DESCRIBING THE INVISIBLE - OVID'S ROME

Author(s): Christiane Reitz

Source: Hermes , 2013, 141. Jahrg., H. 3 (2013), pp. 283-293
Published by: Franz Steiner Verlag

Stable URL: https://www.jstor.org/stable/43652859

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HERMES Hermes Band 141 • Heft 3 • 2013
Zeitschrift für klassische Philologie © Franz Steiner Verlag, S

DESCRIBING THE INVISIBLE - OVID'S ROME1

Abstract: Ovid's poetic descriptions of Rome are not as vivid, as pictorial as one tends to sup-
pose. In the poems from exile the lack of detail and the flat imagery seem to be programmatic.
Thus, the reader's attention is directed to the metapoetic message conveyed, by bringing into
focus the role of enargeia/evidentia and the rivalry between literature and the visual arts. Evi-
dence for this hypothesis is furnished by passages from the "Metamorphoses", the "Tristia" and
the "Epistulae ex Ponto" as well as by statements concerning the ancient theory of evidentia.

Studying the interplay of aesthetic theory and ancient poetry is, albeit quite en
vogue, a difficult task and sometimes a mined field. It often seems that a handful
of buzzwords is all it takes to get scholars and the literary theorists going. One
of these buzzwords is enargeia. In the many works on the modes of viewing2, on
ekphrasis 3, on the potential of description in texts and the interrelationship between
art and literature, enargeia is assumed to be one of the major goals of poetry and
poetic descriptions. The paragone between the arts stands very much in the focus
of these discussions4.
The purpose of my paper is not to add another such discussion to the ample
bibliography, but to consider three well-known passages where Ovid, one of the
authors Siegmar Döpp has, from early on, focused on in his research5, describes
the city of Rome. I want to consider whether the poet achieves his presumed goal
of generating a vivid and graphic image of the city that he, in the first example,
chooses as a stage for events and in the other cases misses so much6. The first pas-
sage leads us to the "Metamorphoses", whereas the other examples are taken from
the exile poems. At the end of my paper, I will take a look at ancient poetological
and rhetorical terminology and possible links between poetry and poetics; and I
will close with a rather skeptical perspective - how far can we actually assume
that it is a poem's and a poet's aim to compete with the visual arts?

1 1 am thankful to audiences in Leiden at a colloquium in honour of Joan Booth, and in Leipzig

in honour of Siegmar Döpp, for inviting me and commenting on former versions of this paper.
2 Brilliant 1984, Leach 1974 and 1988, Zanker 2004, Squire 2009, to quote just some of the
most influential publications.
3 Still the most inspiring study is the seminal article by Fowler 1991 with rich bibliography.
4 The background for this is, of course, formed by the long discussion on Horace's often mis-
understood ut pietura poesis (Hor., ars poet. 361 ff) and on Lessing 's "Laokoon" (esp. XVI-XXII).
5 Döpp 1969, 1992, 2002.
6 On Ex P. 1,8 cf. Edwards 1996, 123: "Ovid describes himself as being carried away by vivid
images of the city".

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 284 Christiane Reitz

Rome with all senses

In the final book of the "Metamorphoses", Rome becomes the focus of the mytho-
logical narrative. In 15,626-744, Ovid relates how the outbreak of the plague in
Rome leads to the events culminating in the advent of the god Aesculapius on the
Tiber Island. The story is told as an aition ( unde , 15,624), starting with a solemn
invocation7 of the Muses. The aition will explain why Aesculapius has a sanctu-
ary in the town of Romulus. It forms a link between the time of the Roman kings,
namely Romulus and the story of Hippolytus-Virbius, and the present, the era of
Caesar and Augustus. Aesculapius in the form of a serpent finally reaches Rome
and is greeted in the city:

(deus) ... caput posuit, donee Castrumque sacrasque

Lavini sedes Tìberinaque ad ostia venit.
hue omneš 8 populi passim matrumque patrumque
obvia turba ruit, quaeque ignes, Troica , servat,
Vesta , tuos, laetoque deum clamore salutoni;
quoque per adversas navis cita ducitur undas,
tura super ripas aris ex ordine /actis
parte ab utraque sonant et odorant aera fumis,
ictaque coniectos incalfacit hostia cultros.
iamque, caput rerum, Romanam intraverat urbem:
erigitur serpens. . .
(Met. 15,727-737)

The god put his head down, until (the boat) reached the castle, the sacred seat of Lavinius and
the mouth of the Tiber.
Here all the people rushed together with the crowd of mothers and fathers and her who guards
your fires, Trojan Vesta, and with a joyful shout they greeted the god; and wherever the swiftly
moving ship was led upstream, incense on the banks from altars set up in rows on either side rang
out and scented the air with smoke, and, struck, the victim warmed the knife thrust in. And then,
into the capital of the world, the city of Rome, he had entered: the serpent rose up. . .

The description is dynamic and vivid. It comes alive through the many visual and
sensual impressions invoked: the huge crowd on its way to greet the ship, rushing
forward, the smoke, the shouting. All the senses participate9, not only hearing and
smell, but even touch, as can be seen from incalfacit in 15,735. The different sensual
impressions, on a second level, offer the opportunity to open up as background a
city in bustling religious activity (matres, patres , the Vestals). So the final event
of the wondrous metamorphosis, the spontaneous forming of the Tiber Island, is
only one part of a description which informs the reader about the topography of

7 The invocation already hints at the narrative problems ahead by contrasting present and past:
pandite nunc, Musae, praesentia numina vatum, / scitis enim, nec vos fallii spatiosa vetustas , Met.
15,622 f.
8 Possibly Tarrant is right in writing omnis with G and some younger manuscripts.
9 On the concept of synaesthesia in poetry see Catrein 2003.

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 Describing the Invisible - Ovid's Rome 285

the future sanctuary. The narrative offers a combination of different time-le

looking simultaneously at the final episode of the Aesculapius story, at city
and religious activities at the time of the events narrated, and at the future o
nization of the Aesculapius cult in Rome, and that means at the present tim
the reader. Drawing on a variety of impressions, the focus is varying between
ship as it arrives and the Romans hurrying to greet it; the reader is drawn int
description and made a part of the watching crowd. The passage is a fine ex
of what a text can do with "the play of text and image", as Jaš Elsner10 put
and it elucidates Michael Squire's hypothesis about "the notion that words m
summon forth images in the mind's eye of the reader"11.

Rome on a city map?

In the well-known elegy which opens the 3rd book of the "Tristia", the poem
as speaker describes how, on its own and separated from its author, it reaches
city of Rome, which is of course unknown to him. An anonymous citizen gu
the little book via the Forum Caesaris and the Palatine to the libraries. But these

offer no welcome for the offspring of an exiled father; and so the book has only
one escape: to remain, well hidden, at some private place, hoping that nevertheless
a (plebeian) readership may find a way to get their hands on it.

...et ducens "haec sunt fora Caesaris, " inquit,

"haec est a sacris quae via nomen habet ,
hic locus est Vestae, qui Pallada servat et ignem,
haec fuit antiqui regia parva Numae. "
inde petens dextram " porta est" ait " ista Palati,
hic Stator, hoc primům condita Roma loco est. "
(Tr. 3,1,27-32)

. . .and taking the role of guide, he said, "These are the Fora of Caesar, this is the street which
takes its name from the sanctuaries, this is Vesta's place that keeps Pallas and the fire, this was the
small palace of ancient Numa". From there he turned to the right and said, "This is the Palatine
gate, this Stator, this where Rome was first founded."

Much has been written about this poem12 and many literary guidebooks try to
retrace the route through Rome13. The panegyrical passage, focusing on the house

10 Elsner 2002, 15.

11 Squire 2009, 146.
12 On the position as introductory poem see Wulfram 2008, 362 ff.
13 E.g. Neumeister 1991, 109-118 and ill. 33. See Luck ad 1. who gives the archaeological
background, referring to the debate between Richmond 1958 and Bishop 1956, and carefully pro-
poses an identification of the single topographical details, e. g. Porta Palatini/Porta Mugonia and
the pomerium of Romulus. Richmond as early as 1910 aimed at reconstructing the topography of
the Palatine after Ovid's poem. For the "exotic perspective" taken by the visitor see the interpreta-
tion of Schmitzer 2001.

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 286 Christiane Reitz

of Augustus, the honours (the laurel a

the temple of Apollo Palatinus, has be
location and ornamentation of these f
ideology. But read from the point of view
follows a map of futility. If we look at
their way, we cannot but notice that m
at all, no visual details. Fora Caesaris,
the mode of a catalogue or a list. Then
temple of Jupiter Stator, likewise with
only attribute used in these six lines is
which serves as a contrast to the domus
realistic, description occupies the ne
the apostrophe to the emperor with th
wonder that scholars are still debating t
of Apollo Palatinus - from this poem
can we imagine the façade or any detai
entrance. The deliberate barrenness of the enumeration and the sometimes even
prosaic tone which sounds in the list of items passed by the book and its guide, as
if on a map, fits very well with the closing couplet of the poem. Everything, every
place remains barred to the book on its search for shelter - statio mihi publica
clausa (Tr. 3,1,79). So why bother about details and sights? Quite the opposite is
appropriate: all the memorable sights of Rome remain hidden, which is precisely
the book's own fate. The book has no choice but to remain hidden as well, delitui-
sse (Tr. 3,1,80). This point has been prepared throughout the poem: the text itself
hides more than it shows14.

Rome before the mental eye

In the third text that I want to discuss in a little more detail, the city of Rome also
plays an important part. The poem Ep. ex Pont. 1 ,8 is a letter addressed to Severus,
written probably in 1 2 AD15. The elegiac I puts his place of exile into sharp contrast
with his memories of Rome.

ut careo vobis, Stygias detrusus in oras,

quattuor autumnos Pleias orta facit.
nec tu credideris urbanae commoda vitae
quaerere Nasonem, quaerit et illa tarnen.

14 Despite Hardie 2002, 307, who agrees with Labate 1987, 166 in attributing to the poet
enthousiasmas and enargeia - "exact evocations of the sights and sounds of imperial Rome,
eliminating as far as possible the spatial and temporal distance between the poet and the city", and
despite Döpp 2002, 44 f. Cf. also Newlands 1997.
15 On the date and the identity of Severus see André 1977 ad 1. and Gärtner 2005 ad 1.

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 Describing the Invisible - Ovid's Rome 287

nam modo vos animo dulces reminiscor amici,

nunc mihi cum cara coniuge nata subit:
aque domo rursus pulchrae loca vertor ad urbis,
cunctaque mens oculis pervidet illa suis,
nunc fora, nunc aedes, nunc mármore tecta theatra,
nunc subit aequata porticus omnis humo,
gramina nunc Campi pulchros spectantis in hortos,
stagnaque et euripi Virgineusque liquor.
(Ex P. 1,8,27-38)

Since I, cast down to the borders of the Styx, have been missing you, the rising (con
of the) Pleias has made its fourth autumn. And don't believe that it is the amenities of urba
Naso seeks, though he does seek them. For betimes, I remember you in my mind, swee
right now my daughter with my dear wife rise up (before my eyes), and from my house I
to the places of the lovely city, my mind sees these things with its eyes. Now the For
temples, now the theaters covered with marble, now every porticus on level ground rise up
meadow of the Campus looking out on lovely gardens, the lakes and the water channel of th

The poet, after lamenting the inhospitable surroundings in Tomis, then ch

subject and in his mind turns to the question of what it is that he misses
the two opening lines of the new passage, we find two rather elaborate ex
- Stygias detrusus in oras , alluding to the poet's own situation, and the pe
specification of time quattuor autumnos Pleias orta facit. The first sente
be linked with a line in Vergil's "Aeneid"16. At the end of the catalogue
troops in the 7th book of the "Aeneid", there are three long entrances, me
Virbius (761-782), Turnus and Camilla. Virbius in Vergil is Hippolytus re
and the story of his death and subsequent revival is told in some detail.
myth appears, a little differently, in the "Metamorphoses" (15,497 ff) and th
(6,737 ff). In Ovid, the reborn Virbius tells his story himself. It is Jupiter
comes annoyed at Aesculapius' daring enterprise of bringing mortals back
and Aesculapius, called Coronides in Ovid, is thrown into the underworld
Phoebigenam Stygias detrusit ad undas , Aen. 7,773). The commentators w
out Ovid's intertextual link to the Vergilian pre-text put their emphasis on
tion between exile and death. Tomis is a region like the borders of the S
Ovid is confined there in the same way as Aesculapius is confined to the un
But I think there is perhaps even more to it. By using this very close par
taking it from a well-known and specifically epic context, the catalogue o
Ovid shows himself to be a competent reader of epic literature, and of t
epic in particular, the "Aeneid". He is likewise an epic character himself,
as a mythological figure by a vengeful Jupiter, and he is an expert in epic
The second line about the rise of the Pleiades has a different ring, not
of heroic epic, but of didactic poetry. Periphrastic time specifications like

16 Aen. 7,773, see Helzle 2003 ad 1. and cf. Green 2005, 311 ff ad 1,8,27.

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288 Christiane Reitz

of course, also a recurrent element of e

heavenly bodies ( orta signa , F. 1,2) is
might compare F. 1,295 f: quid vetat e
dicere. By striking this rather author
by committing himself to the sublimi
makes the addressee attentive to what
anti-climax. The tone abruptly turns p
at first, the high expectations built up
Instead we hear what will not be the to
sees with his mind's eye. The terminolo
pervidet ilia suis) is rich and varied. Th
from illusion to disillusion", as Hardie
recently by Matthew McGowan. McGo
bit hazily, in my opinion - says that "
and sets in motion here a disembodied
exile." Ovid is "reborn through imagin
presence is felt in Rome". Before spea
to look at the exact phrasing. The items
family (his wife, his daughter, the dom
ture. But none and nothing is really an
are 'sweet' and 'dear'. Rome and its sig
the mármore tecta theatra are not nec
like theatrum marmoreum for the the
type of building20. So in my opinion,
of Rome; he is not providing "vivid im
presumes. When in her (otherwise mo
says that Ovid envisages "the city of g
[which] embodies civilization"21, the a
poet's mind is at work, but it explicitly
on the visual or on a lively and detaile
clear directions for strolling through A
a list of names and places which is non
Has exile deprived the poet of his po
ability for evápycia? Then - why the
oculis pervidet ilia suis"l

17 Cf. also the song of Iopas at Dido's banquet

other constellations as the 'trade mark* of the
poem is followed by an heroic epic.
18 Hardie 2002, 290.
19 McGowan 2009, 138.
20 theatrum marmoreum as the theatre of Pom
21 Edwards 1996, 123.

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 Describing the Invisible - Ovid's Rome 289

As has frequently been pointed out22, we must be very careful in attrib

the poet something like a general poetical approach, or even sloppiness in
So let us have a look at the verbs used for this mental act. mente videre i
Ovid uses in some places when speaking about something which is imagin
seen, e.g. in Ex P. 2,4,5, in Tr. 4,2,57 and in Ex P. 4,4,45 when imagining
umphal procession, quod licet absentem qua possum mente videbo:/aspici
consults ilia sui , insisting on the difference between seeing and not seeing
not necessarily determined in this mental image - it can concern the past
future, pointing in both directions. One might also compare a passage in H
where the act of mental imagination is described with the words ante tu
vidi quam lumine vultus: the object is imagined before it is seen. Equally e
ing is a passage in F. 6,203 on Appius who sees (the things that matter a
needs to be done) in spite of being blind: multum mente vidit , lumine cap
Even more interesting is the Ovidian usage of pervidere. As far as I c
Ovid uses it when speaking about the view of the eye of a very superior s
In M. 14,375 it is Sol who sees everything {qui pervidet omnia), in Ex P.
Ovid uses the verb in connection with Caesar Augustus who is seeing Ov
men , and here, in our passage, he speaks about his own mind. So pervid
superior sort of seeing, looking through and surveying the whole. The wo
the mind's eye is, as mentioned above, discussed in Tr. 4,2 - the mind is
roam in space, it is quick and perceptive. But whereas in this poem an ev
triumph due to take place, is described with some details, in our passage t
eye remains closed.23 And, as we have to keep in mind, it is the eye of a
poet who established his poetic authority in the opening distich.

Oviďs poetry and the concept o/enargeia

To conclude, I will briefly and in general terms turn to the ancient concept
geia' this will lead to some thoughts about a possible connection between
exile poetry and this concept.
Èvagyeia is one of the five qualities of poetry - and rhetoric -,
oa<1)í)V8ia, JtoixiÀia, ēļmķaoic;, ai3^r]Oiç24. The closeness between rheto
poetry becomes obvious in ancient literary criticism: the terminology use
the Homeric scholia and in rhetorical treatises is the same or at least very
The Latin term is evidentia , and the loci classici are Cicero in the "Acad
2,17 f and Quintilian in the "Institutio Oratoria":

22 E.g. Booth 1981, 2686-2700, with examples taken from the "Amores".
23 According to this interpretation it is not be necessary to delete the distich as Gär
ad 1. has suggested.
24 The sources to ancient literary criticism are now much more easily accessible with
of Dickey 2007. On style and the concept of enargeia see Nünlist 2009, 194 ff.

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 290 Christiane Reitz

Quint. 4,2,63 when talking about the n

bilem. . . evidentem , moratam, cum dig
ego intellego, est quidem magna virtus
modo etiam ostendendum est , sed subic

clear and short and believable . . . vivid, well mannered, with dignity

so far as I understand it, is, however, a great virtue when some true t
some way shown, but it can undergo clear depiction.

Quintilian continues by discussing the difficult case wher

disguise the truth and make the lies he is going to tell ap
as possible.
In 9, 2, 40, after having talked about apostrophe and other figures and tropes,
Quintilian describes the figure of evidentia as sub oculos subiectio and introduces
the term ímorímcDOiç: proposita quaedam forma rerum ita expressa verbis ut cerni
potius videantur quam audiri. . . Nec solum quae facta sint aut fiant sed etiam quae
futura sint aut futura fuerint imaginamur.

It proposes matters in a form that is expressed with words in such a way that they are seen
rather than heard. . . We imagine not only what has been or is done but also what will be or will
have been done.

After that, he quotes Cicero's definition haec, quae non vidistis oculis, animis
cernere potestis 25 .

These things that you do not see with your eyes you can discern with your minds.

The ancient theoretician is very well aware of the discourse on enargeia and the
possibilities and difficulties of posing a vivid image before an audience's eyes26.
The Homeric scholia are one of our most important sources for ancient literary
criticism, and though this is not very easily accessible material, we have to consider
it because not much else remains to inform us about theoretical discussions of poetic
issues in Hellenistic and Roman times. Most of the rhetorical handbooks are rather
late. But that annotated editions of Homer and commentaries were widely used and
that not only oratory but also poetic schooling, both practical and theoretical, was
provided and formed a standard element in a young Roman's education, is widely
known and accepted. But what is really ' enarges ' or 'vividly depicted'? This is
not the place to unfold the long story of the image and text relationship. But one
has to keep in mind that Homer too is a master of avoidance, in avoiding, e.g.,
a comprehensible and depictable description of female beauty and attractiveness
par excellence. What do we hear in the famous passage in the Teichoscopia about
Helen's looks? "Really, she is like an immortal goddess in appearance" (II. 3,158).
What does that mean? What do we hear about the sirens - Odysseus hears them,
sees them, but the reader is left in the dark. He hears that "clearly their singing

25 Fr. orat. B 26.

26 For the tradition of the debate, see Vogt-Spira 2002.

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 Describing the Invisible - Ovid's Rome 291

started - such was their beautiful song" (Od. 12,183; 192). But what do th
like? The text is not concrete, it leaves things open, it need not be explici
other hand, a picture has to make decisions: the sirens have wings, a fema
the body ends in birds' feet. Helen is either blond or dark, shy or forwar
clad or strikingly hidden by her clothes - this depends on convention, f
the taste of the artist and the customer. A consistent picture of the sirens
as they present themselves to Odysseus is only depicted as late as the 6th
Before that there is no clear imagery. It is evident that the image follows
principles and does not, or not necessarily, lean on a verbal description.
a short remark on the contrast of text and - by that time - well-known i
the scholia on Od. 12,39. The scholion discusses the genealogical tradi
the names of the sirens, also their number, considering the use of the dua
"Odyssey". After that, the scholiast adds: "Homer does not apply to them a
(species) nor does he say that they have wings." That is exactly the point -
does not necessarily need to tell us!
While speaking of female beauty, one might adduce the example of Ovi
In am. 1,5 Ovid 'describes' Corinna offering him a nice surprise visit dur
siesta. Except that she is nude after he has torn down her tunic we, the
get no real impression of what she looks like. She is desirable, and that m
possesses breasts, legs, slimness, youth. But is she blond? What are her m
ments? The main point is (am. 1,5,23): nil non laudabile vidi. The details
quid referam?) do not matter, it is the desirability and the availability whi
Corinna is the incorporation of desire fulfilled, and every reader can mak
image of that28.
It is in the same sense that the reader is prompted to fill in his own pi
Rome - or alternatively, to leave it empty. The poet is able, if he choose
decline describing the object of his desire. The text hides more than it r
may deprive the reader of the description. The text does not always tell, i
precise, it stresses the supreme power of the mind which surpasses that
eyes, and it points the reader to its own powers. A poem is able to comp
Sol and with Caesar - it has the power to pervidere , to see it all at once an
complete insight. There is no need for physical presence, for the odd detail
of location, of decoration - the poet knows it all, and he tells his reader ex
amount of detail he thinks appropriate for his intention.
The main topic of the colloquium in honour of Siegmar Döpp was hum
Latin literature. To play with the reader's expectations and to deny him
detail while a vivid description might be expected is certainly a humorou
witty effect. But it is much more. There is perhaps no need to go so far a
phile Gautier in his famous dictum "L 'ut pietura poesis est un vieille bêt

27 On aCorynthian Aryballos ca. 590 BC; cf. LIMC VI 1, 1992, p. 962, no. 150 s. v. 'Od
For the iconography of the sirens see 'Seirenes' in LIMC VII (1997), p. 1093 ff.
28 Cf. Funke 1988 as a typical example for misunderstanding this text.

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 292 Christiane Reitz

pour avoir tantôt 2000 ans, n'est guère

poésie sont de choses diamétralement o
aware of the power of literature, of th
visual detail. The power of literature is
heart, and especially a devoted reader a

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