsaque saxis saxa uides mixtoque undantem puluuere fumum,

where the iconic character of the passage is indicated by the semantics of the verb uides, an implicit invitation to the reader to visualize the scene, and by convergence with the polyptoton: walls and towers have fallen and in the sky the dust mixes with smoke.777 In several examples the hyperbaton reflects iconically a mixture of colour notes, as at the much-quoted Aen.12.68b f. mixta rubent ubi lilia multa alba rosa,778

or an idea of confusion, as at Aen.11.207 f. cetera confusaeque ingentem caedis aceruum nec numero nec honore cremant:

D) III Expressiveness and iconicity of hyperbaton in enjambement In this section we analyse the particular type of hyperbaton which is associated with enjambement. The pause at line-end, as already observed many times, can be successfully used to bring an adjective into prominence, with stylistic effects comparable to those of interlinear juxtaposition. Those instances are clearly expressive where a vivid indication is hung at the line-end, as at Aen.2.172 f. uix positum castris simulacrum: arsere coruscae luminibus flammae arrectis,779

776 Cf. Traina 20042, ad loc.: ‘l’intreccio dei lessemi è icona della mescolanza’ {the interweaving of the words is an icon of the medley}. 777 Traina 20042, ad loc. notes the iconic use of ‘poliptoto in enjambement per la disintegra­ zione di Troia’ {polyptoton in enjambement for the disintegration of Troy}. 778 See p.237. Cf. also Stat. Theb.4.218 albaque puniceas interplicat infula cristas (an example of an elegant golden line). 779 Particularly expressive is also the emphasis on ater (on the adjective see p.41, n.145): Aen.8.198b f. illius atros / ore uomens ignis magna se mole ferebat; 10.730 f. sternitur infelix Acron

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above all with adjectives indicating mass – the effect of suspension reinforces their semantics – as for example with ingens at Aen.12.666 f. Turnus et obtutu tacito stetit: aestuat ingens uno in corde pudor mixtoque insania luctu780

uastus at Aen.3.421 ff. obsidet atque imo barathri ter gurgite uastos sorbet in abruptum fluctus rursusque sub auras erigit alternos et sidera uerberat unda.781

or altus at Aen.4.645 f. interiora domus inrumpit limina et altos conscendit furibunda rogos782

In some passages we find the semantics of the adjective omnis stressed by its pos­ ition at line-end and in enjambement. A typical instance is at Aen.3.513 f. haud segnis strato surgit Palinurus et omnis explorat uentos atque auribus aëra captat;

where it converges with the dicolon abundans (with verbs framing the line), highlighting Palinurus’ concentration as he searchingly surveys the winds.783 et calcibus atram / tundit humum exspirans infractaque tela cruentat; G.3.430 f. stagna colit ripisque habitans hic piscibus atram / improbus ingluuiem ranisque loquacibus explet. For examples with ater in vertical hyperbaton see p.251, n.786. 780 On the iconic expressiveness of this type of hyperbaton see Squillante Saccone 1985, EV 2, p.311. On the self-echo of 10.870 f. sic cursum in medios rapidus dedit: aestuat ingens / uno in corde pudor mixtoque insania luctu (Mezentius’ death ‘foreshadowing’ Turnus’ defeat) see Moskalew 1982, pp.134 f; on the effect of the syntactical pause at the bucolic diaeresis see here p.37, n.126. For similar hyperbatons see also Aen.3.62 f. ergo instauramus Polydoro funus, et in­ gens / aggeritur tumulo tellus; 8.411 f. noctem addens operi, famulasque ad lumina longo / exercet penso. 781 Cf. Aen.5.433 ff. multa uiri nequiquam inter se uulnera iactant, / multa cauo lateri ingeminant et pectore uastos / dant sonitus. On the semantics of uastus, a favourite adjective of Virgil’s, see Fordyce 1977, ad Aen.7.302 and Pinotti 1990, EV 5, pp.454–456. 782 Cf. also Aen.2.635b f. genitor, quem tollere in altos / optabam primum montis; 6.603b f. lucent genialibus altis / aurea fulcra toris; 10.246b f. impulit altam / haud ignara modi puppim (the adjective here clearly has the sense of the ship sailing onto the high seas). 783 See p.197 and 222. Cf. also Aen.2.266 f. caeduntur uigiles, portisque patentibus omnis / accipiunt socios atque agmina conscia iungunt (with the same framing configuration and similar



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Those rare and stylistically more important instances where hyperbaton separates adjective and noun into two analogous positions in consecutive lines (vertical agreement) are equally, if not more, expressive.784 The most recurrent form is where we have an adjective at the end of one line and its noun at the end of the next,785 as at Aen.1.592 f. quale manus addunt ebori decus, aut ubi flauo argentum Pariusue lapis circumdatur auro.

where, in a lovely simile, the hyperbaton, which also lends expressiveness by reflecting the semantics of circumdatur, brings into prominence the colour-adjective flauo and contributes towards framing the second line between the corres­ ponding terms argentum and auro.786 This kind of hyperbaton is exploited to emphasize particularly poignant adjectives, as at Aen.1.351b f. factumque diu celauit et aegram multa malus simulans uana spe lusit amantem.

semantic duplication); 3.312b f. dixit lacrimasque effudit et omnem / impleuit clamore locum; 3.581b f. intremere omnem / murmure Trinacriam; 3.672 f. clamorem immensum tollit, quo pontus et omnes / intremuere undae; 5.239 f. dixit, eumque imis sub fluctibus audiit omnis / Nereidum Phorcique chorus Panopeaque uirgo; 5.828b f. iubet ocius omnis / attolli malos; 6.736 f. non tamen omne malum miseris nec funditus omnes / corporeae excedunt pestes; 8.566b f. cui tunc tamen omnis / abstulit haec animas dextra et totidem exuit armis; 12.268b f. simul hoc, simul ingens clamor et omnes / turbati cunei calefactaque corda tumultu. 784 On this type of hyperbaton see Kvíčala 1881, pp.287 ff. and pp.291 ff. (parallelism at the beginning and end, respectively, of contiguous lines); Boldt 1884, pp.82 f.; Prescott 1912, pp.35–58; Stevens 1953, pp.203 f.; Conrad 1965, pp.252 f. and Amacker 1971, pp.267–291. 785 There is no lack of examples of vertical hyperbaton between adjective and noun at the be­­ g­inning of two contiguous lines: Aen.2.40 f. Primus / Laocoon; 2.58 f. pastores / Dardanidae; 2.165 f. fatale / Palladium; 2.183 f. hanc / effigiem; 2.370 f. Primus / Androgeos; 4.268 f. ipse / regnator; 5.256 f. longaeui / custodes; 5.390 f. tantane / dona; 7.496 f. ipse / Ascanius; 7.616 f. hoc / more; 8.324 f. aurea / saecula; 8.514 f. hunc / Pallanta; 11.246 f. ille / uictor; 12.103 f. mugitus / terrificos, 12.579 f. ipse / Aeneas. 786 Cf. Austin 1971, ad loc.: ‘there is noteworthy art in the separation of flauo from auro, epithet and noun enclosing the silver and the marble in their golden setting’. The location of the adjective ater in vertical hyperbaton (see also p.249, n.779) is particularly expressive, as at G.2.308 f. et totum inuoluit flammis nemus et ruit atram / ad caelum picea crassus caligine nubem, an arrangement which is imitated in the poetry which follows Virgil: Stat. Theb.1.594b f. nec motus et atro / imperat (infandum!) cupientem occumbere leto; 8.711 f. iam cruor in galea, iam saucia proluit ater / pectora permixtus sudore et sanguine torrens; Sil. 2.186b f. superinstrepit ater / et seruat cursum perfractis ossibus axis; 17.249b f. intonat ater / discordi flatu et partem rapit aequoris Eurus.

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(the hyperbaton highlights the adjective aegram: Pygmalion mocks Dido’s misery); adjectives indicating height, such as altus at Aen.4.443b f. it stridor, et altae consternunt terram concusso stipite frondes;

(the leaves from the high top now cover the ground); the adjective omnis, as at Aen.5.697 ff. implenturque super puppes, semusta madescunt robora, restinctus donec uapor omnis et omnes quattuor amissis seruatae a peste carinae.

(here the sense of completeness is also highlighted by the repetition omnis et omnes:787 the storm swamps the ships until all the flames burning through them have been quenched); and once again, with the effect of reinforcing the semantics, the adjective ingens, as at Aen.9.110 f. hic primum noua lux oculis offulsit et ingens uisus ab Aurora caelum transcurrere nimbus

In this example the hyperbaton, over and above emphasizing the adjective, seems to highlight iconically a sense of the span crossed, which is expressed in the semantics of the verse (transcurrere nimbus). A similar iconic effect also characterizes Aen.12.507b f. et, qua fata celerrima, crudum transadigit costas et cratis pectoris ensem.

where the hyperbaton mirrors iconically the sense of the weapon passing through the warrior’s chest,788 and also at Aen.7.498 f. 787 The repetition of a word is not uncommon after a syntactical pause at fifth trochee, as here (cf. Williams 1960, ad loc. and Winbolt 1903, p.52). Cf. also B.9.57 f. et nunc omne tibi stratum silet aequor, et omnes, / aspice, uentosi ceciderunt murmuris aurae. Simple emphasis at Aen.1 189 ff. ductoresque ipsos primum capita alta ferentis / cornibus arboreis sternit, tum uulgus et omnem / miscet agens telis nemora inter frondea turbam, where omnem . . . turbam amplifies the sense of quantity already expressed by uulgus (cf. Austin 1971, ad loc.). 788 For stylistic analysis of this passage see p.85. The hyperbaton crudum . . . ensem has a shorter stretch but a similar iconic effect at Aen.10.682b crudum per costas exigat ensem. It is interesting to note that vertical hyperbaton is associated in more than one passage with weapons. Cf. the similar Aen.2.552 f. implicuitque comam laeua dextraque coruscum / extulit ac lateri capulo tenus abdidit ensem, where the sequence of two anapaestic words (lateri capulo) after the dactylic rejet and



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nec dextrae erranti deus afuit, actaque multo perque uterum sonitu perque ilia uenit harundo.

where the iconicity springs from the striking convergence of the ample hyperbaton (almost vertical) acta . . . harundo (multo . . . sonitu is also expressive), the syntactical pause after bucolic diaeresis (with a word of the type armaque) and the effect of the repeated per.789 Hyperbaton between subject and predicate can result in a similar level of iconicity, as we can see at Aen.9.632 ff. effugit horrendum stridens adducta sagitta perque caput Remuli uenit et caua tempora ferro traicit.

where the verbal rejet is also iconic; at Aen.10.783 ff. tum pius Aeneas hastam iacit: illa per orbem aere cauum triplici, per linea terga tribusque transiit intextum tauris opus, imaque sedit inguine,

monosyllable reinforces iconically an idea of pathos and rapidity (cf. Lucot 1967(a), p.74, and here p.72, n.236); G.1.331b ff. ille flagranti / aut Atho aut Rhodopen aut alta Ceraunia telo / deicit (cf. p.78); Aen.9.495 f. aut tu, magne pater diuum, miserere, tuoque / inuisum hoc detrude caput sub Tartara telo; 10.552b f. ille reducta / loricam clipeique ingens onus impedit hasta; 12.306b ff. ille securi / aduersi frontem mediam mentumque reducta / dissicit (cf. p.77). 789 Here the importance of the syntactical pause after the bucolic diaeresis (see p.37, n.126) is even more noteworthy because of the placing of a word of type armaque in fifth foot (on the effect of this rare type of line, characterized in Latin poetry by the presence of a syntactical pause at the bucolic diaeresis and by rejet, see Soubiran 1967, pp.39–58). On the iconic value of the repeated per (reflecting the idea of penetration, as with διά in the Homeric model) see Horsfall 2000, ad loc. and 2003, ad Aen.11.696 ff. tum ualidam perque arma uiro perque ossa securim / altior exsurgens oranti et multa precanti / congeminat (cf. p.88); Harrison 1991, ad Aen.10.783b ff. illa per orbem / aere cauum triplici, per linea terga tribusque / transiit intextum tauris opus (cf. p.132), and 10.313b f. huic gladio perque aerea suta, / per tunicam squalentem auro latus haurit apertum. At 4.670b f. flammaeque furentes / culmina perque hominum uoluantur perque deorum, it reflects the spreading of the flames (cf. Austin 1955, ad loc.), while in examples such as the previously cited (see p.94 and 108) 2.527 ff. unus natorum Priami, per tela, per hostis / porticibus longis fugit et uacua atria lustrat / saucius (cf. also 2.358 and 2.664), the asyndetic per suggests speed and urgency (cf. Austin 1964, ad Aen.2.358). For a comparable iconic effect of the repeated circum see Aen.4.253b ff. hinc toto praeceps se corpore ad undas / misit aui similis, quae circum litora, cir­ cum / piscosos scopulos humilis uolat aequora iuxta (cf. Austin 1955, ad loc.: ‘the repeated circum clearly shows the bird’s wheeling flight as it gets nearer and nearer shore, flying “low and close to the sea”’); on the repeated in see p.75, n.245.

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with the repeated per; and at the poignant Aen.12.270 ff. hasta uolans, ut forte nouem pulcherrima fratrum corpora constiterant contra, quos fida crearat una tot Arcadio coniunx Tyrrhena Gylippo, horum unum ad medium, teritur qua sutilis aluo balteus et laterum iuncturas fibula mordet, egregium forma iuuenem et fulgentibus armis, transadigit costas fuluaque effundit harena.

where the lengthy hyperbaton highlights the long flight of the spear.790 The stylistic effects of vertical hyperbaton can also be achieved by means of other particularly ample hyperbatons. Consider for example the lines at Aen.2.604 ff. aspice (namque omnem, quae nunc obducta tuenti mortalis hebetat uisus tibi et umida circum caligat, nubem eripiam;

where the hyperbaton highlights the semantics of omnis;791 at Aen.12.707b ff. stupet ipse Latinus ingentis, genitos diuersis partibus orbis, inter se coiisse uiros et cernere ferro. 792

and at the similar Aen.7.166 ff. cum praeuectus equo longaeui regis ad auris nuntius ingentis ignota in ueste reportat aduenisse uiros.

790 For stylistic analysis of the passage see p.85; for a similar rallentando effect see Tarrant 2012, ad Aen.12.353 f. 791 Cf. Austin 1964, ad loc.: ‘the postponement of nubem to as late a position in the sentence as possible is most effective’. See also Aen.5.551b f. ipse omnem longo decedere circo / infusum populum et campos iubet esse patentis; 6.754 f. et tumulum capit unde omnis longo ordine posset / aduersos legere et uenientum discere uultus (in both passages the juxtaposition omnis–longus is striking). 792 Here the emphasis given to the adjective ingentis – a word-play on genitos (following an ancient etymology of in + genitum) – underscores the physical eminence of the two heroes, each the same as an army, as suggested by the dicolon abundans comprising the sequence inter se coire (generally used for groups of soldiers; cf. Tarrant 2012 ad loc.) and the expression cernere ferro.



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where the separation highlights the semantics of ingens.793 Further striking instances are at Aen.4.351 ff. me patris Anchisae, quotiens umentibus umbris nox operit terras, quotiens astra ignea surgunt, admonet in somnis et turbida terret imago;

where the ample hyperbaton brings the juxtaposition me patris into prom­ inence;794 at Aen.12.4b ff. Poenorum qualis in aruis saucius ille graui uenantum uulnere pectus tum demum mouet arma leo

hyperbaton between ille and the noun is a construction which lends vivid prec­ ision to similes and descriptions795; and at Aen.2.203 ff. ecce autem gemini a Tenedo tranquilla per alta (horresco referens) immensis orbibus angues incumbunt pelago pariterque ad litora tendunt;

where the long separation between adjective and noun not only throws into prominence the monstrous apparition of the serpents, but also reflects their movement, with an iconic effect not altogether rare in Virgil, as we shall see in the next section.796 793 On these two examples see Worstbrock 1963, p.163. We find similar expressiveness at Aen.2.400b f. pars ingentem formidine turpi / scandunt rursus equum et nota conduntur in aluo; 5.215 f. fertur in arua uolans plausumque exterrita pinnis / dat tecto ingentem; and above all at G.2.461 f. si non ingentem foribus domus alta superbis / mane salutantum totis uomit aedibus undam (see p 17). 794 On this type of juxtaposition see p.231, n.715. 795 Cf. Tarrant 2012, ad loc.: ‘ille makes the scene more specific – the subject of the simile is not any lion but a particular beast – and more vivid. The long postponement of the subject, leo – a feature of other Virgilian animal similes […] adds to the impression of immediacy: the reader first registers details (Poenorum . . . in aruis, saucius) and only gradually takes in the whole scene’. On this anticipatory value of ille in similes see Harrison 1991, ad Aen.10.707 f. ac uelut ille canum morsu de montibus altis / actus aper (with further bibliography); and Horsfall 2003, ad Aen.11.809 ff. ac uelut ille, prius quam tela inimica sequantur, / continuo in montis sese auius abdidit altos / occiso pastore lupus. On the device associated with interlinear hyperbaton see Thomas 1988, ad G.4.457 f.; on the pleonastic ille see here, p.164, n.493; on ille quidem, p.258, n.805. 796 The rhythm of this passage also augments iconically the sense of movement, as Austin 1964, ad loc. observes: ‘The rhythm is noteworthy; gemini a Tenedo is virtually a unit, and the move-

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D) III a Interlinear hyperbaton At the conclusion of our study on expressiveness, we discuss the boldest and most sophisticated form of hyperbaton, which Alfonso Traina has termed ‘iperbato interstichico {interlinear hyperbaton}’.797 A paradigmatic instance of this figure, consisting of framing two entire lines between adjective and noun, is found at Aen.12.473 f. nigra uelut magnas domini cum diuitis aedes peruolat et pinnis alta atria lustrat hirundo,

An examination of hexameter poetry before and after Virgil will allow us to measure the impact of Virgil’s text on the history of this elegant stylistic figure. The first attested use of this hyperbaton is traceable to a particularly signif­i­ cant passage in Lucretius, the incipit of the proem to the sixth book: Primae frugiparos fetus mortalibus aegris dididerunt quondam praeclaro nomine Athenae

The stylistic importance of this courageous hyperbaton (the predicative value does not weaken the device) does not seem to have escaped Virgil, who uses it again at B.6.1 f. Prima Syracosio dignata est ludere uersu nostra nec erubuit siluas habitare Thalea.

where the debt appears clear: the structure presents the same adjective and is used, not by chance, at the start of the sixth eclogue, just as Lucretius used it at the beginning of his sixth book. Although the use in Lucretius is sporadic798 and in Catullus 64 there is only a single example,799 Virgil recognizes the expressive potential of this hyperbaton and makes of it a rare but stylistically important use.800 ment is carried through to the fourth foot with the elision adding to the effect of remorseless motion’. 797 Traina 20042, ad Aen.12.473 f. See also Hofmann–Szantyr (Traina) 2002, p.14, n.10, where the figure is more precisely defined as “iperbato a cornice di due versi” {hyperbaton framing two verses}. 798 Lucr.6.1 f. is the only case in which the hyperbaton is not interrupted by a further adjective. 799 Cf. Cat. 64.175 f. nec malus hic celans dulci crudelia forma / consilia in nostris requiesset sedibus hospes!, where the juxtaposition of the two contrasting adjectives dulci crudelia is noteworthy (cf. p.234, n.726). 800 Two instances in the Bucolics (5.56 f.; 6.1 f.); one in the Georgics (4.457 f.); nine in the Aeneid (1.375 f.; 4.143 f.; 5.609 f.; 7.612 f., 812 f.; 8.82 f., 505 f.; 12.473 f., 901 f.). The examples at G.1.24 f.



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We begin with the paradigmatic passage, quoted above, at Aen.12.473 f. nigra uelut magnas domini cum diuitis aedes peruolat et pinnis alta atria lustrat hirundo,

which provides us with the most significant and recurrent features of this hyperbaton. First, we note that the separation encloses the first part of a very beautiful simile from the animal world: the flight of the swallow, triste omen, foretells Turnus’ end and the conclusion of the whole poem.801 At a stylistic level the strong sense of anticipation given by the adjective nigra is important, an isolated colour note which takes on body and form only at the end of the two lines.802 With this clearly iconic hyperbaton the reader/listener is made to move rapidly through the two lines in order to join the adjective to its noun, thereby following breathlessly the swift swooping and veering of the swallow.803 An iconic interpretation of this kind is confirmed by a series of examples in which the hyperbaton, associated with verbs of movement, highlights the idea of a long and tortuous passage. This is well-illustrated at Aen.3.73 ff. sacra mari colitur medio gratissima tellus Nereidum matri et Neptuno Aegaeo, quam pius arquitenens oras et litora circum errantem Mycono e celsa Gyaroque reuinxit immotamque coli dedit et contemnere uentos.

(tu . . . / . . . Caesar) and Aen.10.324 f. (tu . . . / . . . Cydon) are equally important, but typologically different in that the hyperbaton divides the personal pronoun from the vocative. 801 On this aspect see Bettini 1988, pp.7–24 and Giancotti 1993, pp.74 f. 802 Cf. Pascoli 19426, ad loc.: ‘si vede prima un non so che nero che balza, rotea, viene e va’ {you first see something black, without knowing what, that dances and whirls, and comes and goes}, and Traina 20042, ad loc.: ‘il lunghissimo iperbato a cornice interstichico presenta prima il colore, poi il movimento (pervolat «svolazza per») e infine la forma: è una rondine’ {the lengthy interlinear framing hyperbaton gives us first the colour, then the movement (‘pervolat’ is ‘swoops through’) and finally the form: it’s a swallow}. 803 On the iconic character of this hyperbaton see Stevens 1953, p.205; Traina 20042, ad loc., who observes on the hyperbaton magnas . . . aedes: ‘dilata iconicamente lo spazio intorno al volo dell’uccello’ {it widens iconically the space around the bird’s flight}; and Tarrant 2012, ad loc.: ‘the hyperbaton of adjective and noun may suggest the large space traversed by the bird, an impression heightened by the magnifying phrases magnas . . . aedes, domini . . . diuitis, alta atria’.

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where the lengthy separation between complementary object and verb (quam . . . reuinxit) suggests the island’s long wandering voyage before finally stopped by Apollo’s arrows.804 Similar iconic expressiveness characterizes G.4.457 f. illa quidem, dum te fugeret per flumina praeceps, immanem ante pedes hydrum moritura puella

where the hyperbaton, separating illa from puella, increases the pathos of the scene.805 We can compare this passage to Aen.12.901 f. ille manu raptum trepida torquebat in hostem altior insurgens et cursu concitus heros.

where the same hyperbaton provides us with the same iconic character. An example with inverse order (pronoun–past perfect) but similar iconicity is found at Aen.1.375 ff. nos Troia antiqua, si uestras forte per auris Troiae nomen iit, diuersa per aequora uectos forte sua Libycis tempestas appulit oris.

where the long hyperbaton highlights a sense of the Trojans prolonged and anguished wanderings: from the point of their departure, Troia antiqua, the exiles have been unable to sail directly to their intended goal (the pathetic insertion of the protasis of the hypothetical period, stretching for two lines, has the effect of prolonging the journey of Aeneas and his men), but, thrown by opposing seas off their straight course, were driven towards the Libyan coast. But the interlinear framing hyperbaton is also, because of its exceptional nature, the form best suited to the mirum, the miraculous appearance, the portentous vision. Virgil paints a scene and invites the reader to participate in the image, which is often conveyed through a character, ‘a vision of a vision’, not only tending towards a demanding new word order – which is in itself a stylistic trait which does not leave us unmoved – but also returning explicitly to the language 804 On this passage see also p.187. 805 On the effect of ille quidem see Mynors 1990, ad G.3.217: ‘quidem can mark the first of two contrasted clauses, as μέν does in Greek; and when ille quidem is contrasted with a plurality, the effect is to isolate and emphasize the ille’ (on quidem see also Solodow 1978); on the interlinear hyperbaton composed of the demonstrative ille with anticipatory value (cf. p.255, n.795) and a noun, a feature of the Homeric epic (cf. Il.1.488 f. ὁ [...] Ἀχιλλεύς) see Thomas 1988, ad loc.; on the pleonastic or ‘resumptive’ ille see here p.164, n.493.



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of the miraculous and to the meaning of the vision. This interpretation is illustrated at Aen.8.81 ff. Ecce autem subitum atque oculis mirabile monstrum, candida per siluam cum fetu concolor albo procubuit uiridique in litore conspicitur sus;

where the prodigium of the white sow is a miraculous vision (oculis mirabile monstrum) into which the reader is invited to enter. To this we can add the extraor­­d­inary skill of this passage: the hyperbaton, threaded with the intense colouring of the adjectives candida, concolor, albo, uiridi, is further enhanced by prefix alliteration (concolor . . . conspicitur) and the monosyllabic line-end.806 We can compare to this example, for the miraculous and portentous atmosphere and the striking initial location of a colour adjective, B.5.56 f. Candidus insuetum miratur limen Olympi sub pedibusque uidet nubes et sidera Daphnis.

Here the poet once again invites the reader into a ‘vision of a vision’, to contemplate Daphnis (and to identify him) while he is watching and marvelling at something miraculous and extraordinary: the sky, the clouds, and the stars under his feet. The scene, characterized by intense colouring (in the adjective candidus and the nouns Olympi, nubes, sidera) is once again portentous: the character Daphnis is defined, not fortuitously, by the adjective candidus, which, pertaining more to deities than to men ‘marks the transformation from formonsus pastor to celestial deity’.807 806 Cf. Gransden 1976, ad Aen.8.43 f.: ‘The portent is described in two appropriately portentous lines’ with ‘the repeated i and u sounds, the assonance ingens–inuenta, and the monosyllabic ending, giving a marked conflict of metrical ictus with word accent in the last two feet’; and Marouzeau 19462, p.324: ‘Le déroulement de la phrase peut prendre une valeur plastique ou dramatique, du fait qu’il met en valeur tel trait d’un tableau, telle péripétie d’une action; ainsi quand Virgile, voulant offrir à nos yeux la laie miraculeuse, nous fait attendre le mot qui désigne l’étrange apparition’ {The unfolding of a phrase can itself take on a plastic or dramatic value. It can lay stress on one aspect of a picture, one twist of an action. So Virgil, when he wants to offer before our eyes the portentous sow, makes us wait for the word which marks the strange apparition for us}. 807 Cf. Coleman 1977, ad loc. and on the effect of the hyperbaton Cucchiarelli 2012, ad loc. (‘il nome di Dafni compare per ultimo, con un’enfasi quasi di trionfo, dopo la lunga attesa logica e sintattica’ {The name of Daphnis appears after everything else, with an almost triumphant emphasis, following the long logical and syntactical wait}). We can compare to this passage Aen 12.791 f. Iunonem interea rex omnipotentis Olympi / adloquitur fulua pugnas de nube tuentem, which is stylistically less striking but also presents a vision of a vision: from the height of the clouds Juno observes the struggle between the two armies.

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In a series of passages interlinear framing hyperbaton is used with both an iconic value and, at the same time, with the aim of bringing a miraculous appar­ ition into prominence, as at Aen.7.812 f. illam omnis tectis agrisque effusa iuuentus turbaque miratur matrum et prospectat euntem,

where the slow rhythmical passage of the warrior-maiden Camilla (note the spondaic rhythm) is followed by the wondering gaze of young men and their mothers. The reader is again invited to join this ‘vision of a vision’, to become one of the crowd who watch amazed the apparition of the warrior-maiden, as strongly suggested by the sense of wonder in the verb miratur. We can compare this passage to another example, also with an initial pronoun, at Aen.5.609 f. illa uiam celerans per mille coloribus arcum nulli uisa cito decurrit tramite uirgo.

in which the progress of Isis, messenger of the gods, is a rapid flight, as the opening dactylic rhythm of the sequence uiam celerans and the verb decurrit suggest. Another instance of a divine character travelling occurs at Aen.4.143 f. qualis ubi hibernam Lyciam Xanthique fluenta deserit ac Delum maternam inuisit Apollo

where the hyperbaton, which isolates a simile (as in the example of the black swallow), clearly describes Apollo’s journey, from Lycia to his birthplace Delos. In other passages interlinear framing hyperbaton underscores ipse as at Aen.7.612 ff. ipse Quirinali trabea cinctuque Gabino insignis reserat stridentia limina consul, ipse uocat pugnas;

where ipse, further emphasized by anaphora, carries great weight;808 and at Aen.8.505 f. ipse oratores ad me regnique coronam cum sceptro misit mandatque insignia Tarchon, 808 Cf. Horsfall 2000, ad loc.: ‘rare and powerful anaphoric ipse’.



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where the hyperbaton ipse . . . / . . . Tarchon signals the elevated tone in the description of the ceremony of donning the toga. Virgil, as we have seen, by means of this rare and polished figure creates a mosaic, a painting, and invites the reader to watch a miraculous scene for a moment. It will now be interesting to find out if and to what extent successive writers of epic poetry understood Virgil’s technical lessons. –– The figure in Statius, Valerius Flaccus and Silius Italicus Statius in the Thebaid uses interlinear framing hyperbaton in contexts close to the Virgilian model, but in a more mechanical and less striking way. In the seven instances which I have identified,809 six have a proper name as the noun. In particular, names of divinities are used, but without the power of Virgil’s miraculous apparitions, as we can judge at Theb.12.307 f. hunc quoque qui curru madidas tibi pronus habenas ducit, in Aonios uigiles demitte Soporem

where we note that the hyperbaton is realized simply by means of the insertion of a relative clause and, in place of a qualifying adjective or pronoun, a demon­­st­rative (hunc) has been used; and at Theb.10.632 f. Diua Iouis solio iuxta comes, unde per orbem rara dari terrisque solet contingere, Virtus

where, however, the words comes and rara, agreeing with the noun, break the unity of the hyperbaton.810 In another two examples the first member of the hyperbaton is ipse (as at Aen.8.505 f. and 7.512 f.): Theb.2.79 f. ipse autem gaudens nemorosa per auia sanas impulerat matres Baccho meliore Cithaeron

and Theb.6.45 f. ipse, datum quotiens intercisoque tumultu conticuit stupefacta domus, solatur Adrastus 809 Stat. Theb.2.79 f.; 6.45 f., 92 f., 727 f.; 8.134 f.; 10.632 f.; 12.307 f. 810 Also cf. Theb.9.566 f. sic anceps dura belli uice mutua Grais / Sidoniisque simul nectebat uulnera Mauors, where the hyperbaton has less effect because it is preceded by the introductory word sic.

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with the insertion of a temporal clause. The hyperbaton is realized, on the other hand, through the insertion of a parenthesis at Theb.2.692 f. Haemonides – ille haec praeuiderat, omina doctus aëris et nulla deceptus ab alite – Maenon

and of an apposition at Theb.6.727 f. Hunc, quondam nostri decus auxiliumque Pelasgi, ferre damus, neque enim Hippomedon inuiderit, ensem

which also has a long apposition. Certainly closer to Virgil’s technique and mastery is the example at Theb.8.134 ff. nuntius hortanti diuersa in parte maniplos Adrasto, uix ipse ratus uidisse, Palaemon aduolat

in which the journey of the herald Palaemon is described (the rejet of the verb aduolat is also clearly iconic).811 Valerius Flaccus also recognizes the figure’s stylistic importance and uses it with an expressiveness close to that of the Virgilian model.812 He uses it, for example, to mark the first part of a simile, as at 6.505 f. quales instanti nimborum frigore maestae succedunt ramis haerentque pavore volucres.

and at 7.147 f. turbidus ut Poenis caecisque pavoribus ensem corripit et saevae ferit agmina matris Orestes;

where the adjective at the start introduces a striking psychological note.813 The poet recognizes the iconic expressiveness of the figure, as seems clear at 4.647 f. ipse per arma volans et per iuga summa carinae hortatur supplexque manus intendit Iason, 811 This verbal form, placed in rejet, has an identical iconic function in Virgil (cf. p.96). 812 Val.Fl. 2.437 f.; 4.647 f.; 5.128 f.; 6.505 f.; 7.147 f. 813 On turbidus referring to mental agitation see Harrison 1991, ad Aen 10.647 f. and Tarrant 2012, ad Aen.12.10.



D) Hyperbaton, between the literary tradition, expressiveness and iconicity 

 263

where the hyperbaton reinforces the sense of movement expressed by the verb uolo and by the repeated per.814 The poet who shows the deepest assimilation of Virgil’s technical lessons is Silius Italicus. Of the seven instances which I have found in the first eleven books of his work, many show an expressiveness similar to Virgil’s.815 For example, it is not by chance that this rare hyperbaton is repeated a few lines apart and in two similes which have serpents as their objects. At 3.192 f. quantus non aequas perlustrat flexibus Arctos et geminum lapsu sidus circumligat Anguis,

a resemblance is drawn between an enormous serpent which appears to Hannibal in a vision and the constellation of the Serpent, whose orbit, large and winding, is iconically described by the hyperbaton, while at 3.208 f. quantus per campos populatis montibus actas contorquet siluas squalenti tergore serpens

it is Hannibal himself who is compared to a serpent that overwhelms everything in its violent advance. Also iconic is 6.200 f. infelix fluuio sese et torrentibus undis crediderat celerique fuga iam nabat Aquinus.

where the hyperbaton highlights the idea of the flight, while 5.206 f. Sola Appenini residens in uertice diras exspectat caedes immiti pectore Iuno.

clearly reminds us of the lines at Aen.12.791 f. Iunonem interea rex omnipotentis Olympi adloquitur fulua pugnas de nube tuentem

in the structure of the hyperbaton and in the picture of the goddess Juno watching – once again a ‘vision of a vision’ – from on high (in uertice / de nube) those fighting (caedes / pugnas ).

814 On the iconic value of the repeated per see p.253, n.789. 815 Sil. 1.289 f., 606 f.; 2.41 f.; 3.192 f., 208 f.; 5.206 f.; 6.200 f.

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Index Locorum This Index is limited to Latin and Greek passages. Aetna: 47: 244 (n.762). Aristoteles: Rhet.3.1408 a 11 ff.: 7 (n.15); 1408 b 29 ff.: 19. Bibaculus: frg. 34: 226 (n.697). Catullus: 5.5: 201 (n.615); 51.11 f.: 201 (n.619); 62.42: 100 (n.323); 64.59: 239; 64.86 ff.: 30 f.; 64.105 ff.: 62, 81; 64.114 f.: 202; 64.141: 215; 64.149 ff.: 63; 64.175 f.: 234 (n.726), 256 (n.799); 64.307 ff.: 31; 64.308 f.: 236 (n.734); 73.6: 168 (n.505); 101.1: 125 (n.401); 101.3 f.: 168; 115.5 f.: 179. Cicero: Att.7.2.1: 196. Ciris: 511: 236 (n.734). Culex: 163: 244 (n.761). Demetrius: Peri Hermeneias 6: 13 (n.42); 72: 7 (n.16); 121: 13 (n.42); 176: 9 (n.24). Dionysius of Halicarnassus: De comp. verb. 16: 61; 20: 7; 26: 19-21. Ennius: Ann.42: 203 (n.624); 46: 159 (n.477); 67 f.: 62; 151: 209; 190: 208 (n.641); 221: 203 (n.624); 288: 68 (n.223); 304 f.: 30; 333 f.: 62; 356: 245; 363: 119 (n.385); 405: 209 (n.644); 411: 62; 505: 202 (n.622); 584: 226 (697). Euripides: Her.31: 231 (n.716). Gellius: Noct. Att.12.2.10: 178 (n.539). Gorgias, Hel.enc. 9: 20 (n.67). Homer: Il.1.51 f.: 61; 1.408 ff.: 30; 1.488 f.: 258 (n.805); 2.859: 186 (n.560); 5.678: 194; 9.638 f.: 29 f.; 11.59: 193 (n.587); 11.72: 212 (n.657); 12.49 ff.: 29; 13.131: 226 (n.697); 16.156: 212 (n.657); 16.215: 226 (n.697); 16.776: 65 (n.212); 17.216: 193; 21.209: 193; 23.774 f.: 66 (n.213); Od.1.1 ff.: 125 (n.401); 3.430: 212 (n.657); 5.97: 231 (n.718); 5.294: 211 (n.652); 8.403 ff.: 53; 9.289 f.: 61; 11.593 ff.: 7 (n.16); 13.109 ff.: 33; 19.439 and 19.449: 212 (n.657). Horace: Ars 139: 13 f., 211 (n.651); 263: 203 (n.624); Carm.1.1.14: 248 (n.772); 1.5.1: 248 (n.772); 1.11.7 f.: 35 (n.120); 2.3.27 f.: 181 (n.545); 2.6.1 ff.: 219 (n.675); 2.6.21 f.: 248 (n.772); 3.18.13: 247 (n.771); 4.1.33 ff.: 183; 4.7.19 f.: 113 (n.363); Ep.1.2.41 ff.: 202; 2.2.75: 211; Epod.15.1: 248 (n.772); Sat.2.6.80 f.: 227. Isocrates: Evag.11: 20 (n.67). Livius Andronicus: carm. frg. 40 Blänsdorf: 71 (n.231). Longinus: Peri Hypsous 22.1: 7 (n.16). Lucretius: 1.945 f.: 30; 4.20 f.: 30; 4.455 ff.: 203; 4.1142 ff.: 13 (n.43); 6.1 f.: 256. Macrobius: Sat.6.3.5: 226 (n.697).



Index Locorum 

 275

Martial: 9.11.13 ff.: 191 (578). Nicander: Ther.516: 185. Pascoli: Gladiatiores 72: 167 (n.504); 457: 200. Plato: Rep.10.601 b: 20 (n.67). Quintilian: Inst.8.3.20: 206 (n.634). Silius: 1.286: 244 (n.761); 2.186 f.: 251 (n.786); 2.547: 244 (n.761); 3.191: 244 (n.761); 3.192 f.: 263; 3.208 f.: 263; 5.206 f.: 263; 6.200 f.: 263; 7.204: 202 (n.620); 7.723 f.: 41 (n.146); 17.249 f.: 251 (n.786); Statius: Sil.4.2.18 ff.: 170 (n.514); Theb.1.107 ff.: 42 (n.149); 1.370: 248 (n.772); 1.594 f.: 251 (n.786); 2.30 f.: 202 (n.620); 2.79 f.: 261; 4.108: 246 (n.765); 4.218: 249 (n.778); 6.45 f.: 261; 6.292 f.: 262; 6.484: 248 (n.772); 6.727 f.: 262; 6.865 f.: 248 (n.773); 8.134 ff.: 262; 8.676: 246 (n.766); 8.711 f.: 251 (n.786); 9.566 f.: 261 (n.810); 10.206 ff.: 119 (n.384); 10.632 f.: 261; 11.310: 244 (n.761); 12.307 f.: 261. Tyrtaeus: 11.31 ff. W.: 226 (n.697). Ovid: Am.3.7.10: 227 (n.699); Met.3.423: 248 (n.775); 3.500 f.: 192; 4.9 ff.: 179 (n.541); 4.779 ff.: 179 (n.541); 6.506 ff.: 183 (n.552). Valerius Flaccus: 1.81 f.: 42 (n.149); 1.300: 202 (n.620); 3.636: 246 (n.765); 4.293 f.: 182 (n.550); 4.647 f.: 262; 6.505 f.: 262; 7.147 f.: 262; 8.315: 246 (n.765). Virgil: Bucolics 1.1 ff.: 143 (n.447); 1.83: 240; 2.1: 241; 2.53: 190 (n.575); 2.65: 189 (n.568); 3.6: 186 f. (n.562); 3.45: 246; 4.4: 16 (n.55); 4.5: 241 (n.750); 4.18 ff.: 248; 5.56 f.: 259; 5.84: 247 (n.771); 6.1 f.: 256; 6.43 f.: 15, 192; 7.7 ff.: 176; 7.32: 247 (n.768); 7.53: 196 (n.600); 8.13: 247 (n.771); 8.108: 189 (n.568); 9.5: 91 (n.297); 9.57 f.: 252 (n.787); 10.1: 245 (n.747); 10.13: 187 (n.562); 10.20: 241 (n.751); Georgics 1.26 f.: 79 (n.261); 1.78: 200 (n.613); 1.158: 241 (n.750); 1.181: 211 (n.651); 1.199 f.: 216 (n.670); 1.244: 241 (n.750), 244 (n.762); 1.259: 247; 1.281 f.: 188; 1.312 f.: 211; 1.318 ff.: 165; 1.331 ff.: 78, 253 (n.788); 1.341: 187 (n.562); 1.350: 203 (n.624); 1.379 ff.: 34, 223 f.; 1.429: 241 (n.750); 1.467: 236 (n.735); 1.468: 241 (n.748); 1.470 f.: 80 (n.261); 1.476 f.: 220 (n.676); 1.502: 79 (n.261); 1.510: 247 (n.771); 1.514: 202; 2.5: 196 (n.600); 2.71 f.: 43; 2.143 f.: 69; 2.153 f.: 244; 2.192: 225 (n.690); 2.207 f.: 6: 2.207 ff.: 62, 81; 2.293 f.: 90 (n.294); 2.308 f.: 251 (n.786); 2.461 f.: 17, 255 (n.793); 2.484: 241 (n.751); 2.526: 165; 3.26: 194 (n.592); 3.66 f.: 147; 3.220: 205; 3.242 ff.: 179; 3.255 f.: 210; 3.259 ff.: 37; 3.276: 198 (n.606); 3.320 f.: 225 (n.690); 3.413: 241 (n.750); 3.420 ff.: 89, 114 (n.369); 3.430 f.: 250 (n.779); 3.446 f.: 202 (n.622); 3.488: 247 (n.771); 3.507 f.: 42; 3.518: 242 (n.752); 3.550: 79 (n.261); 4.60: 241 (n.751); 4.111: 79 f. (n.261); 4.137: 160 (n.481); 4.152: 246; 4.174: 205; 4.184: 236 (n.732); 4.261: 241 (n.751); 4.273 ff.: 143; 4.333 f.: 62 (n.199); 4.336: 80 (n.261); 4.463: 196 (n.600); 4.496: 201; 4.498: 242 (n.752); 4.500 ff.: 89 (n.292); 4.504 f.: 120 (n.388); 4.457 f.: 258;

276 

 Index Locorum

Aeneid 1.1: 199 (n.609); 1.8 ff.: 151; 1.12 ff.: 156, 228; 1.15 ff.: 190 (n.574); 1.29 ff.: 103; 1.30: 45 (n.159); 1.35: 83 (n.275); 1.37 f.: 228 f. (n.707); 1.46 ff.: 175; 1.48 f.: 195 (n.596); 1.51: 224 (n.688); 1.52: 246 (n.765); 1.53: 80 (n.261), 205 (n.630); 1.55: 9 (n.22); 1.65 f.: 207; 1.68: 225; 1.74: 241 (n.750); 1.80: 79 (n.261); 1.81 ff.: 84; 1.94 ff.: 32; 1.101: 202; 1.104 f.: 211; 1.113 ff.: 84, 133; 1.117 f.: 204; 1.119: 202; 1.151 f.: 69; 1.180 ff.: 39; 1.184 f.: 143 (n.447); 1.189 ff.: 252 (n.787); 1.192 f.: 232 (n.719); 1.201 ff.: 115; 1.202 f.: 151; 1.209: 143 (n.447), 223; 1.233: 241 (n.750); 1.240 f.: 95 (n.311); 1.247 ff.: 143 (n.447); 1.254 f.: 101 (n.327); 1.279 ff.: 100; 1.297 ff.: 138; 1.311: 246 (n.766); 1.331 ff.: 184; 1.337: 247; 1.340 ff.: 36 (n.125); 1.346 f.: 102; 1.348 ff.: 142 (n.444); 1.351 f.: 251; 1.357 ff.: 101; 1.368: 246 (n.766); 1.375 ff.: 258; 1.384: 91 (n.297); 1.404 ff.: 141 f.; 1.405 f.: 190; 1.412: 241 (n.750); 1.448 f.: 179 (n.541); 1.492: 242 (n.754); 1.500 f.: 142 (n.444); 1.510: 57 (n.191); 1.546 f.: 34 (n.116); 1.547: 224 (n.687); 1.574: 227 (n.700); 1.589 ff.: 230; 1.592 f.: 251; 1.593: 225 (n.693); 1.594 ff.: 159 f.; 1.598: 45 (n.159); 1.605 f.: 120 (n.386); 1.615 f.: 120 (n.386); 1.617: 196 (n.600); 1.617 f.: 185; 1.647 ff.: 194; 1.675: 241 (n.750); 1.684: 227; 1.716: 241 (n.750); 1.736 ff.: 138; 1.738 f.: 225 (n.690); 1.744: 57 (n.191); 2.3: 242 (n.752); 2.8 f.: 201; 2.18 ff.: 47; 2.28: 221 (n.680); 2.45: 154 (n.464); 2.50: 4; 2.50 ff.: 75, 131, 232 (n.719); 2.67 f.: 91 (n.297), 93, 182 (n.548); 2.67 f.: 196; 2.69 f.: 120 f.; 2.77 f.: 124; 2.80: 221 (n.680); 2.81 ff.: 173 f.; 2.92 ff.: 174; 2.102 f.: 235 (n.730); 2.116 ff.: 117; 2.134: 154 (n.464); 2.141 ff.: 48 (n.164), 124, 128 f. (n.418); 2.169 f.: 216; 2.172 f.: 177, 249; 2.180 ff.: 148 (n.454); 2.190 f.: 124; 2.196 ff.: 46 (n.159); 2.202: 242 (n.752); 2.203 ff.: 255; 2.206 f.: 49; 2.216 ff.: 88, 218, 219 (n.675); 2.224: 163; 2.248 f.: 46 (n.159); 2.250: 78 (n.254), 211; 2.263: 57 (n.191), 80 (n.261); 2.265: 68 (n.223); 2.266 f.: 250 (n.783); 2.270 ff.: 43; 2.272 f.: 236 (n.735); 2.274 ff.: 230; 2.281 ff.: 125 f.; 2.294 f.: 109 (n.354); 2.302 f.: 78 (n.254); 2.304 ff.: 66, 140 f.; 2.314 ff.: 70 (n.229); 2.318 ff.: 104; 2.324 ff.: 99; 2.325 ff.: 5, 6, 33; 2.328 ff.: 111 (n.356); 2.341 ff.: 57, 127; 2.343 ff.: 111 (n.358); 2.352 ff.: 127; 2.353: 223 (n.684); 2.358 ff.: 149; 2.361 ff.: 6; 2.370 ff.: 110; 2.374 f.: 143 (n.447); 2.379 f.: 199 (n.610), 244; 2.383 ff.: 89; 2.400 f.: 255 (n.793); 2.405 f.: 105 (n.342); 2.411: 159 (n.481); 2.416 ff.: 90, (n.294); 2.424 ff.: 70; 2.426 ff.: 46 (n.159); 2.445 ff.: 90; 2.448: 45 (n.159); 2.464 ff.: 14, 64, 133; 178; 2.465: 199 (n.610); 2.479 ff.: 107; 2.486 ff.: 136; 2.503: 45 (n.159); 2.503 ff.: 67 f.; 2.526 ff.: 94, 108; 2.527 ff.: 253 (n.789); 2.531 f.: 66; 2.535 ff.: 128 f.; 2.544 ff.: 74; 2.547 ff.: 98 (n.320); 2.548 f.: 12; 2.549: 79 (n.261); 2.550 f.: 88 (n.288); 2.552 f.: 252 (n.788); 2.554 ff.: 45; 2.564: 221 (n.680); 2.601 ff.: 143 (n.447); 2.604 ff.: 154, 254; 2.608 f.: 249; 2.610 ff.: 81; 2.624 f.: 44 (n.156); 2.624 ff.: 6 (n.13); 2.626 ff.: 65 (n.211), 92; 2.635 f.: 250 (n.782); 2.644: 117 (n.378); 2.647 ff.: 207; 2.649: 225 (n.692); 2.664 ff.: 220 (n.675); 2.668 ff.: 151; 2.714 f.: 6; 2.736 ff.: 94; 2.745 f.: 184; 2.756 f.: 169 (n.506); 2.790 f.: 89; 2.796 ff.: 45 (n.159); 3.1 ff.: 44; 3.2: 224 (n.687); 3.3: 40 (n.142); 3.9 ff.: 208; 3.37 f.: 90, (n.294), 164; 3.52: 155; 3.60: 236; 3.60 ff.: 162; 3.62 f.: 250 (n.780); 3.73 ff.: 187, 257; 3.74: 196 (n.600); 3.85 ff.: 103; 3.86 f.: 45 (n.159); 3.91: 193 (n.589); 3.104: 247; 3.135 ff.: 145 (n.450); 3.148: 225 (n.691); 3.170 f.: 229; 3.181; 235; 3.186 f.: 120 (n.386); 3.207 f.: 204; 3.210 f.: 187; 3.219 f.: 219 (n.675); 3.238 ff.: 138, 175 f.; 3.259 f.: 73 (n.236); 3.268: 134; 3.272 f.: 174; 3.303 ff.: 45 (n.159); 3.312 f.: 251 (n.783); 3.319: 229 (n.707); 3.321 ff.: 32 (n.109); 3.325 ff.: 195 f.; 3.328: 80 (n.261); 3.329: 65 (n.212), 227; 3.345 f.: 56; 3.362 f.: 225 (n.692); 3.374 ff.: 207; 3.377 ff.: 147; 3.396 ff.: 115, 148 (n.454); 3.399 ff.: 194 (n.591); 3.405: 241 (n.751); 3.417 f.: 230 (n.710); 3.421 ff.: 250; 3.438 f.: 235; 3.448 f.: 84 (n.277); 3.464: 185; 3.464 ff.: 194; 3.465 f.: 220 (n.676); 3.493 f.: 144; 3.500 ff.: 155, 228; 3.513 f.: 222, 250; 3.513 ff.: 197; 3.516: 57 (n.191); 3.517: 80 (n.261); 3.518 f.: 138;



Index Locorum 

 277

3.521 ff.: 100; 3.522 ff.: 166 f.; 3.549: 80 (n.261), 197; 3.561 f.: 75 (n.244); 3.570 f.: 142; 3.581 f.: 251 (n.783); 3.596 ff.: 146; 3.605 f.: 189; 3.607: 155 (n.466); 3.613 ff.: 48 (n.164); 3.616 ff.: 90, 171; 3.630 ff.: 109; 3.631 ff.: 43 (n.151); 3.635 ff.: 220; 3.639 f.: 113, 173; 3.641: 246 (n.765); 3.651 ff.: 177; 3.655 ff.: 169; 3.672 f.: 251 (n.783); 3.703 f.: 101; 3.708 ff.: 125; 3.709 f.: 40 (n.142), 45 (n.159); 3.716 f.: 235; 3.718: 222; 4.8 f.: 159; 4.22: 191 (n.580); 4.22 f.: 83 (n.272), 151; 4.28 f.: 238; 4.32: 229 (n.707); 4.32 f.: 233; 4.38: 229 (n.707); 4.54: 157 (n.472); 4.58: 57 (n.191); 4.64: 159 (n.481); 4.68 f.: 110; 4.69 ff.: 137; 4.72 f.: 150; 4.81: 200; 4.82 f.: 95 (n.310); 4.92: 231; 4.114: 115 (n.372); 4.124: 245 f.; 4.132: 210; 4.138 f.: 242; 4.139: 241; 4.143 f.: 260; 4.146: 193; 4.160 f.: 146; 4.165: 245; 4.172: 223 (n.685); 4.173 f.: 105; 4.176: 78 (n.254); 4.178 ff.: 169; 4.184 ff.: 112; 4.199 f.: 232; 4.211 ff.: 49, 220; 4.213 f.: 114 (n.367); 4.215 ff.: 195; 4.222 f.: 159; 4.232 ff.: 231; 4.233: 237 (n.737); 4.234: 229 (n.707); 4.235 f.: 189; 4.238 ff.: 107 (n.346); 4.246 ff.: 105 (n.339); 4.252 ff.: 92 f.; 4.253 ff.: 219 (n.675), 253 (n.789); 4.259 ff.: 93; 4.265 ff.: 119; 4.268 f.: 101; 4.272 ff.: 115; 4.274: 224 (n.689); 4.278: 11, 157; 4.288: 57 (n.191); 4.291 ff.: 139; 4.309 ff.: 123; 4.310: 73 (n.236); 4.314 ff.: 215; 4.333 ff.: 237; 4.351 ff.: 231 (n.715), 255; 4.386: 247 (n.772); 4.388 f.: 157; 4.388 ff.: 89 (n.292); 4.397 f.: 165; 4.419 ff.: 114 (n.370); 4.424: 234; 4.443 f.: 252; 4.445 f.: 34, n.116; 4.447 f.: 90, (n.294); 4.450 f.: 148; 4.486: 200; 4.506: 222 (n.682); 4.529 ff.: 219 f. (n.675); 4.534 ff.: 120 (n.387); 4.542: 79 (n.261); 4.553: 241 (n.750); 4.558 f.: 179 f.; 4.560 ff.: 111 (n.358); 4.569 f.: 117; 4.570: 153, 248; 4.571 ff.: 112 (n.361); 4.579 f.: 52; 4.581: 236 (n.733); 4.594: 78 (n.254); 4.600 ff.: 120; 4.615 ff.: 126; 4.622 ff.: 126 (n.406), 151; 4.625: 98 (n.319); 4.628 f.: 226; 4.628 ff.: 12, 183; 4.645 f.: 250; 4.646 f.: 45 (n.159); 4.648 ff.: 93 (n.303); 4.663 f.: 40 f. (n.143); 4.667: 188; 4.667 f.: 135 f.; 4.667 ff.: 40; 4.670 f.: 253 (n.789); 4.673: 224 (n.688); 4.688 f.: 67; 4.692: 167; 5.32 f.: 134; 5.46: 240; 5.87: 225 (n.693); 5.116: 247 (n.769); 5.116 f.: 104 (n.338); 5.118: 241 (n.750), 247 (n.769); 5.118 ff.: 84 (n.277); 5.121 ff.: 108; 5.215 f.: 255 (n.793); 5.239 f.: 251 (n.783); 5.241 ff.: 82, 132 f.; 5.252 ff.: 110 (n.356); 5.258 ff.: 53; 5.261: 187; 5.297: 241 (n.748); 5.311 ff.: 54; 5.318 f.: 95 (n.313); 5.318 ff.: 197 f.; 5.320 f.: 51 (n.171); 5.331 ff.: 66; 5.370 ff.: 86; 5.389: 45 (n.159); 5.392 f.: 40 (n.139); 5.400 ff.: 74; 5.404 f.: 66 (n.213), 232; 5.429: 226 (n.697); 5.433 ff.: 250 (n.781); 5.437 f.: 214 (n.661); 5.443 ff.: 137; 5.446 ff.: 65; 5.456 f.: 164; 5.481: 12, 212; 5.483 f.: 129 f.; 5.493 f.:104 (n.338); 5.502: 245; 5.551 f.: 254 (n.791); 5.569: 227 (n.700); 5.586 f.:110 (n.356); 5.588 ff.: 203; 5.591: 11; 5.609 f.: 260; 5.612: 221 (n.680); 5.613 ff.: 39, n.133; 5.615 f.: 236; 5.623 ff.: 48 (n.164), 87 (n.286), 214; 5.637 ff.: 214; 5.641 ff.: 73, 140; 5.644 f.: 102 (n.328); 5.650 ff.: 174; 5.661 ff.: 15, 135; 5.670 ff.: 116; 5.676 ff.: 95, 148; 5.680 ff.: 148 (n.454); 5.693 ff.: 41; 5.697 ff.: 252; 5.725 ff.: 84 (n.277); 5.730 ff.: 36, n.124; 5.735 f.: 190 (n.574); 5.752 ff.: 181 (n.544); 5.796 f.: 129 (n.418); 5.818: 241 (n.751); 5.827 ff.: 146; 5.828 f.: 251 (n.783); 5.838 ff.: 3, 127; 5.856: 200; 5.866: 5 (n.10); 5.867 f.: 62 (n.199); 6.27: 203 (n.624); 6.28: 241 (n.750); 6.29 ff.: 37; 6.53 ff.: 91, 140; 6.64 f.: 5, 6, 33; 6.136 f.: 236 (n.735); 6.136 ff.: 39; 6.137: 240, 241 (n.751); 6.143 f.: 107 (n.346); 6.162 ff.: 105 (n.338); 6.165: 225; 6.171 f.: 110 (n.358); 6.185 ff.: 171; 6.194 ff.: 232 f.; 6.220 ff.: 45 (n.159), 74; 6.236: 160; 6.237 ff.: 41, 149; 6.282 ff.: 171; 6.283 f.: 201; 6.290: 73 (n.236); 6.296: 241 (n.751); 6.345 f.: 216; 6.358: 165; 6.365 f.: 114; 6.382 f.: 160, 234; 6.392 ff.: 195; 6.405 ff.: 115; 6.412 f.: 136 (n.437); 6.419 ff.: 72, 137; 159; 6.424: 68 (n.223); 6.432 f.: 142 (n.444); 6.445 ff.: 193 (n.587); 6.450 ff.: 108; 6.467 f.: 88 (n.288); 6.469 ff.: 158; 6.479 ff.: 92, 192 f.; 6.489 ff.: 166; 6.491 ff.: 48; 6.494 ff.: 105; 6.502 ff.: 68 (n.224); 6.507 f.: 188; 6.518 f.: 109 (n.354); 6.522: 201; 6.552 ff.: 170; 6.560 f.: 220 (n.675); 6.563: 4, 234; 6.582 ff.: 102; 6.589 ff.: 111 (n.358); 6.592 f.: 75

278 

 Index Locorum

(n.244); 6.602 f.: 181; 6.603 f.: 250 (n.782); 6.639: 80 (n.261); 6.640 f.: 108 (n.350); 6.643: 205; 6.659: 241 (n.750), 245; 6.674: 224 (n.688); 6.692 f.: 124; 6.710: 78 (n.254); 6.719 ff.: 120 (n.386); 6.736 f.: 251 (n.783); 6.754 f.: 232, 254 (n.791); 6.777 ff.: 101; 6.780: 237 (n.737); 6.791: 191 (n.580); 6.819 ff.: 111 (n.358); 6.820 f.: 231; 6.842 f.: 102; 6.853: 11, n.29; 6.866: 149 (n.457); 6.867 f.: 12, 168; 6.872 ff.: 125; 6.883 ff.: 118; 6.885 f.: 168; 6.895: 194 (n.592); 7.25 ff.: 158; 7.29 f.: 93 (n.303); 7.41 ff.: 99; 7.54 f.: 100; 7.55 ff.: 102; 7.59 f.: 6; 7.79 f.: 142; 7.92 ff.: 145, 161; 7.98 f.: 3, 217; 7.102 f.: 43 (n.150); 7.141 ff.: 92; 7.160 f.: 181 f.; 7.164 f.: 205; 7.166 ff.: 254; 7.170 ff.: 170; 7.183: 241 (n.750); 7.187 ff.: 99 (n.322); 7.233: 230 (n.710); 7.243 f.: 45 (n.159), 103; 7.302 ff.: 47, 120; 7.327: 191 (n.579); 7.327 ff.: 148 f.; 7.346 f.: 72; 7.361 f.: 241; 7.377: 241 (n.750); 7.378 ff.: 141; 7.385 ff.: 96; 7.393: 236 (n.733); 7.397 f.: 232; 7.398: 160 (n.481); 7.410: 80 (n.261); 7.426: 224 (n.687); 7.446 ff.: 148; 7.456 f.: 42; 7.470 ff.: 182 (n.549); 7.479: 73 (n.236); 7.479 f.: 72; 7.498 f.: 252 f.; 7.531 ff.: 46 (n.159), 67, 147; 7.576: 80 (n.261); 7.594 ff.: 121; 7.595 ff.: 126; 7.596 f.: 221; 7.612 ff.: 260; 7.620 ff.: 82 f.; 7.623: 162; 7.629 ff.: 186; 7.634: 197; 7.635: 224 (n.688); 7.640: 224 (n.688); 7.649 ff.: 105 (n.338); 7.664: 224 (n.688); 7.675 ff.: 35; 7.678 ff.: 99; 7.706 f.: 38; 7.747: 224 (n.688); 7.789 f.: 213 (n.658); 7.804: 224; 7.812 f.: 260; 8.1 ff.: 161; 8.4 ff.: 110 (n.356); 8.31 f.: 247; 8.60 f.: 235; 8.72: 91 (n.297); 8.80: 224 (n.688); 8.81 ff.: 259; 8.82 f.: 211 (n.651); 8.96: 224 (n.688); 8.103: 80 (n.261); 8.109 f.: 78 (n.254); 8.140 f.: 105 (n.339); 8.143 ff.: 114 (n.366); 8.146 f.: 95 (n.311); 8.157 ff.: 97 f.; 8.158: 56 (n.187), 79 (n.261); 8.161 ff.: 56; 8.198 f.: 249 (n.779); 8.199: 169 (n.507); 8.201 ff.: 109 (n.354); 8.203 f.: 218; 8.214: 80 (n.261); 8.219 ff.: 41 (n.146), 78 (n.254); 8.223 f.: 150; 8.228 f.: 182; 8.228 ff.: 39; 8.236 ff.: 82; 8.241 ff.: 34; 8.243 ff.: 107; 8.263 f.: 80 (n.261); 8.276 ff.: 139; 8.305: 16, 74 (n.241); 8.330 ff.: 148 (n.454); 8.334: 224 (n.689); 8.340 f.: 56; 8.352 ff.: 42; 8.369: 16, 154; 8.382 f.: 36, n.124, 230; 8.387 ff.: 141; 8.411 f.: 250 (n.780); 8.443 f.: 142 (n.444); 8.447 f.: 165; 8.449 ff.: 150; 8.452: 205; 8.481 f.: 46; 8.483 f.: 110 (n.356); 8.485 f.: 226 (n.697); 8.490: 80 (n.261); 8.497 ff.: 144; 8.505 f.: 260; 8.511 f.: 114 (n.368); 8.524 f.: 159; 8.566 f.: 251 (n.783); 8.568 ff.: 125, 219 (n.675); 8.578 ff.: 117; 8.581: 45 (n.159); 8.581 f.: 123 (n.396); 8.619 ff.: 171; 8.630 ff.: 110 (n.356); 8.647: 155; 8.671 f.: 51; 8.678 f.: 208; 8.694 f.: 75 f., 149; 8.708: 224 (n.688); 8.720: 236 (n.735); 9.9: 196 (n.600); 9.15: 241 (n.750); 9.28: 248 (n.772); 9.37: 78 (n.254); 9.37 ff.: 176; 9.38 f.: 221; 9.50: 236 (n.735); 9.52: 163; 9.55 ff.: 177, 219 (n.675); 9.70: 246 (n.766); 9.71 f.: 232; 9.77 f.: 120 (n.386); 9.85: 6; 9.95 ff.: 120 (n.386); 9.110 f.: 252; 9.140 ff.: 129; 9.173: 224; 9.189 f.: 68; 9.199 f.: 229 (n.707); 9.221 f.: 142 (n.444); 9.236 f.: 68 (n.223), 91; 9.257 ff.: 129; 9.267 ff.: 106 f.; 9.270: 225 (n.693); 9.290: 173; 9.291 f.: 189; 9.303 ff.: 53; 9.310 ff.: 143; 9.324 ff.: 46; 9.327: 227 (n.700); 9.332 ff.: 167; 9.344 f.: 51 (n.171), 224 (n.687); 9.378: 157; 9.399 ff.: 120; 9.410 f.: 71, 132; 9.414 f.: 109 (n.352); 9.418 f.:112; 9.423 ff.: 91 (n.297); 9.427 f.: 114 (n.366), 122, 172 f.; 9.431 f.: 222; 9.438 f.: 124 (n.398); 9.440 f.: 178 (n.536), 219 (n.675); 9.440 ff.: 52; 9.444 f.: 109 (n.352); 9.470: 224 (n.688); 9.473 ff.: 139, 176; 9.477: 9, 188; 9.481: 4; 9.481 ff.: 45 (n.159), 122, 172 f.; 9.486 f.: 238; 9.490 ff.: 114; 9.493 f.: 173; 9.494: 118 (n.379); 9.495 f.: 253 (n.788); 9.498 f.: 150, 162; 9.503: 9; 9.503 f.: 92, 137 f.; 9.530 ff.: 209; 9.534: 163; 9.539 ff.: 69; 9.551 ff.: 96; 9.554 f.: 73 (n.236); 9.560 f.: 218; 9.574: 57 (n.191); 9.576 ff.: 137; 9.586 ff.: 87; 9.590 ff.: 223; 9.600: 238 (n.739); 9.621 ff.: 93; 9.626 ff.: 51; 9.630 ff.: 77; 9.632 ff.: 17, 77, 253; 9.634: 11, n.29; 9.646 ff.: 186; 9.647: 196 (n.600); 9.658: 11, 157; 9.665: 205; 9.696 ff.: 134; 9.698 ff.: 50; 9.727 ff.: 111 (n.358); 9.734 f.: 162; 9.735 ff.: 95; 9.738: 229 (n.708); 9.749 ff.:



Index Locorum 

 279

87 (n.287); 9.767: 57 (n.191), 80 (n.261), 193; 9.768 ff.: 89; 9.774 ff.: 105 (n.338); 9.783 ff.: 119, 218; 9.806 ff.: 90, (n.294), 135; 9.814: 5, n.10; 10.12 f.: 227; 10.26 ff.: 98; 10.32: 199 (n.611); 10.44 ff.: 128; 10.53 ff.: 220 (n.675); 10.59 ff.: 115 (n.372); 10.72 f.: 120 (n.386); 10.79 f.: 143 (n.447); 12.82 f.: 195; 10.88 ff.: 118 f., 228; 10.108: 227 (n.700); 10.121 f.: 106 (n.343); 10.123: 57 (n.191), 80 (n.261); 10.136: 185; 10.141: 190 (n.574); 10.146 f.: 205 (n.632); 10.160 ff.: 42; 10.161 f.: 236 (n.735); 10.180 f.: 105 (n.338); 10.182: 236 (n.732); 10.189: 230 (n.712); 10.192: 241 (n.751); 10.195 f.: 142 (n.444); 10.201: 236 (n.732); 10.212: 241 (n.751); 10.228 f.: 160, 215; 10.246 f.: 250 (n.782); 10.246 ff.: 133, 141; 10.258 f.: 213 (n.659); 10.260 ff.: 140; 10.268: 212; 10.301 f.: 51 (n.171); 10.313 f.: 253 (n.789); 10.328 ff.: 74; 10.335 f.: 73, 132; 10.348 f.: 142 (n.444); 10.360 f.: 90, (n.294), 212, 226; 10.361: 15; 10.372 f.: 143 (n.447); 10.399 f.: 76 f.; 10.413: 193; 10.418: 201 (n.618); 10.429: 191 (n.579); 10.441 ff.: 123; 10.442 f.: 36 (n.124); 10.452: 241 (n.751); 10.454 ff.: 96; 10.463: 201 (n.618); 10.466: 15, 231; 10.467 ff.: 103; 10.469 ff.: 70 (n.228); 10.470 f.: 46 (n.159); 10.491 f.: 98; 10.491 ff.: 116; 10.552 f.: 253 (788); 10.554 f.: 89 (n.292); 10.561 f.: 95 (n.311); 10.572 f.: 93 (n.302);10.602 ff.: 50 (n.168); 10.633 f.: 95; 10.645 f.: 71, 136; 10.664: 153 f.; 10.668 f.: 229 (n.707); 10.682: 252 (n.788); 10.685 f.:222; 10.698 f.: 86 (n.282); 10.702 ff.: 80 (n.262); 10.707 f.: 255 (n.795); 10.720: 160 (n.481); 10.730 f.: 249 f. (n.779); 10.731: 167 f.; 10.734 f.: 212, 226 (n.697); 10.735: 10 f. (n.29); 10.739 f.: 168; 10.743 f.: 116, 207; 10.745 f.: 201; 10.747 ff.: 79; 10.749: 57 (n.191), 80 (n.261); 10.769 ff.: 143 f., 213; 10.771: 169 (n.507); 10.773 ff.: 116; 10.776 f.: 71; 10.781 f.: 181; 10.783 ff.: 132, 253, 253 (n.789); 10.786 ff.: 145; 10.796 ff.: 140; 10.797 ff.: 88 (n.290); 10.800: 230; 10.801 f.: 213; 10.803 f.: 70 (n.229); 10.819 f.: 223; 10.821 f.: 105 (n.342); 10.829 f.: 233; 10.832 f.: 234; 10.858 ff.: 130; 10.864 f.: 209; 10.870 f.: 250 (n.780); 10.887: 241 (n.750); 10.890 f.: 220 (n.675); 10.892 f.: 90 (n.294); 10.895 f.: 183; 11.5 ff.: 123; 11.29 ff.: 186; 11.30 f.: 230 (n.712); 11.31: 196 (n.600); 11.45 ff.: 172; 11.55 ff.: 38; 11.57 f.: 220 (n.675); 11.59 ff.: 233; 11.60 ff.: 46 (n.159); 11.65: 224 (n.688); 11.69: 160 (n.481); 11.85 ff.: 67 (n.218); 11.86: 224 (n.688); 11.98 f.: 222; 11.132: 236 (n.732); 11.136: 224 (n.688); 11.139 f.: 100 (n.324); 11.141: 229; 11.142 ff.: 36, 135; 11.149 f.: 70; 11.166 f.: 234 (n.725); 11.166 ff.: 229 (n.708); 11.171: 191 (n.579); 11.173 ff.: 121; 11.191: 191 (n.579); 11.207 f.: 249; 11.266 ff.: 46 (n.159), 70; 11.271 ff.: 126; 11.283 f.: 220 (n.675); 11.308 f.: 115; 11.360 f.: 120 (n.387); 11.362: 234; 11.371 ff.: 46 (n.159), 210; 11.382: 224 (n.688); 11.392 ff.: 175; 11.398: 221; 11.421 ff.: 119; 11.433: 224; 11.438 ff.: 129; 11.445 f.: 144; 11.451 f.: 162; 11.453: 78 (n.254); 11.462: 157; 11.494 ff.: 111; 11.495 f.: 95 (n.313); 11.498 ff.: 67; 11.547 ff.: 148; 11.556: 164; 11.561 f.: 75; 11.575: 224 (n.688); 11.581: 241 (n.750); 11.581 ff.: 144; 11.582 ff.: 242 (n.752); 11.589: 241 (n.748); 11.592: 227 (n.700); 11.608 ff.: 145, 160 f., 182; 11.612 ff.: 166; 11.615 ff.: 70 (n.229); 11.618 f.: 162; 11.629: 228; 11.631 f.: 226 (n.697); 11.632: 212; 11.641: 191 (n.579); 11.664 f.: 120 (n.386); 11.668 f.: 43 (n.151); 11.673: 65 f. (n.212); 11.673 ff.: 56; 11.675: 57 (n.191); 11.684 f.: 77; 11.690 f.: 103 (n.331); 11.696 ff.: 88, 150, 253 (n.789); 11.700: 80 (n.261); 11.704: 224; 11.711: 224 (n.688); 11.783 f.: 75; 11.785 ff.: 123; 11.805: 73 (n.236); 11.805 f.: 146; 11.809 ff.: 255 (n.795); 11.815: 154; 11.817: 241 (n.751); 11.818 f.: 191 (n.579); 11.834: 78 (n.254); 11.841 f.: 126; 11.845 ff.: 238; 11.865 f.: 168; 11.869: 73 (n.236); 11.870 f.: 80 (n.261); 11.876 f.: 42, 236 (n.735); 11.879: 164; 11.881 ff.: 168; 11.891 ff.: 112 (n.362); 11.902: 221 (n.680); 12.4 ff.: 255; 12.29: 221; 12.31: 189; 12.43 ff.: 46 (n.159), 48 (n.164), 118; 12.48 f.: 87 (n.286); 12.50 f.: 76; 12.54 f.: 221; 12.56 ff.: 45 f. (n.159); 12.57 f.: 123 (n.396); 12.67 ff.: 236 f.; 12.68 f.: 16 f., 249; 12.72 ff.: 122; 12.80: 248; 12.89 ff.: 53 (n.178); 12.120: 221 (n.680); 12.138 ff.: 231; 12.143 ff.: 236 (n.731); 12.152 f.: 115 (n.372); 12.153: 10; 12.189: 228 (706); 12.231 f.: 229;

280 

 Index Locorum

12.247: 4, 236; 12.260 ff.: 113; 12.268 f.: 251 (n.783); 12.270 ff.: 85, 254; 12.271 f.: (n.731); 12.289 f.: 65 (n.212); 12.289 ff.: 134; 12.291 ff.: 75 (n.245); 12.298 ff.: 88, 135; 12.304 ff.: 142 (n.444); 12.306: 224 (n.688); 12.306 ff.: 77, 253 (n.788); 12.309 f.: 201 (n.619); 12.319: 78 (n.254); 12.331 ff.: 50, 139; 12.353 ff.: 219; 12.359 ff.: 87 (n.286); 12.363: 57 (n.191), 80 (n.261), 193 (n.589); 12.372 f.: 158; 12.377 ff.: 83; 12.391 ff.: 58; 12.407 ff.: 146 f.; 12.411 ff.: 108 (n.350); 12.420 ff.: 111 (n.356), 161; 12.423 f.: 66; 12.451 ff.: 147; 12.464 ff.: 95 (n.311); 12.466 f.: 124 (n.398), 197 (n.601); 12.473 f.: 256 f.; 12.481 ff.: 37; 12.487: 247 (n.771); 12.503: 229 (n.707); 12.505 ff.: 85; 12.507 f.: 252; 12.525 ff.: 219 (n.675); 12.535 f.: 88; 12.544 f.: 46 (n.159); 12.552: 209, 213 (n.659); 12.559: 224 (n.688); 12.567 ff.: 81; 12.583: 247 (n.771); 12.602: 241; 12.606 f.: 136; 12.628: 229; 12.638: 237 (n.737); 12.638 ff.: 104; 12.641: 199 (n.609); 12.662 ff.: 127, 143 (n.447); 12.666 f.: 250; 12.669 ff.: 110 (n.356); 12.672 ff.: 105 (n.341); 12.679 f.: 106 (n.343); 12.706: 224 (n.688); 12.707 ff.: 254; 12.713 f.: 89 (n.291); 12.720: 205; 12.720 ff.: 150, 165; 12.721: 11; 12.728 ff.: 73, 140; 12.739 ff.: 87; 12.740 f.: 76 (n.247), 149; 12.746 ff.: 95 (n.311); 12.748: 226 (n.697); 12.791 f.: 259 (n.807), 263; 12.797: 224 (n.687), 229 (n.707); 12.800 ff.: 234; 12.833: 87 (n.286); 12.834 ff.: 235; 12.836 f.: 155 f.; 12.849 ff.: 208; 12.863: 198 (n.606); 12.872: 238; 12.874: 229 (n.707); 12.880 ff.: 175; 12.887 f.: 91 (n.297), 220 (n.676); 12.896 ff.: 105, 170; 12.901 f.: 258; 12.909 ff.: 204; 12.921 ff.: 220 (n.675); 12.926 f.: 134, 220 (n.676); 12.930 f.: 91 (n.297), 112; 12.941 f.: 34 (n.117); 12.945 ff.: 109 f.; 12.947 f.: 229 (n.707).

Index Rerum Accavallamento (or accavalciamento): 21, n.77. Accelerando effect: 161. Accusative: adverbial accusative of reference omnia (180, n.542); change of subject through the accusative of ille (94 f.); internal accusative in apposition (45, n.159); of ‘the part and the whole’ (86, n.282). Adeo: stressing the word it follows (179, n.541). Adjective: emphatically at the beginning of the line (40; 220) or at line-end (221); in asyndeton bimembre adiectiuorum (91, n.297. See also ‘duo epitheta’); indicating mass juxtaposed in homoeoteleuton (54, n.182); indicating colour at line-end (41-43); indicating mass at line-end (37) or in rejet (109); indicating colour and material in rejet (106-108); marked position (40; 47; 217 f.); position of possessive and adjective indicating material (217, n.671); possessive emphasized by prenominal position and at line-end (217), by prenominal position and ample hyperbaton (218); possessive juxtaposed to ipse (237, n.737), to personal pronoun in asyndeton aduersatiuum (144); possessive with descriptive adjective (91, n.297); similar adjectives framing one line (224, n.688), two lines (53); juxtaposed (see ‘juxtaposition’). Adverb: in rejet (106, n.343). Aliquis: in place of quis after si (118, n.379). Alliteration: antithetic or antiphrastic (10, n.29); ‘arching’ (52, n.174; 76; 242); ‘contemptuous’ (49; 242); linking conceptually correlated terms (76); literary function of (18); of ‘a’, expressing gasping, anguish or calmness (5, n.10; 78, n.254); of ‘f’ (52); of ‘s’(see ‘σιγματισμός’); ‘prefixal’ (see ‘apprefissazione’); marking the sudden passage between two clauses (91); triple at line-end (5, n.10). Altus: in hyperbaton and enjambement (250); in vertical hyperbaton (252). Anapaestic word: sequence of two or three anapaestic words stressing an idea of rapidity (72, n.236; 146, n.452), of two anapaestic words after a dactylic rejet and a monosyllable (252, n.788). Anaphora: double (76); in asyndeton, expressing a pathetic wish (128, n.418); in asyndeton, of si forte (169, n.506); in asyndeton, of verbs with variation in number (191, n.579); of ipse (260, n.808); of personal pronoun (173); of quantus (125); of solum (124, n.398); pathetic (114; 117); triple in different cases (124); with different aspect to arsis (98). Anastrophe: 55, n.183. Anguis: in framing hyperbaton (243 f.). Anguish: suggested by alliteration (78, n.254), enjambement (25, n.90), parenthesis and tortuous syntax (48, n.164). Ante: in hyperbaton (237, n.737). Appareo: iconically at the beginning of the line and sentence (205, n.628). Apposition: after the rejet (100-103); between two verses (43; 103; 234); in rejet (75; 123; 194); pathetic (45, n.159; 68; 75; 86; 90; 103; 117; 123; 125; 173; 210, n.648); parenthetic or schema Cornelianum (45, n.159; 102); internal accusative in apposition (45, n.159; 75); with words in synaloepha (169). Apprefissazione (alliteration of prefixes): 108, n.349; of con- (71, n.231; 177, n.533); of dis(128); of in- (146; 174; 203, n.624; 207, n.638); of ob- (108, n.349); of re- (49; 108); triple (174).

282 

 Index Rerum

Après-rejet: containing epic closure or a sententia (149-151); definition of (23); explanatory (147-149); stressing the relation of cause and effect (131-136), action-reaction (136 f.), reaction to signals and command (137-139), psychological reactions (139-142), opposition (142-144). Arma: repetition of (78, n.254); in ‘battle polyptoton’ (226). Armaque: word of the type ‘armaque’ after bucolic punctuation (37, n.126; 253). Around: iconically in a long line (246 n.766). Arsis: anaphora with different aspect to arsis (98); correspondence with word accent (see ‘ictus’); homoeoteleuton in arsi (54, n.182); lengthening in arsi (159, n.481); monosyllabic verb form in arsi (158, n.476). Asyndeton: aduersatiuum (80; 143, n.447; 144); bimembre adiectiuorum (91, n.297); explicatiuum (147-149); expressing rapidity (15, n.48; 50; 162); pathetic anaphora in (48, n.164); asyndetic per (253, n.789); with adjectives in synaloepha stressing an idea of fear and enormous dimensions (169-171); with uix (177, n.534). Ater: meaning of (41, n.145; 43, n.151); in hyperbaton and enjambement (249, n.779); in interlinear juxtaposition (41 f.); in vertical hyperbaton (251, n.786). Atque: at line-end (219); in synaloepha with monosyllable at line-end (52; 177 f.); in double synaloepha with an iconic value (72; 158 f.; 162); unelided with an archaic flavour (158, n.475). Aureus: in rejet and enallage (107); in hendiadys because of its metrical awkwardness (225, n.690); uersus (see ‘golden line’). Ἄωροι: 86. βάλλω: iconic rejet of (61). Beauty, youth and death: 86. Bisyllable: two at line-end (36, n.124); three at line-end (36, n.124); staccato effect (37; 159). Bucolic punctuation: effect of (37, n.126; 82; 114, n.368; 117, n.375; 132; 134; 139; 141 f.; 204; 250, n.780; 253); followed by the sequence monosyllable + bisyllable + bisyllable (34; 36, n.124; 37 f.; 40); followed by a word of the type armaque (37, n.126; 253). Cacemphaton: 77, n.254. Cacophony: 66. See also ‘cacemphaton’. Cado (and compounds): iconic rejet of (62; 64-66). Caesura: blurred by a conjunction or preposition (83, n.275); blurred by synaloepha (see ‘synaloepha’); ‘compensating’ the strong fourth-foot caesura associated with a trochaic third-foot caesura (199, n.611); correspondence of ictus and word accent as the effect of the lack of masculine caesurae (198, n.607); dearth of masculine caesurae (200-204) giving a narcotic effect (200 f.), suggesting a released or unstoppable movement, instability (202), monotony (203 f.); iconic lack of caesurae (203, n.624); masculine caesurae and spondaic rhythm suggesting exertion (204-206); ‘quasi caesura’, ‘cesura in tmesi’ or ‘incisione attenuata’ (84, n.278; 203, n.624); trochaic in name-line (57, n.191); trochaic in the third foot (199, n.611); trochaic in the first, second and fourth foot (201); trochaic in the fourth foot (201, n.617); trochaic in the fourth and fifth foot with the effect of ‘false ending’ or ‘double ending’ (159; 199, n.610); word in relief between two caesurae (124, n.399; 237, n.738). Cardinal and distributive: elegant variation of (74, n.241). Catena di versi: 21. Catullus: imitation of (30 f.; 62 f.; 81; 100, n.323; 125, n.401; 168; 196; 202; 215; 240, n.745).



Index Rerum 

 283

Chiasmus: effect of echo (16; 136); icon of enclosure (16); ending a section (221, n.678); expressing a cyclic symmetry (16, n.55); in four-word line and joined to double juxtaposition to express peace and beauty (80, n.261); in silver line (239, n.742; 240); with juxtaposition of adjectives (233, n.721); with dicolon abundans (107); with juxtaposition of opposite terms in asyndeton aduersatiuum (143, n.447); with two sonorous names framing the verse (56). Choriambic word: verb in rejet (69;73), juxtaposed to another verb in après-rejet (131, n.426). Circum: anastrophe of (55, n.183); at line-end (219, n.675); iconic effect of repeated circum (253, n.789); in iconic hyperbaton (246); in long compound verbs across the third-foot caesura (80, n.261). Colourless word: at line-end (38; 52; 219, n.674). Comparative: pleonastic use with ante alios (102); quo+comparative+alter (105, n.338). Con-: in prefixal alliteration (71, n.231; 177, n.533). Concito: iconic rejet of (75). Congemino: iconic rejet of (89, n.291); in word-play with gemitum (89, n.291). Consolatio per exemplum: 104, n.333. Conspicio: iconic rejet of (93). Contineo: in iconic hyperbaton (247). Contra: anastrophe of (55, n.183). Contre-rejet: definition of (22, n.81); stressing an idea of movement (132-134); with ille (77 f.; 141; 142, n.444); ocius in (139; 145 f.). See also ‘bucolic punctuation’. Convergence of stylistic factors (as a principle for a stylistic analysis): 18, n.63. Copula: before the verbal form (195, n.595). Copulative inclusion: 45, n.159. Correctio rei superioris: 51, n.171; 198, n.605; 224, n.687. Cretic word: in synaloepha (33, n.114); in rejet and synaloepha (82, n.269). Crudelis: rejet of (122 f.; 173). Cruentus: at line-end (43); at line-end and in enjambement (43, n.151). Cum inuersum: 83, n.274. Dactylic word: in the first foot (63, n.204); in the fourth foot giving a coincidence of arsis and word accent in this foot (136, n.436); verbal forms in rejet indicating swiftness and speed (64). Dactyls and spondees: dactyls stressing an idea of swiftness and rapidity (9; 11; 83, 92; 94; 101; 128; 133; 157; 159, n.478; 176; 211; 260); interaction of dactyls and spondees (65, n.209; 71, n.231; 77, n.253; 82; 132; 141, n.443; 182; 198, n.606; 204 f.); spondees giving a closure effect in direct speech (773, n.248) or a Greek flavour (196-198), indicating attention (197), despondency and sadness (91, n.297; 172, n.516), effort and violence (65; 73; 80, n.261; 164-166; 188; 197; 204 f.; 209; 242, n.752), heaviness and monstrous sizes (134; 169 f.), slowness (11; 223), solemnity (56; 101; 198; 242, n.752). Deinde: postpositioned (55, n.183). Demens: in rejet and followed by a relative clause (111, n.358). Descriptive elision: 152, n.459. Desilio: iconic rejet of (67, n.216). Diaeresis: see ‘pause’. Diagram: 10. Dicere: in first position in the line and in enjambement (89, n.292).

284 

 Index Rerum

Dicolon abundans: adding a graphic note (35 f.; 47; 107; 139, n.440; 250), a pathetic touch or solemnity (44; 82; 101; 128 f.; 207, n.638); Virgil’s fondness of (35); with nouns framing the line (225, n.692); with verbs framing the line (82; 129; 222, n.682). Diminuendo effect: progressive decrease in the number of syllables with a narcotic effect (200 f.; 202, n.620); with final monosyllable expressing solidity (213); through iconic enantio­ ­metria (192, n.582). Direct speech: broken syntax (82); closed by rejet (116-118); correspondence of ictus and word accent as a mimetic trait of speech (202, n.621); degree of iconicity (10, n.27); double monosyllable at line-end and after a sense pause (87, n.286); enantiometria (191 f.); four-word line (79, n.261); gasping synaloepha (167 f.; 172-175); hypermetric line (183 f.); rejet with mimetic value (98 f.; 109, n.354; 113-130); monosyllabic line-end (214-216); parenthesis (48, n.164); staccato effect (87, n.286; 214, n.664); synaloepha of a cretic word in rejet (82, n.269); ten-word line (87, n.286; 215); broken or tortuous syntax (48, n.164; 82; 215; 231, n.715). Dis-: in prefixal alliteration (128). Distributive and cardinal: elegant variation of (74, n.241). Diu: repeated before the caesurae (130, n.421). ‘Double ending’: see ‘caesura’. Dulcis: underlining a sense of loss and melancholy (181, n.547). Dum: postpositioned (55, n.183). Duo epitheta (law of): 91, n.297. See ‘adjective’ (s.v. asyndeton bimembre). Ecce: at line-end (219, n.675); ‘dramatizing’ (83, n.274) and joined to uix (177, n.534); interjected (55, n.183). Ego: at the beginning of a reply to a criticism, marking the personal reaction of the speaker (237, n.738); in synaloepha at a syntactical pause, stressing indignation in interrogative sentence (175); in anaphora and polyptoton (124); in second position in invocations (see ‘Wackernagel’s law’); juxtaposed: ego te (63; 122; 125, n.401; 237), tibi me (101, n.325), tu mihi (115); with -ne (mene) at start of direct speech, stressing indignation (229, n.707). Εἶδος Σοφόκλειον: 20, n.71; 178, n.538. Emico: iconic rejet of (95). Emotional elision: 152, n.459. En: suggesting exasperation and despair (120, n.387). Enallage: with enjambement (107, n.346); with hyperbaton (68, n.224); ‘personifying’ (113, n.363). Enantiometria: 190-192. Encabalgamiento: 21, n.77. Enclosing word order: see ‘framing hyperbaton’. End: iconically at the end of a line or of a thematic section (17). Enjambement: convergence with synaloepha expressing agitation (11); definition in ancient (20) and modern theory (see ‘accavallamento’, ‘catena di versi’; ‘encabalgamiento’; ‘inarcatura’; ‘ingambamento’; ‘intralciamento’; ‘rompimenti di versi’; ‘spezzatura’; ‘Versbrechung’; ‘versi spezzati’); effect of surprise (34); giving dignity to the speech (24, n.89); icon of a circular movement in modern poetry (14); icon of a sudden fall (14; 26, n.94; 64-66); lack of enjambement expressing calmness (11); suggesting a pause in the speech (25), anguish (25, n.90), excitement, violence and rapidity (35, n.120; 41; 50; 162); in Dante’s Commedia (26, n.94); in Latin studies (26, n.95); in Tasso’s poetry (25). See also ‘rejet’, ‘interlinear juxtaposition’.



Index Rerum 

 285

Enjamber: 21. Ennius: imitation of (5, n.10; 18, n.62; 62; 68, n.223; 91, n.297; 160, n.481; 178; 201, n.617; 208-210; 220, n.675). Eo: monosyllabic (it) iconically at the beginning of the line (36, n.122). Epanalepsis (epanadiplosis, reduplicatio): 53, n.178; 104 f.; two-part epanalepsis with an inserted word (104; 170); reinforced by patronymics or other specifications (104, n.338). Ἐπιδιόρθωσις: see ‘correctio rei superioris’. Episynaloepha: 178, n.538. Eruo: iconic rejet of (62; 81 f.). Et: at line-end (219, n.675); blurring a caesura (83, n.275; 133); epexegetic (85, n.281); indignantis (195, n.596); postpositioned (55, n.183); -que … et (179, n.540); verbal repetition with the omission of the second et (191, n.579). Expressiveness: definition of (3). ‘False ending’: see ‘caesura’. Figura etymologica: conveying solemnity (38); marking a relation of direct cause and effect (82). Focalisation: deviant (44, n.154). Four-word line: 79, n.261; in direct speech (12; 79, n.261; 98). Framing hyperbaton: associated to apparition, prodigies, work of art (39; 242, n.753); iconic equivalence to long line (13; 243); icon of closure, cover, containment and crossing (43, n.151; 139, n.440; 245-248); icon of snake and lengthy objects (243-245); ending and opening a section (240 f.); ending direct speech (248); neoteric patina (240); reflecting an idea of division (247, n.771); stressing the semantics of adjectives indicating colour, material, great size (134; 241) or particularly significant (242, n.752). Gasping: alliteration (5, n.10); hiatus (188, n.567); synaloepha (152, n.459; 166-175). Geminatio: of personal pronoun (113, n.366; 122); of nimium (126, n.407); separatio (geminatio with an interposed word) of nunc and sic (117, n.378), of diuum (143, n.447), of ne (122, n.394). Gemo (compound of): iconic rejet of (92). Genitive: in -um, with an archaic patina (160, n.482). Golden line: closure function (240, n.746); definition (239, n.742); neoteric patina (240); with striking juxtaposition of adjectives (241). Half-lines: 58, n.192. Harena: metrical ending (86, n.285). Hendiadys: forms of (224, n.690); with dicolon abundans (139, n.440); with nouns framing the line (224). Heterodyne: 141, n.433; 204, n.626. See also ‘ictus’. Heu: postpositioned (55, n.183). Hiatus: before an adverb of place or a demonstrative pronoun in correspondence with a syntactical start (190); expressive (188-192); frequency of (185, n.556); gasping (188, n.567); ‘Graecising’ (185-187) with quadrisyllabic line-end or spondaic line-end (185-187; 196, n.600); in thesi, ‘semi-hiatus’ or ‘weak hiatus’ (54; 187); of conjunctions in lists (186, n.562); of interjection o (184, n.554; 189, n.568); of short vowel (190); prosodic, with iconic enantiometria (190-192), shortening a monosyllable in imitation of direct speech (188); suggesting wailing (188), exertion and violence (188); twice in a line (187 f.). Hic: in interlinear hyperbaton (261); keeping its original short quantity and in enantiometria (191, n.580); referring to second person (122).

286 

 Index Rerum

Homer: imitation of (5, n.8; 29 f.; 53 f.; 57; 61; 66, n.213; 68, n.221; 86, n.282; 104; 111, n.358; 131, n.425; 149; 160, n.481; 179, n.540; 185-187; 193 f.; 199, n.611; 210, n.649; 212, n.657; 223, n.684; 253, n.789; 258, n.805). Homodyne: 204, n.626. See also ‘ictus’. Homoeoptotes: see ‘homoeoteleuton’. Homoeoteleuton: at line-end, of two words ending in short ‘a’ (27, n.98); threefold (66; 124, n.400); in arsi (54, n.182). Hyperbaton: apposition with (103); between noun and verb, reflecting an idea of movement (17; 77; 86; 132; 187; 253 f.; 257); between ille and noun in animal similes (255); emphasizing the possessive adjective in enjambement (125, n.404; 218 f.); expressing emotion in direct speech (82; 121; 215; 231, n.715); icon of disappearance, embrace, hiding (43, n.151; 54 f.; 153-155); iconic potential in ancient theory (7); in enjambement, stressing the semantics of adjectives indicating colour, completeness and great size (218), stressing an idea of rapidity (35); ‘framing’ (see ‘framing hyperbaton’); interlocking, icon of mixture (76; 248 f.); of ante (237, n.737), super (68, n.224), supra (55, n.183); ‘vertical’, expressing an idea of movement (78 f.; 85; 252, n.788; 253; 255, n.793) or stressing the semantics of the adjective (251 f.); wide, stressing the semantics of the adjective indicating completeness and great size (17; 254); wide, highlighting an apparition or a vision (108; 255); interlinear, highlighting an apparition or a vision and an idea of movement (211, n.651; 256-261), in Flavian poetry (261-263); with significant self-echo (6). Hypermetre: 178-184; in lists (179-181); effect of suspense (181 f.); expressing rapidity, agitation, anger (182 f.); icon of infinite time (181, n.545); in direct speech (183 f.); in Pascoli’s interpretation (181, n.545; 182, n.548; 183, n.551). Hysteron proteron: 127; 209; 223, n.684. Iacio (and compounds): iconic rejet of (62; 71-74; 76-79; 98); iconically placed before the syntactical pause at bucolic diaeresis (132, n.427). Icon: definition of (7); ‘of closure, cover, containment and crossing’ (245-248); ‘of contact’ (226, n.697); ‘of correspondence’ (221, n.680)’; ‘of mixture’ (248 f.); ‘of silence’ (10); ‘of snake’ (243). See also ‘hyperbaton’ and ‘polyptoton’. Iconicity: definition of (7), in ancient theory (7; 61), in classical studies (8, n.18), typologies of (8-17). Ictus: correspondence with word-accent due to lack of masculine caesurae (198, n.607), to a dactylic word in the fourth foot (136, n.436); correspondence with word-accent in the last two feet of hexameter (199); correspondence with word-accent as a mimetic trait of the speech (202, n.621); ictus-shift (191, n.579). Ilium: synaloepha of (33, n.114); framing the line with the synonymous Troia (44) or penates (225); imagined as an old-age plant (6). Ille: anticipatory value in animal similes (255, n.795); in relief in contre-rejet (77 f.; 141; 142, n.444); ‘pleonastic’ or ‘resumptive’ (164, n.493); marking a swift change of subject (see ‘subject’); with quidem, introducing a concessive participial phrase (258, n.805). Image: acoustic (8); visual (10). Immanis: value of (47, n.164); in interlinear juxtaposition (47); in framing hyperbaton (13; 241, n.750; 244, n.761); juxtaposed to a similar adjective (232). Impello: iconic rejet of (82-84), in contrast with the present participle of moror at line-end (83). Imperative: double in a syntactically self-contained line expressing authority and control (234, n.727); in pathetic anaphora and in asyndeton (124); three in asyndeton (78, n.254);



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 287

mimetically in rejet (113-116); neu introducing a negative imperative after a positive (118, n.379). In: in prefixal alliteration (146; 174; 203, n.624; 207, n.638; 210, n.648); monosyllable ‘of despair’ (203, n.624); repeated (75, n.245). Inarcatura: 22, n.77. Indignantis: et (195, n.596); infinitive (229, n.707). Infelix: in rejet and followed by a relative clause (111, n.358); in juxtaposition with miser (233); sympathetic epithet for the victim (233, n.722). Infinitive: dicere in rejet (89, n.292); indignantis (229, n.707). Ingambamento: 21, n.77. Ingens: framing the verse with another adjective (32; 224); in asyndeton bimembre adiectiuorum (91, n.297); in epanalepsis (105); in four-word line (194, n.261); in framing hyperbaton (134; 241); in Homeric polyptoton (104, n.335); in hyperbaton and at line-end (252); in interlinear juxtaposition (31-35; 37; 47); in post-nominal position (218); in rejet (109; 218; 220); in synaloepha (169-171); in vertical hyperbaton (252); in wide hyperbaton (254; 255, n.793); Virgil’s fondness of (31). Inter: anastrophe of (55, n.183); at line-end with Ennian patina (220, n.675); iconic collocation (17); in iconic hyperbaton (247); in rejet (180, n.542); inter sese with Ennian patina (205, n.631). Interlinear juxtaposition: adjective-noun (47-58), stressing the semantics of ater (41 f.), ingens (32-35; 37), magnus (37 f.), omnis (39 f.), superbus (44-46), or with juxtaposition of colour terms (42 f.); noun-adjective (47-58), with immanis and ingens (47), exiguus (48 f.), colour terms and adjective indicating material (49-53), with long patronymics (56-58), or followed by a relative clause stressing the exceptional nature of an object (53 f.). Internal ear: see ‘self echo’. Interpretatio: see ‘dicolon abundans’. Interrogative sentence: closed by a rejet (118-121); disjunctive indirect interrogative introduced by the double -ne (229, n.707); increasing series of (120); with an angry tone suggested by -ne with apocope (229, n.707). Intertextual quotation: 4 f. See also ‘Catullus’, ‘Ennius’, ‘Homer’. Intralciamento: 21, n.77. Intratextual quotation: see ‘self-echo’. Ipse: anaphoric (260, n.808); emphatically in rejet (142 f.); in interlinear hyperbaton (260-262); juxtaposed to the possessive (237, n.737). Is: stressing a swift change of subject in après-rejet (65). Ita: synaloepha of (164). Juxtaposition: at line-end of an adjective in homoeoteleuton with a noun ending in short ‘a’ (27, n.98; 49); interlinear (see ‘interlinear juxtaposition’); of adjectives of significant affinity (75; 232 f.) or opposite in meaning (233-235); of colour terms (51; 236 f.); of ipse and possessive (237, n.737); of opposing names (227-230); of personal pronouns (see ‘ego’); of personal pronoun and possessive (238); of words in homoeoteleuton (54, n.182; 66; 124, n.400); of words in semantic contrast (43; 143, n.447; 201, n.619; 233-235); omnes-unus (235 f.); omnes-idem (236); stressing a shared condition (227, n.700), a bond of affection or family ties (186, n.560; 230 f.), a physical closeness (231), a relationship between characters or people (102; 115, n.372); verbal (see ‘verb’); with synaloepha (155 f.). See also ‘polyptoton’. Καθ’ ὅλον καὶ μέρος (‘the part and the whole’): 86, n.282.

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Κόπτω: iconic rejet of (61). Lautmalerei: 9. See also ‘sound’. Legamenti di versi: 21. Legato effect: through a series of synaloephae (169). Lengthening in arsi: 159, n.481; in convergence with spondaic line-end (196, n.600); of -que (193, n.589). Length of a word’s auditive mass: iconic value of long and heavy words (13; 125, n.403; 198) in synaloepha (see ‘legato effect’), of monosyllables (14), of long and short cola (13), of decreasing length of words (see ‘diminuendo effect’). ‘Leonine’ verse: 51, n.172. Line-end: colourless words at (219, n.674); correspondence of ictus and word accent at (see ‘ictus’); effect of ‘false’ or ‘double ending’ (see ‘caesura’); emphatic collocation of words at (220 f.); monosyllabic (see ‘monosyllabic line-end’); monosyllable+two bisyllables at (36, n.124); polysyllabic (see ‘polysyllabic line-end’); spondaic (see ‘spondaic line-end’); three bysillables at (36, n.124). Line-phrase: iconic effect of (11). Long line: iconic use in English poetry (icon of lengthy objects and snakes) and semiotic equivalence to framing hyperbaton (13; 243; 245). Magnus: in framing hyperbaton (241, n.750); in homoeoteleuton (54, n.182); in interlinear juxtaposition (37 f.); in polyptoton (38; 198); in rejet (109, n.354). Marx’s law: 199; 206. Mater: honorific and in rejet (122). Medius: in the middle of the line or passage (17); intensive weight of (248, n.772); in iconic hyperbaton (154; 248, n.772). Metaphor: from word order (243); phonetic (10); transfusion of (40, n.143). Metapoetic step: collocation of an adjective (primus, medius) or of a preposition (inter) mirroring its meaning (17); poem describing one of its attributes (9; 203, n.624). Molossic word: in first position in two consecutive lines (35); in rejet meaning great size (47; 109), effort and violence (64, n.206; 73-75; 84, n.277; 90, n.294), heaviness (70). Monosyllabic line-end: 206-216; archaic patina (206); deus (208); double (206, n.635); double after a sense pause (87, n.286; 241); literary use of (211, n.652; 212, n.657); reinforcing an idea of collision, collapse, opposition (211-214), of restraint or solidity (213), of excitement, agitation and emotion in direct speech (214-216); rex (207 f.); ruo+ monosyllabic line-end (210-212); uir in polyptoton (212); uis (209 f.). Monosyllable: after the break at hephthemimeral (36); at line-end (see ‘monosyllabic line-end’); before two bisyllables at line-end (36, n.124); ‘of despair’ (203, n.624); long monosyllable + spondaic word after penthemimeral (see ‘Marx’s law’); preposition at the beginning of the line (84, n.278); preposition or conjunction blurring a caesura (83, n.275; 84; 157; 163; 204); shortened in hiatus and mimetic of direct speech (188); three or five at the beginning of the line with staccato effect (87, n.286); verb forms at the beginning of the line (36, n.122; 214, n.661), at line-end (36, n.122; 213 f.), in arsi (158, n.476). Moror: present participle of, iconically at line-end and in semantic contrast with a verb in rejet (83; 85). Mox: in après-rejet (146). Muta cum liquida: 191. Nam: postpositioned (55, n.183). Name-line: 57, n.191; and four-word line (80, n.261).



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Names (patronymics, proper names, ethnological, of place): chain of the names of warriors slain by a hero (see ‘Todeskette’); of a character, placed in the last position in the clause (99, n.322); patronymics, proper names, ethnological names in rejet (97-100); patronymics in interlinear juxtaposition (56-58); ‘poetry of names’ (55; 79); framing the line (44; 104; 195); juxtaposed (102; 227-230). Ne: postpositioned (55, n.183; 143, n.447; 199, n.609). Ne (enclitic): attached to a personal pronoun or to the most relevant word (94, n.307; 228, n.707); double, introducing a disjunctive indirect interrogative (229, n.707). Nec: postpositioned (55, n.183). Nequiquam: emphatically placed in enjambement (106, n.343). Norm: significant digression from (1; 3; 18; 26; 29; 58; 61; 242). Nos: in asyndeton aduersatiuum (143, n.447; 210, n.648) and juxtaposed to possessive adjective (144); in anaphora with noster (77); with -ne, incredulous and colloquial in tone (228, n.707). Noster (adjective): at line-end, in homoeoteleuton with a noun ending in short ‘a’ (221); in prenominal position at line-end (217); in hyperbaton (218); in double anaphora with nos (76); juxtaposed to sibi (238, n.739); with anastrophe of ne (199, n.609). Number of words in the line: three (13); four (see ‘four-word line’); ten (see ‘ten-word line’). Numquam: in place of non and at line-end (220, n.675). O: between words in geminatio (117); emotive force of (113, n.364); in hiatus (184, n.554; 189, n.568); in rejet with vocative (121 f.); in synaloepha with an imperative in rejet (113 f.); postpositioned after uos (55, n.183); repeated with a tragic flavour (126, n.405). Ob-: in prefixal alliteration (108, n.349). Occidit et: pathetic tone of (70, n.228). Ocius: in contre-rejet (139; 145 f.). Olli: archaic and fitting the first foot (101, n.327). Omnis: adverbial accusative of reference (180, n.542); in interlinear juxtaposition (39) and hypermetre (182); in hyperbaton and enjambement (250); in vertical hyperbaton (252); in wide hyperbaton (254); uis elatiua of (40; 44, n.157; 125, n.402). Onomatopoeia: 8 f. Paratactic construction: breathless effect in convergence with fourfold -que (179, n.540); giving dramatic speed (177, n.535); instead of ipotactic (148, n.455). Parenthesis: in direct speech (48, n.164); in interlinear hyperbaton (262); pathetic touch of (58); explanatory, stressing a vocative (207, n.637). Participle: concessive participial clause introduced by ille quidem (164, n.493); durativity of the present participle highlighted by the line-end (see ‘moror’); present participle followed by a verb run-over (52; 77, n.251; 83; 85); two present participles followed by a verb run-over (88 f.; 93); participial resumption (72, n.235); participial jingle (51, n.172); repeated and framing the line (222); two present participles framing the line (51; 89). Pascoli G.: observations on iconic rhythm (200; 203, n.624; 204, n.625), interlinear hyperbaton (257, n.802), homoeoptotes (54, n.182), hypermetre (182, n.548; 183, n.551), syllabledoubling (77, n.254), synaloepha (169, n.508; 172, n.516). Patronymics: in interlinear juxtaposition (56-58); in four-word line (79, n.261); in rejet (98); reinforcing epanalepsis (104, n.338). Pause (syntactical): after the fifth trochee (143); after the first dactyl (63; 113, n.365); after the first trochee (72); after the fourth trochee (214); after the second dactyl (84); after the

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second trochee (54, 67; 90); after the bucolic diaeresis (see ‘bucolic punctuation’); at the end of fifth foot (87); blurred by synaloepha (see ‘synaloepha’). Per: anastrophe of (55, n.183); asyndetic (253, n.789); repeated (253, n.789; 263). Perfect: in the sense of ‘was and is no more’ (33, n.114); marking the suddenness of the action in a context of historic presents (69 f.); rhyming effects of two or three perfects ending in -ere (51, n.172). Periphrasis: with corpora (103, n.331); with uis (210, n.649). Phonic chromotism: 9. See also ‘sound’. Pictorial: arrangement of words (243); elision (152, n.459). Pleonastic use of: comparative (102); ille (164, n.493); mole (169, n.507; 213); -que (65, n.212); superlative (102). Plural: poetic (125, n.403; 222, n.683); verbal repetition with variation of singular and plural (p.191, n.579). Poetry: expressive and metrical reading (24); definition of (19); ‘of names’ (55; 79); read aloud to catch expressiveness (24; 157, n.472; 178, n.537); similar to prose through enjambement (20 f.); spatial concept of (13, n.40; 243, n.756); visual (7). Polyptoton: ‘amorous’ and ‘fraternal’ (227); ‘battle polyptoton’ (80; 226); co-ordinated (38); ‘icon of the contact’ (226, n.697); in enjambement (249); lending solemnity (198); stressing a physical resemblance or a shared condition (227). Polysyllabic line-end: 192-196; in convergence with irrational lengthening (192, n.584); in direct speech (195 f.); in four-word line (193; 196); in list of names (193); with spondaic line-end (195). Polysyllable: see ‘length of word’s auditive mass’ and ‘polysyllabic line-end’. Postquam: after a relative pronoun (55, n.183). Praeceps: iconic rejet of (112, n.361). Praecipito: iconic rejet of (70, n.229). Preposition: anastrophe of (55, n.183); iconic collocation (see ‘circum’; ‘inter’); iconic repetition (see ‘circum’, ‘in’; ‘per’); monosyllabic, blurring a metrical pause (83, n.275; 157-159); monosyllabic at the beginning of the line (84, n.278). Present: instead of the past, annalistic and ‘registering’ (44, n.157; 46); in rejet and in contrast with two present participles in the previous line (88 f.; 93); shift perfect-present (68 f.; 110; 138). Primus: iconically at the beginning of the line (17); in interlinear hyperbaton (256). Procumbo: iconic rejet of (68-70). Pronoun: personal in second position and in hyperbaton (see ‘Wackernagel’s law’); juxtaposed to another pronoun (4; 63; 101; 115; 125, n.401); juxtaposed to possessive adjective (144); personal in asyndeton aduersatiuum (143, n.447); possessive at line-end (126), with affective force (126, n.405); relative postponed (55, n.183; 99). See also ‘ego’, ‘tu’ and ‘uos’. Propter: anastrophe of (55, n.183). Prospicio: iconic rejet of (93, n.303). Pyrrhic word: iconic force of a pyrrhic verb after a molossic one in rejet (131, n.424); ita in synaloepha (164). Quadrisyllable: see ‘polysyllabic line-end’. Quantus: at line-end (38; 220, n.675); in anaphora (125, n.401); in interlinear hyperbaton (263).



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 291

Que: asymmetrical omission of the second -que (191, n.579); double, four-fold -que, que…et, que…atque (179, n.540); double in name-line (57, n.191); emphasizing and pleonastic (65, n.212); postpositioned after the third word (55, n.183); lengthened in arsi (193). Quidem: 258, n.805. Quin occidit: pathetic tone of (70, n.228). Quippe: postpositioned (55, n.183). Quo: with comparative and alter (105, n.338). Rapio (compounds of): in iconic rejet (63; 72; 88). Re-: in prefixal alliteration (108, n.349). Reduplicatio: see ‘epanalepsis’. Rejet: adjective indicating colour and material (106-108), bulk (109), psychological notes (110-112); adverb (106, n.343); apposition (75; 194); before a syntactical expansion (100-104; 109); closing a direct speech (116-118); cretic word in synaloepha (82, n.269); definition of (22); demens and infelix followed by relative (111, n.358); emphatic in direct speech (109, n.354; 123-130); iconic, of verb indicating ‘throwing’ (61 f.), ‘falling’ (62-70), ‘blows, thrusts and violent actions’ (62; 76-90); imperative (89, 113-116); preposition (see ‘inter’); vocative (32; 121-123). See also ‘βάλλω’, ‘cado’, ‘concito’, ‘congemino’, ‘conspicio’, ‘desilio’, ‘emico’, ‘eruo’, ‘gemo’, ‘iacio’, ‘impello’, ‘κόπτω’, ‘praecipito’, ‘procumbo’, ‘prospicio’, ‘rapio’, ‘sentio’, ‘sisto’, ‘spargo’, ‘torqueo’. Relative clause: after the rejet of demens and infelix (111, n.358); name placed in relative clause instead of the main clause (236, n.731); pathetic value of (46, n.159; 67; 86; 104); quo+comparative+alter (105, n.338); separating an apposition and its name (99); stressing the importance of a character or the exceptional nature of an object (53 f.; 74; 101 f.). Reliquiae: in pathetic apposition (103). Repetition: framing the line (222); iconic of in (75, n.245), circum and per (253, n.789); of a name in synaloepha reflecting voice passing from mouth to mouth (100; 167); of a word placed after hephtemimeral and after a pause at the fifth foot (37, n.125), after a syntactical pause at fifth trochee (252, n.787); of phrases with different meaning (5, n.11); with different position of the stressed syllable (191, n.579). See also ‘anaphora’, ‘epanalepsis’, ‘geminatio’, ‘self-echo’, syllable-doubling’. Rhyme: 51, n.172. Rhythm (iconic): See ‘anapaestic’, ‘choriambic’, ‘dactylic’, ‘molossic’, ‘pyrrhic’ and ‘spondaic word’, ‘dactyls and spondees’, ‘caesurae’, ‘hypermetre’, ‘synaloepha’. Ribattuta: see ‘syllable-doubling’. Rompimenti di versi: 21. Ruo: in convergence with a monosyllabic line-end (210-212). Schema Cornelianum: 45, n.159; 102. Self-echo: integrating and clarifying (68, n.223); significant (5 f.; 33; 89, n.292; 118, n.379; 149, n.457; 158; 186, n.560; 208; 216, n.670; 235; 250, n.780); unconscious (6); Virgil’s fondness of (5, n.11). Self-quotation: see ‘self-echo’. Sentio: iconic rejet of (62). Separatio: see ‘geminatio’. Sequor (compound of): iconic rejet of (94; 95, n.311). Serpens: in framing hyperbaton (243 f.; 244, n.761). Σιγματισμός: 5, n.10; 41; 49, n.167; 78, n.254; 128.

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Silence: iconically expressed by a white space or a white page (10). Silver line: definition (240). See ‘framing hyperbaton’. Similarity: of structure reflecting closeness of themes (35; 50; 96; 126, n.406). Sinalefe iconica: 152, n.459. Sine: anastrophe of (55, n.183). Sirrema: 23. Sisto (compounds of): iconic rejet of (93 f.). Sound: iconic value of (8 f.; 41, n.147); ‘a’ (see ‘alliteration’); ‘u’ (40; 86; 128), ‘-um’ (124, n.400; 135, n.403); ‘r’ joined to occlusive (43, n.152; 85), ‘s’ (see ‘σιγματισμός’); sound symbolism (8 f.). Spargo: iconic rejet of (76). Spezzatura: 21. Spondaic line-end: 56; 195-198; convergence with hiatus and lengthening in arsi (196, n.600); suggesting concentration and effort (196 f.); reinforcing the semantics of nouns indicating extension or duration (197 f.); with spondees in fourth and fifth foot (197). Spondaic word: after the penthemimeral and before a long monosyllable (see ‘Marx’s law’); fitting the first foot (109, n.354), ingens (220, n.676), olli (101, n.327). Staccato effect: series of bisyllables (37), of monosyllables (87, n.286), of short sentences (214, n.664). Sto: monosyllabic form (stat) iconically at the beginning of the line (36, n.122), at line-end (213), in arsi (158, n.476). Subitus (subito): in après-rejet and synaloepha (145; 160 f.); in a sequence of anapaestic words (73, n.236). Subject: swift change of subject through the nominative of ille (62; 82; 131, n.425; 132-134; 136-139; 141 f.), of is (65), through a synonymic noun (132), through the accusative of ille (94 f.). Sum: copula before the verbal form (195, n.595); omission of, expressing a sense of agitation (162). Super: in hyperbaton (68, n.224). Superat: pathetically in place of est (104, n.335). Superbus: framing the line with an adjective opposite in meaning (44); in interlinear juxtaposition (43-46); in semantic opposition with a verb (44 f.; 68); Virgil’s fondness of (43). Superlative: pleonastic use with ante alios (102). Supplicium: rejet of (126). Supra: in hyperbaton (55, n.183). Syllable-doubling (‘ribattuta’): 74; 77, n.254; 121; 211. Synaloepha: absence and density of (162; 172, n.517); between bisyllable and monosyllable at line-end (177); between fifth and sixth foot (32, n.110); between imperative in rejet and the interjection o (113 f.); blurring a caesura (156-178) and suggesting rapidity, urgency and commotion (72; 157-162), violence (163 f.), effort (164-166), gasping and pathos (152, n.459; 166-175), great, monstrous size (169-172), emotion and agitation (172 f.), indignation and anger (173-175); blurring a syntactical pause (43; 65, n.211; 175-178), in convergence with rejet (176), in direct speech (120 f.; 175); convergence with prepositions or conjunctions before a caesura (83, n.275; 157-159); convergence with iconic hyperbaton, reflecting an idea of hiding, hugging (153 f.) and of a siege (155); convergence with juxtaposition of place names, stressing an idea of fusion or conflict (155 f.); definitions





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 293

of expressive synaloepha (152, n.459); hypermetric (see ‘hypermetre’); joining two words between trihemimeral and hephtemimeral (160-162); legato effect (169); of a cretic word at the fifth trochee (33, n.114); of a cretic word in rejet and synaloepha (82, n.269); of a repeated name reflecting voice passing from mouth to mouth (100; 167); of atque (158; 177) with iconic value (72; 158 f.; 162); of exspiro (167 f.); of ingens (169-171); of ita (164); of monosyllable, reflecting an idea of disappearance (153 f.) or with an archaic patina (153, n.462); of subitus, subito (161); of unus, reflecting an idea of fusion (156); reading of (157, n.472; 178, n.537). Synaphoea (συνάφεια): 178, n.538. Syntax: broken or tortuous (48, n.164; 82; 215; 231, n.715); ‘mimetic’ (243). See also ‘asyndeton’, ‘paratactic construction’. Talis (tantus, tot): analeptic, explaining the previous sentence (42, n.148; 148 f.). Ten-word line: 87, n.286; 215. Theme and variation: see ‘dicolon abundans’. Tmesis: 109, n.354. Todeskette: 57. Torqueo (compounds of): iconic rejet of (75); Virgil’s fondness of (163); with synaloepha stressing its meaning (163). Trochaic word: verbal rejet (72, n.233; 95); vocative in rejet (121, n.391). Troia: see ‘Ilium’. Tu: in geminatio (122, n.392); in hyperbaton with vocative (121); in solemn command (115, n.371); juxtaposed to ego (see ‘ego’); ‘scornful’ (119, n.384; 127, n.411); with -ne (229, n.707). Turbidus: in interlinear hyperbaton and referring to mental agitation (262). Vastus: in hyperbaton and enjambement (250). Verb: choriambic in rejet (69, n.226); dactylic in rejet (63, n.204); molossic in first position in two consecutive lines (35); molossic in rejet (69, n.225); monosyllabic at the beginning of the line (36, n.122; 214, n.661); monosyllabic at the end of the line (36, n.122; 213); monosyllabic in arsi (158, n.476); iconically placed at the beginning of the line and sentence (205, n.628); position of (59); postposition of verb indicating ‘seeing’ to highlight what has been seen (93, n.302); profusion of verb forms expressing rapidity (50); separated from its subject or object (70; 75; 77; 132; 253 f.; 257 f.); staccato effect through short sentences without verb expressed (214, n.664); trochaic in rejet (72, n.233); juxtaposed to another verb (40; 50; 67-70; 73; 75; 84; 92; 131; 133-136; 138; 140; 144; 146-148), framing the line (see ‘word symmetry’). Versbrechung: 22, n.77. Versi spezzati: 21. Vester: at line-end, in homoeoteleuton with a noun ending in short ‘a’ (114, n.367); in prenominal position and hyperbaton (218), and interlinear juxtaposition (117, n.375). Vincio: in iconic hyperbaton (247). Vis: at line-end (209 f.); in Ennian alliteration with uiam (210); in periphrastic expressions (210, n.649). Vix: with temporal value and emphasized by asyndeton and dramatic ecce (177, n.534). Vocative: between noun and adjective (102, n.330); emphasized by parenthesis (207, n.637); in rejet (121-123). Volo-as (compound of): iconic rejet of (96; 262). Vos: placed before the interjection o (55, n.183).

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Wackernagel’s law: 215, n.666. Word play: 89, n.291; 101; 186, n.560. Word symmetry: lines framed by corresponding words (32; 40; 46; 49; 78; 104; 136; 186; 195; 207; 224 f.), by colour terms (51; 107; 225); lines framed by words in semantic opposition (4; 34; 141, n.443; 143, n.447; 223 f.); lines framed by verbal forms (49; 51; 63; 66; 74; 76 f.; 82 f.; 89; 129; 177, n.533; 221-223).