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Chapter 1 examines the motif of corpse treatment in the Iliad and Aeneid. The chapter sets a baseline for the motif by looking at these foundational works, with the intention of establishing a normative framework which will prove valuable for highlighting deviations from the norm in the treatment of corpses in imperial epic. The section on the Iliad demonstrates the basic pattern of corpse treatment in the poem by examining the aftermath of the deaths of Sarpedon, Patroclus, and Hector. The section closes with a discussion of Locrian Ajax’s abuse of Imbrius (Il. 13.201-5), a scene that problematizes the general picture of corpse treatment in the poem. The next section considers Virgil’s narrative strategies concerning the abuse of corpses in the Aeneid. While it is clear that Virgil departs from Homer in allowing a wider range of corpse abuse into his poem, in every case Virgil pulls back from describing it and blankets the abuse in narrative silence. The section offers a consideration of the civil war violence and corpse mistreatment from Marius and Sulla to Actium and the establishment of the principate, as a means of contextualizing some of the (silent) abuses contained within the Aeneid.
Virgil's Aeneid was conceived and shaped as a national and patriotic epic for the Romans of his day. Certainly the Romans hailed it as such, and it rapidly became both a set text in education and the natural successor to the Annales of Ennius as the great poetic exposition of Roman ideals and achievements. One of the fountains of the Aeneid's inspiration was the national aspiration of Rome in Virgil's time; another, of equal if not greater importance, was the epic poetry of Homer. The Iliad and the Odyssey represented in the classical world the highest achievement of Greek poetry, and the admiration universally felt by the Romans for Homer was for the great national poet of the Greek world whose literature they revered. The Olympian deities enabled Virgil to enter in description the mythological world which delighted Ovid in his Metamorphoses.
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