Table Of ContentPaolo Dainotti
Word Order and Expressiveness in the Aeneid
Untersuchungen zur antiken
Literatur und Geschichte
Herausgegeben von
Heinz-Günther Nesselrath, Peter Scholz
und Otto Zwierlein
Band 121
Paolo Dainotti
Word Order and
Expressiveness in
the Aeneid
Translated from Italian by Ailsa Campbell
The publication of this book has been financially supported by the University of Salerno (Dipar-
timento di Studi Umanistici/DIPSUM, Sezione FILSAM and Fondi di Ateneo per la ricerca di base
– a. a. 2013 of prof. Stefano Grazzini).
ISBN 978-3-11-038422-2
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ISSN 1862-1112
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To Gian Biagio Conte
This work, the expanded and revised version of my doctoral thesis, would not
have been possible without the valuable help of the distinguished scholars who
have supported me in these long years of study.
I am deeply indebted and grateful to Gian Biagio Conte, who first conceived
the idea of this research. He entrusted to me some years ago this topic which he
himself had long intended to investigate fully; he offered me his long-term hospi-
tality at the Scuola Normale di Pisa and his critical finesse, and has contributed,
by means of his subtle analysis of Virgil’s style, not only to the planning and
realiz ation of the work, but also and above all to my cultural development. It
pleases me to think that this is also his book.
Stephen Harrison supervised me in my research term at Corpus Christi College
of Oxford and, in the role of external supervisor of my doctoral thesis, has read
my text and made valuable suggestions, in particular on the iconicity of Virgil’s
ordo verborum, an aspect in which he is indisputably a pioneer.
Particular thanks are due to Stefano Grazzini, who has supervised me from
the start of my research activities and has helped, in the role of tutor, towards the
realization and revision of my work, with the competence and rigour which dis-
tinguish him; and to Lucio Ceccarelli, for having read the work with patience and
meticulous care, putting at my disposal his incomparable metrical competence.
If the positive aspects of my work are due to the contributions of these schol-
ars, any possible defects obviously remain attributable to me alone.
The translation of the text, carried out with elegance and uncommon rigour
by Ailsa Campbell, was financed by the Dipartimento di Studi Umanistici dell’Uni-
versità di Salerno. I am also indebted to the editors of the series Untersuchungen
zur antiken Literatur und Geschichte for their valuable suggestions.
Finally, I thank my family and my wife Gabriella, who have always supported
and encouraged me.
Paolo Dainotti
Table of Contents
Preamble 1
Introduction 3
Expressiveness, iconicity and literary tradition 3
A) Expressiveness 3
B) Iconicity 7
B) I Typologies of iconicity 8
B) I a Images 8
B) I a 1 Acoustic images 8
B) I a 2 Visual images 10
B) I b Diagrams 10
B) I b 1 Acoustic level 10
B) I b 2 Visual level 13
B) I b 3 Structural level 14
C) Criteria for a stylistic analysis 17
Chapter 1 Poetry and verse 19
A) Poetry, verse and enjambement in ancient and modern theory 19
B) Enjambement in the Aeneid 26
B) I Interlinear juxtaposition: Virgil’s primary device. 27
B) I a Stylistic effects of interlinear juxtaposition:
adjective–noun 31
B) I b Stylistic effects of interlinear juxtaposition:
noun–adjective 47
B) II Rejet 58
B) II a Stylistics effects of the rejet of a verb 59
B) II a 1 Falling 63
B) II a 2 Throwing 70
B) II a 3 Blows, thrusts and violent actions 76
B) II a 4 Momentary actions 90
B) II b Rejet of noun 96
B) II b 1 Patronymics, proper names, ethnological names 97
B) II b 2 Rejet and syntactical expansion 100
B) II c Rejet of an adjective 106
B) II c 1 Expressiveness of the rejet of an adjective 106
x Table of Contents
B) II d Mimetic expressiveness of the rejet in direct speech:
exhortations, exclamations, demands, orations,
conclusions 113
B) II d 1 Imperatives in rejet 113
B) II d 2 Rejet at the close of direct speech 116
B) II d 3 Rejet and interrogative sentences 118
B) II d 4 Vocatives 121
B) II d 5 Rejet and emphasis 123
B) III Stylistic effects of the après-rejet 130
B) III a Consequence 131
B) III a 1 Cause and effect 131
B) III a 2 Action and reaction 136
B) III a 3 Reactions to signals or commands 137
B) III a 4 Psychological reactions 139
B) III b Après-rejet of opposition 142
B) III c Immediacy of the action, excitement 144
B) III c 1 Subitus, ocius, mox 145
B) III c 2 Verbal forms 146
B) III d Explanatory après-rejet 147
B) III e Epic closures and sententiae 149
Chapter 2 Poetry and rhythm: on metrical expressiveness 152
A) Stylistic effects of synaloepha 152
A) I Synaloepha and iconic word order 153
A) I a To hide, to hug 153
A) I b Fusion or conflict 155
A) II Synaloepha and rhythm 156
A) II a Rapidity, urgency, commotion 157
A) II b Violence 163
A) II c Effort 164
A) II d Gasping and pathetic synaloepha 166
A) III Synaloepha at the point of a syntactical pause 175
B) Synaloepha and hypermetric lines 178
B) I Hypermetre in lists 179
B) II Hypermetre and an effect of suspense 181
B) III Rapidity, agitation, anger 182
B) IV Hypermetre and direct speech 183
C) Writing verses in a Greek style: hiatus, spondaic lines, irrational
lengthening, four-syllable line-ends 184
C) I Hiatus 184
