Brings together historical and literary perspectives to begin charting a new course for research on Ennius' masterpiece.

"Jay Fisher argues that Ennius does not simply translate Homeric models into Latin, but blends Greek poetic models with Italic diction to produce a poetic hybrid. Fisher's investigation uncovers a poem that blends foreign and familiar cultural elements in order to generate layers of meaning for his Roman audience. Fisher combines modern linguistic methodologies with traditional philology to uncover the influence of the language of Roman ritual, kinship, and military culture on the Annals."--Page [4] of cover.

In the context of recent challenges to long-standing assumptions about the nature of Ennius' Annals and the editorial methods appropriate to the poem's fragmentary remains, this volume seeks to move Ennian studies forward on three axes. First, a re-evaluation of the literary and historical precedents for and building blocks of Ennius' poem in order to revise the history of early Latin literature. Second, a cross-fertilization of recent critical approaches to the fields of poetry and historiography. Third, reflection on the tools and methods that will best serve future literary and historical research on the Annals and its reception. Adopting different approaches to these broad topics, the fourteen papers in this volume illustrate how much can be said about Ennius' poem and its place in literary history independent of any commitment to inevitably speculative totalizing interpretations.

Ennius' Annales, which is preserved only in fragments, was hugely influential on Roman literature and culture. This book explores the genesis, in the ancient sources for Ennius' epic and in modern scholarship, of the accounts of the Annales with which we operate today. A series of appendices detail each source's contribution to our record of the poem, and are used to consider how the interests and working methods of the principal sources shape the modern view of the poem and to re-examine the limits imposed and the possibilities offered by this ancient evidence. Dr Elliott challenges standard views of the poem, such as its use of time and the disposition of the gods within it. She argues that the manifest impact of the Annales on the collective Roman psyche results from its innovative promotion of a vision of Rome as the primary focus of the cosmos in all its aspects.

"Ennius' Annales was one of the most important hexameter epics written before Vergil's Aeneid, and perhaps the most influential Latin poem of any period. ... This book ... capitalizes on the fruits of ... Ennian studies in order to analyze the reception of Ennius' Annales in Lucretius' De Rerum Natura. ... For the reader interested in Lucretius, this book offers a systematic analysis of the primary poetic model of the De Rerum Natura and so fills a long-standing and sizeable gap in our understanding of Lucretian poetics and his allusive program. For the reader interested in Ennius, this book offers, at best, an excavation of Lucretius' version of the Annales, a version that must have been foundational for many subsequent receptions of the Annales ... . "--

In the Odes, Horace writes of his own work, “I have built a monument more enduring than bronze,”—a striking metaphor that hints at how the poetry and built environment of ancient Rome are inextricably linked. This fascinating work of original scholarship makes the precise and detailed argument that painted illustrations of the Trojan War, both public and private, were a collective visual resource for selected works of Virgil, Horace, and Propertius. Carefully researched and skillfully reasoned, the author’s claims are bold and innovative, offering a strong interpretation of the relationship between Roman visual culture and literature that will deepen modern readings of Augustan poets. The Museum of Augustus first provides a comprehensive reconstruction of paintings from the remaining fragments of the cycle of Trojan frescoes that once decorated the Temple of Apollo in Pompeii. It then finds the echoes of these paintings in the Augustan-dated Portico of Philippus, now destroyed, which was itself a renovation of Rome’s de facto temple of the Muses—in other words, a museum, both in displaying art and offering a meeting place for poets. It next examines the responses of the Augustan poets to the decorative program of this monument that was intimately connected with their own literary aspirations. The book concludes by looking at the way Horace in the Odes and Virgil in the Georgics both conceptualized their poetic projects as temples to rival the museum of Augustus.