Reception

From Oxford University Press's ‘Classical Presences’ series, Carol Dougherty's Travel and Home in Homer's Odyssey and Contemporary Literature places Homer's Odyssey in dialogue with five twentieth- and twenty-first-century novels which all deal in some way with the ideas of home or travel. The author focuses on novels which, on the whole, do not respond overtly to the Odyssey, but which instead share key themes – such as transience, reunion, nostalgia, or family relationships – with the Homeric poem. The conversations which she initiates between the ancient epic and the modern novels inspire us to rethink previously held assumptions about the Odyssey. For example, Dougherty's exploration of Rebecca West's The Return of the Soldier (1918), in which a veteran returns from the First World War with no memory of his wife, prompts her reader to consider Odysseus’ stay with Calypso as ‘a kind of nostalgic amnesia, a necessary break that enables rather than an obstacle that impedes his return’ (111). As ‘an experiment in improvisatory criticism’ (16), this book yields rich rewards for the reader who is already familiar with the Odyssey, as well as for those whose point of entry is one of the five modern novels. The framework applied – in which each chapter presents a reading of a relevant section of the Odyssey before setting out an analysis of the contemporary novel with which it is paired – is perhaps more familiar from comparative literary studies than from classical reception scholarship, yet Dougherty's approach is one which stimulates fresh thought about how we as readers (re-)interpret and ‘receive’ ancient texts based on the contexts in which we encounter them.

THE ARCHAIC ROOTS OF PATERNALISM: CONTINUITY IN ATTITUDES TOWARDS SLAVES AND SLAVERY IN THE ODYSSEY, XENOPHON'S OECONOMICUS, AND BEYOND

This article discusses differences and continuity in responses to issues of slave management in two texts from different periods of Greek history (Xenophon's Oeconomicus and the Odyssey) and compares these responses to those of slave owners in the Antebellum South, ancient Rome, and the ancient Near East. In particular, it examines different expressions of paternalistic attitudes towards slaves (a well-studied feature of slave-owning classes throughout history) that it finds are present in both of these examples. The article explores the possibility that intertextual links were responsible for these similarities but suggests instead that they are reflective of real Greek slaveholding ideology across hundreds of years, which primarily served to justify an exploitative system and disguise the cruelty and violence inherent in maintaining it.

FIDDLING WHILE ROME BURNS: THE AETIOLOGY OF A FAMILIAR ENGLISH EXPRESSION

‘Fiddling while Rome burns’ is arguably the most familiar English saying inspired by classical antiquity. The image of Nero actually playing an instrument during the Great Fire is not, in fact, found in ancient sources: the first English reference belongs to Cooper's 1548 revision of Elyot's Latin–English Dictionary, where Nero is said to play a harp during the conflagration. In 1649 the royalist poet George Daniel applied the term ‘fiddle’, and the familiar modern form of the expression, as a byword for a leader's neglect, was apparently coined in a 1680 English parliamentary speech by Silius Titus.

Roman History

After a focus on social and cultural history in the last issue, this issue's offerings return us to more traditional subjects – political institutions, and historiography. That spring review ended with religion, which is where we start here: an apposite reminder that religion pervades all aspects of the Roman world. It is precisely that principle which undergirds our first book, Dan-el Padilla Peralta's Divine Institutions. Padilla Peralta is interested, at root, in how the Roman state became such through the third and fourth centuries bce. That is a story usually told – in a tradition going back to the ancient historians themselves – via a swashbuckling tale of successive military campaigns. Padilla Peralta, however, sets that anachronistic narrativization aside, and instead builds a careful case that between the siege of Veii and the end of the Second Punic War ‘the Roman state remade and retooled itself into a republic defined and organized around a specific brand of institutionalized ritual practices and commitments’ (1). Specifically, he shows that the construction of temples and the public activities they facilitated were a key mechanism – one as important as warfare – by which the consensus necessary to state formation was generated: the Republic more or less stumbles into a bootstrapping formula that proves to be unusually felicitous: high visibility monumental enterprises are paired with new incentives for human mobility in ways that dramatically and enduringly reorganize the rhythms of civic and communal experience. (17–18) In particular, Padilla Peralta argues that output was greater than input; that the genius – whether accidental or deliberate – of this formula was that it facilitated a confidence game whereby the res publica appeared more capable – via the apparent support of the gods whom its visible piety secured – than was in fact the case.

Greek Literature

When I reviewed Daniel Harris-McCoy's text, translation and commentary on Artemidorus’ Oneirocritica (G&R 60 [2013], 318–19), I never dreamed that eight years later I would be reviewing two more books on Artemidorus – or, rather, a co-ordinated pair of them. It would be an uncharitable joke to describe Harris-McCoy's translation as a nightmare: even so, I was not alone among reviewers in judging it unidiomatic and often defective. Martin Hammond's characteristically fluent, lucid, and (importantly) accurate translation is supplied with notes on the Greek text and an outstandingly useful sixty-two-page index; Peter Thonemann contributes an informative introduction and explanatory notes on the content.

‘STRANGE’ RHETORIC AND HOMERIC RECEPTION IN AELIUS ARISTIDES’ EMBASSY SPEECH TO ACHILLES (OR. 52)

This article argues that Aelius Aristides adapts the word atopos (‘strange’, ‘out of place’) as figured speech in his Embassy Speech to Achilles, meaning something that is either illogical according to rhetorical topoi or inconsistent with the text of Homer's Iliad. By doing so, he not only expands the semantic range of atopos but also comments on the rhetorical, intertextual, and pedagogical relationship between oratory and the Homeric tradition.

Latin Literature

These have been good years for Ennius perennis. A couple of years on from his Loeb renewal, two superb books keep the lifeblood pulsing. Ennius’ Annals. Poetry and History, edited by Cynthia Damon and Joseph Farrell, is a masterclass of a conference volume. The lucid introduction, a sort of ‘Whither Ennius?’, powerfully situates it in the receding wake of Otto Skutsch's monumental edition and the fresher waves of Ennius and the Architecture of the Annals, Jackie Elliott's powerful challenge to ‘Virgiliocentric’ reconstructions of this fragmentary text. As those studies made plain enough in their different ways, reception and interpretation of the Annals are interlocked to a special degree, and the fourteen chapters in this book (plus afterword by Mary Jaeger) roam nicely around and between both.

WINE TABOO REGARDING WOMEN IN ARCHAIC ROME, ORIGINS OF ITALIAN VITICULTURE, AND THE TASTE OF ANCIENT WINES

A number of ancient sources suggests that Roman women in the archaic period were not allowed to drink wine. Various theories have so far been proposed to explain this taboo, most of them assuming that it meant a complete alcohol ban, and relating it to the special role of women in the Roman family. However, a reconsideration of these theories, which takes into account the results of recent studies on the origins of wine consumption in Italy, shows that the archaic wine taboo had more to do with the nature of wine than with the nature of women.

Art and Archaeology

For many, the era of COVID-19 has been short of colour. All the more reason, perhaps, to welcome this round-up's starter for ten: a multihued survey of polychromy in Roman portraiture. Facing the Colours of Roman Portraiture is a book that really does lend itself to being judged by its cover: as we turn the volume from back to front, a marble portrait magically metamorphoses between battered original and technicolour reconstruction.