Show Less

Elegiac Eyes

Vision in Roman Love Elegy


Stacie Raucci

Elegiac Eyes is an in-depth examination of vision and spectacle in Roman love elegy. It approaches vision from the perspective of Roman cultural modes of viewing and locates its analysis in close textual readings of Tibullus, Propertius, and Ovid. The paradoxical nature of the Roman eyes, which according to contemporary optical theories were able to penetrate and be penetrated, as well as the complex role of vision in society, provided the elegists with a productive canvas for their poems. By locating the elegists’ visual games within their contemporary context, Elegiac Eyes demonstrates how the elegists were manipulating notions that were specifically Roman and familiar to their readership.


Show Summary Details
Restricted access

Chapter Five. Seeing Death 119


CHAPTER FIVE SEEING DEATH ∢ In Lady Lazarus (43–45), Sylvia Plath tells that “Dying//Is an art, like everything else.// I do it exceptionally well.” These verses, taken out of their poetic context, could easily refer to the deaths written by one of the Roman elegists. The elegists indeed treat death as an art form, carefully sculpting its repeated instances in verse. They engage closely with it, imagining their own funerals or vividly picturing a mistress come back from the dead, half-burnt from the funeral pyre. These elegiac deaths have long been of interest to scholars, in par- ticular those who have focused on Propertius’ preoccupation with this topic.1 This chapter revisits this well-worn territory of death in Roman elegy by re-examining it in light of its visual nature, considering how the elegists draw on visual dynamics to great effect. Working from the funeral procession as a staring point, this chapter undertakes two main tasks. The first one is to break down how the elegiac dynamics of vision structure the rituals of death, and how the poets manipulate the visual schema of the Roman pompa funebris (funeral procession).2 I argue that the elegists play with a tripartite structure already present in Roman rituals of death that could include the ancestors, the corpse, and mourners.3 The second task is to study the effects of using such physical and vivid representations of death in elegy. What can the spectacle of death help the elegists accomplish? This chapter draws in particular on Mario...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.