‘Perhaps you can draw a cypress’, says Horace (A.P. 19), a remark which many Latin poets seem to have interpreted as a challenge. Not that the poets, with the exception of Ovid, wasted many words on the cypress itself, although all are very careful to mention it. Usually it is accompanied by some gloomy epithet, feralis (Ovid, Trist. 3. 13. 21; Virg. Aen. 6. 216) or funebris, or has some remote allusion to the funeral pyre (e.g. Lucan 3. 442; Stat. Theb. 4. 464). Homer, on the contrary, preferred a more cheerful epithet ε??ώ??ης.But the cypress is by no means the only tree in the forest, and the poets take good care to let the reader know it. The Romans thought that there were some parts of poetry, and particularly epic poetry, in which they could improve on the Greeks, and word-painting was one of these. Where the Greeks usually contented themselves with a terse epithet, the Romans loved to dip their brush in bright colours and lay them on thick. Such descriptive passages have their place in poetry, but their employment needs to be regulated carefully in accordance with the requirements of the subject. In epic particularly they should not delay the course of the action, but, as it were, provide a pleasant oasis wherein the reader can rest after perusing the account of some more strenuous activity. The forests we find in Latin verse usually contain far more trees than are generally found on an oasis, but they do provide a convenient resting-point in the action, and at the same time give the poet an opportunity of displaying his powers of word-painting.
Silence as Sound: Handel's Sublime Pauses
