[\/et_pb_text][et_pb_text admin_label=”Translation” _builder_version=”4.4.4″ text_text_shadow_horizontal_length=”text_text_shadow_style,%91object Object%93″ text_text_shadow_horizontal_length_tablet=”0px” text_text_shadow_vertical_length=”text_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length_tablet=”0px” text_text_shadow_blur_strength=”text_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength_tablet=”1px” link_text_shadow_horizontal_length=”link_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length_tablet=”0px” link_text_shadow_vertical_length=”link_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length_tablet=”0px” link_text_shadow_blur_strength=”link_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength_tablet=”1px” ul_text_shadow_horizontal_length=”ul_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length_tablet=”0px” ul_text_shadow_vertical_length=”ul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length_tablet=”0px” ul_text_shadow_blur_strength=”ul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength_tablet=”1px” ol_text_shadow_horizontal_length=”ol_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length_tablet=”0px” ol_text_shadow_vertical_length=”ol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length_tablet=”0px” ol_text_shadow_blur_strength=”ol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength_tablet=”1px” quote_text_shadow_horizontal_length=”quote_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length_tablet=”0px” quote_text_shadow_vertical_length=”quote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length_tablet=”0px” quote_text_shadow_blur_strength=”quote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength_tablet=”1px” header_text_shadow_horizontal_length=”header_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length_tablet=”0px” header_text_shadow_vertical_length=”header_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length_tablet=”0px” header_text_shadow_blur_strength=”header_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength_tablet=”1px” header_2_text_shadow_horizontal_length=”header_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length_tablet=”0px” header_2_text_shadow_vertical_length=”header_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length_tablet=”0px” header_2_text_shadow_blur_strength=”header_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength_tablet=”1px” header_3_text_shadow_horizontal_length=”header_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length_tablet=”0px” header_3_text_shadow_vertical_length=”header_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length_tablet=”0px” header_3_text_shadow_blur_strength=”header_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength_tablet=”1px” header_4_text_shadow_horizontal_length=”header_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length_tablet=”0px” header_4_text_shadow_vertical_length=”header_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length_tablet=”0px” header_4_text_shadow_blur_strength=”header_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength_tablet=”1px” header_5_text_shadow_horizontal_length=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length_tablet=”0px” header_5_text_shadow_vertical_length=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length_tablet=”0px” header_5_text_shadow_blur_strength=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength_tablet=”1px” header_6_text_shadow_horizontal_length=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length_tablet=”0px” header_6_text_shadow_vertical_length=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length_tablet=”0px” header_6_text_shadow_blur_strength=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength_tablet=”1px” box_shadow_horizontal_tablet=”0px” box_shadow_vertical_tablet=”0px” box_shadow_blur_tablet=”40px” box_shadow_spread_tablet=”0px” vertical_offset_tablet=”0″ horizontal_offset_tablet=”0″ z_index_tablet=”0″ background_color=”#ffffff” height=”450px” overflow-x=”scroll” custom_padding=”10px|10px|10px|10px”]<\/p>\n
A POEM IN THANKSGIVING TO EMPEROR AUGUSTUS GERMANICUS DOMITIANUS<\/strong> But my desire does not have time for the banquets and the Moorish oaks [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ custom_padding__hover=”|||” custom_padding=”|||”][et_pb_text admin_label=”Commentary Title” _builder_version=”4.4.4″ text_text_shadow_horizontal_length=”text_text_shadow_style,%91object Object%93″ text_text_shadow_horizontal_length_tablet=”0px” text_text_shadow_vertical_length=”text_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length_tablet=”0px” text_text_shadow_blur_strength=”text_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength_tablet=”1px” link_text_shadow_horizontal_length=”link_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length_tablet=”0px” link_text_shadow_vertical_length=”link_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length_tablet=”0px” 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header_5_text_shadow_horizontal_length_tablet=”0px” header_5_text_shadow_vertical_length=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length_tablet=”0px” header_5_text_shadow_blur_strength=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength_tablet=”1px” header_6_text_shadow_horizontal_length=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length_tablet=”0px” header_6_text_shadow_vertical_length=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length_tablet=”0px” header_6_text_shadow_blur_strength=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength_tablet=”1px” box_shadow_horizontal_tablet=”0px” box_shadow_vertical_tablet=”0px” box_shadow_blur_tablet=”40px” box_shadow_spread_tablet=”0px” vertical_offset_tablet=”0″ horizontal_offset_tablet=”0″ z_index_tablet=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.4.4″ 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header_text_shadow_vertical_length=”header_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length_tablet=”0px” header_text_shadow_blur_strength=”header_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength_tablet=”1px” header_2_text_shadow_horizontal_length=”header_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length_tablet=”0px” header_2_text_shadow_vertical_length=”header_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length_tablet=”0px” header_2_text_shadow_blur_strength=”header_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength_tablet=”1px” header_3_text_shadow_horizontal_length=”header_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length_tablet=”0px” header_3_text_shadow_vertical_length=”header_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length_tablet=”0px” header_3_text_shadow_blur_strength=”header_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength_tablet=”1px” header_4_text_shadow_horizontal_length=”header_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length_tablet=”0px” header_4_text_shadow_vertical_length=”header_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length_tablet=”0px” header_4_text_shadow_blur_strength=”header_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength_tablet=”1px” header_5_text_shadow_horizontal_length=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length_tablet=”0px” header_5_text_shadow_vertical_length=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length_tablet=”0px” header_5_text_shadow_blur_strength=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength_tablet=”1px” header_6_text_shadow_horizontal_length=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length_tablet=”0px” header_6_text_shadow_vertical_length=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length_tablet=”0px” header_6_text_shadow_blur_strength=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength_tablet=”1px” height=”450px” box_shadow_horizontal_tablet=”0px” box_shadow_vertical_tablet=”0px” box_shadow_blur_tablet=”40px” box_shadow_spread_tablet=”0px” overflow-x=”scroll” vertical_offset_tablet=”0″ horizontal_offset_tablet=”0″ z_index_tablet=”0″ custom_padding=”10px|10px|10px|10px”]<\/p>\n (Title)\u00a0Eucharisticon ad Imperatorem Augustum G<\/i><\/b>ermanicum Domitianum,\u00a0<\/i><\/strong>\u201cThe Poem of Thanksgiving to Emperor Augustus Germanicus Domitian\u201d<\/strong>: With this poem being in dactylic hexameter, a meter popularly shared in heroic (epic) narratives, and by using a derivative of the Greek word\u00a0eucharistikos logos<\/i>, which could be translated as \u2018reason for, or words in thanksgiving,\u2019 instead of its Latin equivalent\u00a0gratiarum actio<\/i>, \u2018act of thanks,\u2019\u00a0Statius alludes to a heightened, epic-style quality within his own work (Coleman<\/a>\u00a01988: 82).<\/p>\n Lines 1-17:\u00a0 \u201cEpicization\u201d of\u00a0Silvae<\/i>\u00a04.2 and \u201cDivination\u201d of Domitian (Coleman 1988: 84)<\/p>\n (1) \u201cthe royal banquets of Sidonian Elissa\u201d (<\/strong>Regia Sidoniae convivia\u2026Elissae<\/i>)<\/b>\u00a0refer to the hospitality Queen Dido of Carthage provides to Aeneas and the Trojans. \u00a0It is interesting to note this particular epithet which expresses an interesting juxtaposition between Dido\u2019s past Sidonian\/Phoenician identity and the Roman life she desired to share with Aeneas (Anderson<\/a>\u00a01994: 133). \u00a0Perhaps Statius applied this adjacency to his poem to evoke a similar identity crisis of sorts: he being a Roman poet aspiring to the esteem of both the Greek and follow Roman epicists he mentions in the following lines.<\/p>\n (2)\u00a0\u201cwho carried great Aeneas into the Laurentine fields\u201d\u00a0(<\/strong>qui\u2026Aenean Laurentibus intulit arvis<\/i>)<\/b>\u00a0refers to the Augustan poet, Virgil, author of the\u00a0Aeneid.<\/em>\u00a0\u00a0After escaping Troy, Aeneas and this men settled in the area of Laurentum, about 16 miles outside of Rome (Bunbury<\/a>\u00a01857: 146-148).<\/p>\n (3-4) \u201che showcases the meals of Alcinous with enduring song, he who wore out Ulysses\u201d\u00a0(<\/strong>monstrat\u2026qui\u2026consumpsit Ulixem<\/i><\/b>)<\/strong>\u00a0refers to the banquets King Alcinous of the Phaeacians and father of Nausicaa hosts for Ulysses\/Odysseus in books 7 and 8 of Homer\u2019s Odyssey, as well as his overall seafaring journey back home. [Click\u00a0here<\/a>\u00a0for summary]<\/p>\n (6-7)\u00a0\u201cto rise up\u201d (<\/strong>consurgere<\/i>)<\/b>: The significance of rising up at a table is that the ancient Romans reclined on their left elbows in a U-shaped formation on a triclinium [image<\/a>], thus the meaning most likely can be taken metaphorically; rather, the narrator Statius could be gifted with an opportunity to attain a spot at the imperial table, and not literally stand up whilst dining.<\/p>\n (8-9)<\/strong>\u00a0\u201c[I would] not\u2026, if Smyrna and Mantua [should]\u201d (<\/strong>non, si\u2026Smyrna et Mantua<\/i><\/b>)<\/strong>\u00a0has a performative air that highlights a more humble Statius in his coy back and forth of associating his work with that of the great epicists. \u00a0Mantua is historically renowned for being the birthplace of Virgil in 70 BCE (Parrott-Sheffer<\/a>). \u00a0Smyrna, now present-day Izmir, Turkey, is the city in which Homer was born, reportedly by its stream of Meles (Pletcher<\/a>).<\/p>\n (11) \u201cJupiter and\u2026the Trojan right hand\u201d (Iove et Iliaca\u2026dextra<\/i>)<\/strong>:<\/strong>\u00a0For the narrator Statius to be a guest of Domitian\u2019s dinner party and to recline in the middle of stars with Jupiter, it may be implied that Domitian is an understudy of Jupiter, even retaining divine status with the Olympian cupbearer, Ganymede, at his beck and call (Coleman 1988: 87).<\/p>\n (12) \u201cwe crossed over barren years\u201d (steriles transmisimus annos<\/i><\/strong>)<\/strong>\u00a0reveals an ambiguous status of Statius and Domitian\u2019s relationship. \u00a0Scholars have suggested that the barren or sterile years may refer to either a period of time that Statius fell out of Domitian\u2019s favor, or a rebirth of their artist-patron relationship after his poem on the German Wars won the Alban contest in 90 CE (Newlands<\/a>\u00a02002: 280; Coleman 1988: 87). \u00a0However it is also noted that in following lines outside of this passage (Statius, 4.2.57-67), Statius digs up old feelings of neglect by the emperor in coming years, despite the fresh rekindling of friendship with praise following the contest victory (Newlands<\/a>\u00a02002: 280-81). Perhaps this detail of their relationship may offer insight into how poem 4.2 could be read with either a genuine overtone or satirical undertone.<\/p>\n (14-16) \u201cdo I, lying down, discern you\u201d (<\/strong>tene ego\u2026cerno iacens<\/i>):<\/b>\u00a0The repeated second person address to Domitian, naming him both in rank with Jupiter and also in opposition, whereas Domitian is the ruler on earth though with immortal status gives off the same sentiments of heightened language found in hymns (Coleman 1988: 87-88). The latter half of this line is significant foreshadowing the gaze of the narrator Statius and how he implements that gaze in not only a meta-literary context but also in the context of the scene itself. \u00a0By mentioning that he is reclining while looking at Domitian (who is also reclining), it can be inferred that Statius is then putting himself on equal terms with the emperor, or at least in an equal position to him both physically and literally, while praising his divine characteristics. This ironic placement may serve as more evidence to ambivalize the true nature of their relationship.<\/p>\n (16-17) \u201cis this nearly granted, is it granted to gaze upon your face\u2026rather isn\u2019t it divine law to rise up?\u201d<\/strong>\u00a0(datur\u2026datur ora tueri\u2026et non assurgere fas est)<\/i><\/b>:\u00a0 The use of anaphora (repetition) likens this rhetorical interrogative to the utterance of disbelief by Anchises upon seeing Aeneas in the underworld (Coleman 1988: 88). \u00a0The narrator Statius hereby also takes on an air of incredulity, which also may be understood as additional subtle sneering at the emperor.<\/p>\n Lines 18-31: \u00a0Symposiastic Tradition, the Ekphrasis of Domitian\u2019s Palace (Coleman 1988: 83)<\/p>\n (19) \u201cwith Atlas sent away\u201d (Atlante remisso<\/i>)<\/strong>:<\/strong>\u00a0This namedrop has an element of hyperbolic humor attached to the description of just how many columns line the palace as it suggests that Atlas, the Titan held responsible for supporting the world upon his back [image<\/a>], would even dare to take a day off from this monumental, divine job (Coleman 1988: 89).\u00a0 Furthermore, the palace of Domitian is likened to divine structure.<\/p>\n (20) \u201cThe Thunderer\u201d (Tonantis<\/i>),<\/i><\/strong>\u00a0a.k.a. Jupiter:<\/strong>\u00a0It is interesting to observe that Jupiter is not listed here by one of his proper names, rather by an epithet. Considering the context, perhaps this hyperbole, suggesting that the exterior of Domitian\u2019s palace atop the Palatine Hill in Rome may even surpass the divine decoration of the exterior of the temple of Jupiter Optimus Maximus, atop the neighboring Capitoline Hill [image<\/a>\u00a0of Capitoline Museum\u2019s speculative model \u2013 509 BCE] highlights a locative comparison, in both the divine and mortal realms (Coleman 1988: 89-90).<\/p>\n (21) \u201cgods rejoice that you are placed on an equal seat\u201d (pari\u2026sede locatum [esse] numina<\/i>)<\/strong>:<\/strong>\u00a0This continuation of the hyperbolic ekphrasis appears even more ridiculous as it is confirmed that not only does the palace have divine grandeur, but also that the divinities are even happy about this mortal emperor\u2019s architectural accomplishments. \u00a0Thus making \u201cStatius\u2019s ostensibly panegyrical praise of Domitian\u2019s hospitality\u201d a more convincing interpretation (Malamud<\/a>\u00a02007: 244).<\/p>\n (25) \u201che himself fills up the household\u201d<\/strong>\u00a0(ille penates implet<\/i>)<\/b>:\u00a0Penates<\/em>\u00a0may also serve substantively and refer to the gods of the household [image<\/a>]. However considering the context in which it is used, where penates is merely the household, Domitian could again be divinized.<\/p>\n (27) \u201cthe Libyan mountain shines and the Trojan mountain shines\u201d<\/strong>\u00a0(mons Libys Iliacusque nitet<\/i>)<\/b>: The shininess of these marbles rivals the shine of the following stone materials that furnish and decorate Domitian\u2019s palace.<\/p>\n (27) \u201cboth dark Syene\u201d (simul atra Syene<\/i>, alternate reading of\u00a0%<\/i>\u00a0[lacuna]\u00a0multa Syene<\/i>)<\/strong>:<\/strong>\u00a0This refers to a deep rose-colored granite from Syene, present-day Aswan, Egypt (Coleman 1988: 91) [map<\/a>].\u00a0There is a corruption in the transcription of the text in this line. The alternate reading followed here removes asyndeton (lack of conjunctions).<\/p>\n (28) \u201cChian stone and competing rocks\u201d (Chios\u2026 saxa<\/i>)\u00a0<\/strong>refers to\u00a0marble quarried from Chios, an Aegean island known for its wine (Coleman 1988: 92). The other rocks compete against the personification of the ocean\u2019s daughter, Doris, for the most beautiful hue of blue-green.<\/p>\n (29) \u201cLuna marble\u201d (Luna<\/i>)<\/strong>:<\/strong>\u00a0a type of white or blue-gray marble that was quarried at Luna in northern Etruria (Coleman 1988: 92). [map<\/a>]<\/p>\n Lines 32-45: \u00a0Direction of Gaze and Domitian\u2019s \u201cTo-Be-Looked-At-Ness\u201d (Mulvey<\/a>\u00a01975: 62)<\/p>\n (32) \u201ca thousand trabea-wearing men\u201d<\/strong>:\u00a0 The\u00a0trabea<\/em>\u00a0was a toga with a decorative purple horizontal stripes. \u00a0There are three variations of the trabea with respective significance, as mentioned by Servius in a commentary on the Aeneid, within book 7 (Smith<\/a>\u00a01875: 1137).<\/p>\n (36)\u00a0<\/strong>Triptolemus:<\/strong><\/em>\u00a0in Greek mythology the one to whom Demeter (Ceres) assigned the distribution of corn (Coleman 1988: 93). [image<\/a>\u00a0of Triptolemus on wheeled appliance, holding ears of corn painted on Attic black figure pottery]<\/p>\n (37)\u00a0<\/strong>L<\/strong>yaeus<\/i><\/b>: \u201cthe Releaser,\u201d from a Greek derivative typifying one who relaxes inhibitions (Coleman 1988: 94), another name for Dionysus\/Bacchus (shown below)<\/p>\n Marble head of Dionysus in the Virginia Museum of Fine Arts (64.12.2), 2nd cent. CE<\/p>\n (40) \u201crather for him,\u00a0 . . . the man himself\u201d<\/strong>\u00a0(ipsum, ipsum<\/i><\/b>)<\/strong>: the anaphora helps focus the gaze on Domitian and only Domitian, as Statius the narrator makes clear<\/p>\n (41-43) \u201cin countenance\u2026 in his face\u201d (<\/strong>vultu\u2026ore<\/i>)<\/b>: By drawing not only his gaze, but also the gaze of the reader to Domitian\u2019s face twice, Statius creates a realm of meta-spectacle in which the narrator\/author is cognizant of his role in directing the reader\u2019s gaze as a side effect of his own gaze.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=”4_4″ custom_padding__hover=”|||” custom_padding=”|||”][et_pb_text _builder_version=”4.4.4″ text_text_shadow_horizontal_length=”text_text_shadow_style,%91object Object%93″ text_text_shadow_horizontal_length_tablet=”0px” text_text_shadow_vertical_length=”text_text_shadow_style,%91object Object%93″ 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header_2_text_shadow_vertical_length_tablet=”0px” header_2_text_shadow_blur_strength=”header_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength_tablet=”1px” header_3_text_shadow_horizontal_length=”header_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length_tablet=”0px” header_3_text_shadow_vertical_length=”header_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length_tablet=”0px” header_3_text_shadow_blur_strength=”header_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength_tablet=”1px” header_4_text_shadow_horizontal_length=”header_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length_tablet=”0px” header_4_text_shadow_vertical_length=”header_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length_tablet=”0px” header_4_text_shadow_blur_strength=”header_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength_tablet=”1px” header_5_text_shadow_horizontal_length=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length_tablet=”0px” header_5_text_shadow_vertical_length=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length_tablet=”0px” header_5_text_shadow_blur_strength=”header_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength_tablet=”1px” header_6_text_shadow_horizontal_length=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length_tablet=”0px” header_6_text_shadow_vertical_length=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length_tablet=”0px” header_6_text_shadow_blur_strength=”header_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength_tablet=”1px” box_shadow_horizontal_tablet=”0px” box_shadow_vertical_tablet=”0px” box_shadow_blur_tablet=”40px” box_shadow_spread_tablet=”0px” vertical_offset_tablet=”0″ horizontal_offset_tablet=”0″ z_index_tablet=”0″]<\/p>\n Anderson, William S. 1994. Review of\u00a0Innovations of Antiquity. The New Ancient World<\/em>, by\u00a0Ralph Hexter and Daniel Selden (eds.).\u00a0Vergilius\u00a0<\/i>40: 133.\u00a0https:\/\/www.jstor.org\/stable\/41587113<\/a>.<\/p>\n Bunbury. E.H. Ed. William Smith.\u00a0Dictionary of Greek and Roman Geography<\/i>. London: Walton\u00a0and Maberly, 1857.<\/p>\n Coleman. K.M. 1988.\u00a0Statius: Silvae IV<\/i>. London: Bristol Classical Press.<\/p>\n Malamud, Martha A. 2007. \u201cA Spectacular Feast: Silvae 4.2.\u201d\u00a0Arethusa<\/i>\u00a040, no. 2: 223-244.<\/p>\n Mulvey, Laura. 1991. \u201cVisual Pleasure and Narrative Cinema.\u201d\u00a0Discourse<\/i>\u00a013, no. 2: 57-68.\u00a0https:\/\/www.asu.edu\/courses\/fms504\/total-readings\/mulvey-visualpleasure.pdf<\/a><\/p>\n Newlands, Carole. 2002.\u00a0Statius\u2019 Silvae and the Poetics of Empire.\u00a0<\/i>Cambridge: Cambridge University\u00a0Press.<\/p>\n Smith, William. 1875. \u201cToga.\u201d\u00a0A Dictionary of Greek and Roman Antiquities<\/i>. Ed. John Murray.\u00a0London.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" translation and commentary by Lillie Izo (\u201919) Translation A POEM IN THANKSGIVING TO EMPEROR AUGUSTUS GERMANICUS DOMITIANUSHe praises the royal banquets of Sidonian Elissa,he who carried great Aeneas into the Laurentine fields;and he showcases the meals of Alcinous with enduring song,he who wore out Ulysses, led back by means of much sea travel:[5] But I, […]<\/p>\n","protected":false},"author":4407,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"
<\/strong>He praises the royal banquets of Sidonian Elissa,
he who carried great Aeneas into the Laurentine fields;
and he showcases the meals of Alcinous with enduring song,
he who wore out Ulysses, led back by means of much sea travel:
[5] But I, to whom Caesar for the first time gave the new delights of sacred dinner
and permission to rise up to the imperial table,
with what lyre may I celebrate my granted wishes, how
may I sufficiently loosen gratitude? I would not speak
worthily, if both Smyrna and Mantua should each tie
[10] fragrant laurel leaves on the happy crown of my head. I seem to recline
in the middle of stars with Jupiter, and to take immortal wine
extended by a Trojan right hand. We have crossed over barren years:
This is the first day of all time for me, here are the thresholds of life.
As I lie down, do I see you clearly, ruler of lands and great parent
[15] of a conquered world, you, hope of humankind, you, concern of the gods?
Is this nearly granted, is it granted to gaze upon your face
amidst wine and tables, rather isn\u2019t it divine law to rise up?
The august roof, huge, not outstanding with a hundred columns,
but with as many columns that can hold up the high ones and the sky
[20] with Atlas sent away. The neighboring palace of The Thunderer
is astonished at this, and gods rejoice that you are placed
on an equal seat. You should not hasten to exceed the great sky:
So great a massive structure stretches out, the attack of the sprawling hall
stretches out freer than a field, embracing much
[25] of a covered ether, and less than only its master; Domitian himself fills up
the household gods and supports them with remarkable spirit. In there
the Libyan and Trojan mountains shine in rivalry, both dark Syene
and Chian stone and rocks competing even against the bluish-grays of Doris;
and Luna marble sufficient only for carrying columns.
[30] High above is the ceiling\u2019s appearance: you would scarcely glimpse the top\u00a0with your weary eyes and would think it to be the panelled ceiling of gilded heaven.
Here, when Caesar ordered the nobles of Romulus and a thousand trabea-wearing men\u00a0arranged in an army of columns to recline together at the tables,
Ceres herself, with the fold in her robe well girded, and Bacchus work\u00a0to provide. [35] Thus the favorable byway of aetherial Triptolemos flowed,
Thus under a vine-bearing bough Lyaeus shaded bare hills and sober farmlands.<\/p>\n
resting on ivory columns and the servile squadrons according to rank,
[40] rather for him, the time to see the man himself, calm in countenance,
but soothing the rays of my sight\u00a0with his serene majesty and modestly lowering standards\u00a0of his own fortune; nevertheless a concealed esteem\u00a0shone in his face. A man such like him that, when seen, even a barbarian foreigner\u00a0and any
[45] strange nation may be able to recognize him.<\/p>\nCommentary<\/strong><\/h2>\n
![\"\"](\"http:\/\/blog.richmond.edu\/romandining\/files\/2019\/05\/dionysos.jpg\")
<\/p>\nSources<\/strong><\/h2>\n