Table Of ContentCLASSICAL PRESENCES
GeneralEditors
LornaHardwick JamesI.Porter
CLASSICAL PRESENCES
Attemptstoreceivethetexts,images,andmaterialcultureofancientGreece
and Rome inevitably run the risk of appropriating the past in order to
authenticatethepresent.Exploringthewaysinwhichtheclassicalpasthas
beenmappedoverthecenturiesallowsustotracetheavowalanddisavowal
of values and identities, old and new. Classical Presences brings the latest
scholarship to bear on the contexts, theory, and practice of such use, and
abuse,oftheclassicalpast.
The Protean Virgil
Material Form and the Reception
of the Classics
CRAIG KALLENDORF
1
3
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In memoriam
Virginia Brown
1940–2009
Philip Ford
1949–2013
...manibusdateliliaplenis
purpureosspargamfloresanimamquenepotis
hissaltemaccumulemdonis,etfungarinani
munere.
(Aen.6.883–6)
(Withfullhands,givemelilies;letmescatter
Thesepurpleflowers,withthesegifts,atleast,
Begeneroustomydescendant’sspirit,
Completethisservice,althoughitbeuseless.)
(TheAeneidofVirgil,trans.AllenMandelbaum
(NewYork:BantamBooks,1972),p.162)
Acknowledgements
Normallyoneofthemostpleasurablepartsofaprojectlikethisisto
thank those who have helped bring it to completion. In this case,
however, the task is complicated by the fact that, although I did not
realize it until recently, I have been thinking about this book ever
since Ientered graduate schoolalmost forty years ago,which means
that everyone who has taught me anything about Virgil or about
manuscripts and printed books, and everyone who has granted me
access to the rare research materials on which work in this area
depends, has contributed to the pages that follow. Yet while it is
impossibletothankallofthesepeopleindividually,Iwanttoacknow-
ledgehowmuch of a collective enterprisethis book has become and
howgratefulIamtoeveryonewhohashelpedbringittocompletion.
Myforayintothecomputerworldtookmefarthestfrommycomfort
zone,andIdofeelaneedtosingleoutthreepeoplewhoplayedVirgil
tomyDantehere:PatrickBaker,whosecasualcommentoverabeer
in Münster made me realize I needed to write the fifth chapter, and
Laura Mandell and Jacob Heil, who helped me do it. I should also
thankmyteenagesonTrevor,whoservedasmyguidetotheworldof
Virgilian video games. Finally, I am grateful to the two anonymous
readers engaged by Oxford University Press, whose comments have
improved everything from the general argument of the book to
translationsinthefootnotes.
I did not realize it at the time, but the first tentative steps in this
project were taken over a decade ago, with the publication of ‘The
Aeneid Transformed: Illustration as Interpretation from the Renais-
sancetothePresent’,inPoetsandCriticsReadVergil,editedbySarah
Spence (New Haven and London: Yale University Press, 2001),
pp. 121–48, copyright 2001 by Yale University Press and used by
permission. I have updated the references and integrated the argu-
mentintothelargerplanofthisbook,butthatchapteristheonlyone
tohavebeenpublishedinsubstantiallythesameformbefore.Partsof
Chapter3 were presented to audiences at the University of Sydney,
Harvard University, Ohio State University, the University of Massa-
chusetts at Amherst, the University of Leiden, the University of
Amsterdam, the Accademia Nazionale Virgiliana in Mantua, and
viii Acknowledgements
the Congresso Internazionale di Studi Umanistici in Sassoferrato,
Italy, and I thank both those who invited me to speak and those
whorespondedtowhattheyheard.
Itiscustomaryfortheauthorsofscholarlybookstolamentabout
howlongithastakentofindthetimetofinishthework,butthanksto
the generosity of two institutions that is not the case here. Shortly
after the outlines of the project became clear in 2011, I received a
grantfromtheProgramtoEnhanceScholarlyandCreativeActivities
(PESCA) at Texas A&M University. One of the goals of this pro-
grammeistomoveaprojectalongtothepointwhereitcangenerate
externalfunding,andbygivingmeasummerfreeofotherresponsi-
bilities, PESCA allowed me to prepare a successful proposal for a
fellowship from the National Endowment for the Humanities. This
fellowshipyearinturndidexactlywhatitwassupposedto,allowing
metocompletetheresearchandwritethebook.Inatimeofshrink-
ingsupportforresearchinthehumanities,Iamespeciallygratefulfor
theconfidencethatthesetwoinstitutionshaveshowninme.
Twoofthepeoplewhohavebeenvitallyinterestedinthesubjectof
this book and supportive of my work, Virginia Brown and Philip
Ford,didnotlivetoseeitscompletion.Sadly,Idedicatethebookto
theirmemory.
OUPCORRECTEDPROOF–FINAL,12/1/2015,SPi
Contents
ListofIllustrations xi
1. MaterialInstabilities 1
1.1 ReceptionandtheMaterialBook,I:Introduction 1
1.2 TheGrandNarrativeofTextualStability 10
1.3 TheGrandHermeneuticalNarrative 21
1.4 TheParadoxofthePhysical 40
2. Manuscripts 42
2.1 FromRolltoCodex 42
2.2 TheBaptismofVirgil? 48
2.3 VirgilGoestoSchool 59
2.4 VirgilintheServiceoftheChurch 69
3. PrintedBooksI:Text 80
3.1 FromManuscripttoPrintedBook 80
3.2 Format 84
3.3 FromMarginaliatotheCommonplaceBook 88
3.4 ReadingintheRenaissance 106
3.5 BooksReadandUnread 116
4. PrintedBooksII:Illustrations 121
4.1 WordandImage 121
4.2 PeriodizationandVirgilianIllustration 123
4.3 TheIdeologyofEngraving 136
4.4 TheQuestionofAudience 142
5. Computers 152
5.1 Introduction 152
5.2 PostmodernTextualities 153
5.3 VirtualVirgils 157
5.4 ReceptionandtheMaterialBook,II:Conclusion 167
References 173
Indices
GeneralIndex 195
IndexofManuscriptsCited 202
IndexofVirgilianEditionsCited 203
IndexofPassages 206
