Review of Ovid's Poetics of Illusion by Philip Hardie

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Ovid's Poetics of Illusion by PHILIP HARDIEReview by: STEPHEN WHEELERVergilius (1959-), Vol. 50 (2004), pp. 205-215Published by: The Vergilian SocietyStable URL: http://www.jstor.org/stable/41587297.

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each other because of their shared and mutually implicated hopes ofimmortality 173). Horace, we can see, immortalized himself bywriting bout Augustus as he wrote about literaryhistory; t the sametime,he recorded forall time the effectsof theimmense gravitationalpull of imperial auctoritas.This thought-provokingvolume closes with an Epilogue fromthe two editors in which the twelve contributions receive theirownplace in the tradition and context of Horatian scholarship. Scholarsand advanced students will find in this collection of essays astimulatingreminderthatpoetry, ike all language, is situated both inthe world of a definite time and place and in the universe of poetryand other literature.THE EPISCOPAL ACADEMY,MERION, PENNSYLVANIA LEE T. PEARCY

PHILIP HARDIE, Ovid's Poetics of Illusion. Cambridge:Cambridge University Press. 2002. Pp. viii + 365. ISBN 0-521-80087-0. $65.00.Philip Hardie, now Corpus Christi Professor of Latin at OxfordUniversity,made his mark in Latin studies duringthe 1980s and 90sbypublishing on Vergil. His first ook, Virgil s Aeneid: Cosmos and

Imperium (Oxford 1986), was a revealing study of the epic'sallegorical levels of meaning (cosmological, gigantomachie, andhistorical-political), which resonated with the imperial ideology ofAugustus. If Cosmos and Imperium offered a strongly closuralreading of the Aeneid, in which cosmogony and historyculminateteleologically in the shield of Aeneas and the imperial order ofAugustus, Hardie's follow-up book, The Epic Successors of Virgil(Cambridge 1993), reversed course and pursued a different nalysisof the Aeneid in which the epic's drive forclosure is countered byrepeated outbreaks of chaos or violent furythat makes its endingendlessly elusive. The unresolved tension between closure andcontinuation inthe Aeneid spawned a succession ofmythological and

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historical epics, inwhich Ovid, Lucan, Statius,Valerius Flaccus, andSilius Italicus, each in his own way, attemptedto rewrite and finishwhat Vergil had set in motion.Afterrevolutionizinghis own approach toVergil,Hardie assumedthe mantle of institutional authority n Vergilian studies when hepublished a Green and Yellow Cambridge commentaryon Aeneid 9(1997) and the Greece & Rome surveyofVergil (1997, no. 28), andadvanced his reputationas a literary riticby editing a collection ofessays on Vergil for the series Routledge Critical Assessments ofClassical Authors (1 999). Itmay be safe tosay that no one publishedas extensively on Vergil as Hardie did in thepast two decades.With his most recent book, Ovid's Poetics of Illusion, theprominent Vergilian appears to have changed horses. However, asmany of his colleagues know, Hardie's interest n Ovid is not new.He has been publishing articles and chapters regularly on theMetamorphoses and Fasti since the late 80s, and in 1997 heorganized a Cambridge conference on the Metamorphoses, whoseproceedings, Ovidian Transformations (Cambridge 1999) he co-edited. In the same year as he published the book under review(2002) he also edited theCambridge Companion toOvid. So the mostrecentstudyof Ovid representsthe continuation and culmination ofmore than a decade's work that he conducted, maiusfide, alongsidehis Vergilian labors.It may nevertheless be temptingto see Hardie's recent shift offocus to Ovid as yet another sign that we are living in an aetasOvidiana, which has succeeded the aetas Vergiliana of the pastcentury.But such a Traubian perspective of monolithicages becomesdifficult o sustain as one discovers that Hardie's reading of Ovid isinextricable fromhis interpretationfVergil, and thathis most recentviews ofVergil are likewise colored by his investigations into Ovid.Not surprisingly, hen,there s much in Ovid's Poetics of llusion thatbears on the interpretation nd understandingof Vergil.A question thatmay interestreaders of this ournal is how Vergilshapes up throughHardie's Ovidian lenses. But before addressingthis question, I should set the book in its scholarly context and givean account of its contents. Ovid's Poetics of llusion is unique in that



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it addresses itself to Ovid's poetryas a whole but does notpurport obe an introduction to Ovid. It pursues a single thesis, adumbratedby its title, through a set of detailed and penetrating readings ofselections fromOvid's works,while making periodic excursions intothe reception of Ovid by writers and artists from the Renaissance tothepresent.Of books in English that address the Ovidian corpus as awhole (those byE. K. Rand, Hermann Frnkel,L. P. Wilkinson, SaraMack, and Niklas Holzberg), Hardie's has the most in common withFrnkel's and Holzberg's, each of which attemptsto find a unifyingprinciple in thevarietyof Ovid's poetry.For Frnkel,thisunity temsfromthe author's historical position as a poet between two worlds(pagan and Christian), whose alienation is expressed through aninterest nwavering identity nd unstable essences. Although Hardieis cautious about Frnkel's historical view of Ovid, he identifiesFrnkel as someone who shiftedtheparadigm of Ovidian studies bytaking seriously Ovid's interest in personal psychology. In manyrespects, Hardie's book continues the psychological approach ofFrnkel but gives it a new Freudian/Lacanian basis informed byHardie's reading of recent literarycriticism such as Peter Brooks'sBody Work: Objects of Desire in Modern Narrative (Cambridge,Mass. 1993). Hardie also positions his book as a complement toHolzberg's studyof thegeneric and semiotic unityof Ovid's poetry,which traces the elegiac program laid out in the Amores and itssuccessive transformationsfromthe Heroides throughto the exilepoetry. Hardie argues that there is also a thematic unity to theOvidian career (as opposed to the Vergilian) which can be tracedthroughOvid's poetics of illusion.What then are the poetics of illusion? For classicists, who havebeen obsessed during the past two decades with Ovid's poetics ofallusion, Hardie's shift o illusion may appear novel. But thenoveltyis illusory because Hardie is, in fact, alluding to the terminologydeployed by Murray Krieger in his book entitledPoetic Presence andIllusion (Baltimore and London, 1979). Although Krieger is not theonly modern theorist that Hardie draws on in his investigation ofOvidian illusionism, it is Krieger's theory of poetic illusion-particularly as it is exemplified in the Renaissance - thatprovides

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him with a frame of referenceat thebeginning of his study. Kriegerlikens poetic illusion to metaphor inasmuch as it works itsmomentarytrickwith a full awareness of the differentialnature oflanguage which precedes and coexists with it. It works towardverbalmagic only by allowing its self-dissolution in the same act (quotedbyHardie on p. 26). If one returns o Krieger's title,Poetic Presenceand Illusion , one may note thatwhat is absent fromHardie' s title sthe term poetic presence. But this idea is central to Hardie'sreading of Ovid. He begins the book by stating, Ovid delights topresenthimself in theAugustan here and now, quoting the familiarwords of Ars 3.121-2: ego me nunc denique natum/gratulor. Therest of the book pursues the idea of poetic presence through thetransformations f Ovid's career, culminatingwith the exile poems,in which the absent poet can only make himself present in theAugustan here and now through the illusory image of himselfconveyed byhis poetry cf. Tr. 1.7 and Pont. 2.1-4). For Hardie, then,illusion is synonymous with poetic presence. In both cases, hefrequently substitutes the post-modern clich absent presence,which he uses in the Lacanian sense of the perpetually deferredpresence of the object of desire. Hardie is not the first o read OvidthroughLacan (he acknowledges debts to Micaela Janan and DonFowler in this regard), but he is the first o map Lacanian conceptsacross the body of Ovid's poetry.Hardie's thesis is that Ovid's poetryis fundamentallyconcernedwith thepower of words (and visual art)to evoke illusions or mentalimages (phantasiai ) ofpersons and thingsthatare, in fact,absent. Ofcourse, the vividness (enargeia ) achieved through the verbaldescriptionof imagined objects was an important rincipleof ancientpoetics and rhetoric,which was regularlydeployed to increase thecredibility of a narrative. But what is quintessentially Ovidian,according toHardie, is thepoet's use of illusionism to conjure absentpresences for ontological reasons. What drives Ovid's poetics ofillusion is the desire forthepresence of someone or somethingthat snot there,whether it is the lover's desire for the presence of thebeloved or the mourner's desire forthe deceased or the exile's desireforhome. In most cases, the object of desire is usually unattainable



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and so the desirer repeatedly tries to attain what is unattainable bysubstituting illusions of presence, such as names, images ormonuments that remind one of what is absent. Hardie suggests that[d]esire maywell be the master-term or n understandingof Ovid'spoetics of illusion and he sets out to reclaim Ovid as one of thegreatwriters of desire in the western tradition 1 1). In theprocess,he goes a long way to correcting the view of Ovid as adeconstructionistpranksterwho delights in burstingthe bubbles heblows.The book is divided into tenchapters,the contents of which defyjust summary,but itmay be helpfulto view thesweep of the materialcovered and make a few observations. The first hapter provides aninitiation into its subject through exemplary readings of Ovid andother Latin authors especially Lucretius and Vergil) while explainingthe different critical and theoretical methods (literary historical,psychoanalytic, reception-oriented)Hardie uses topin down Ovidianillusionism. Chapters two and three formthe foundation of the bookand focus on the creative power of desire to generate absentpresences. Chapter two is occupied with erotic desire and offers areading of Amores 1.1-5 and the Apollo and Daphne episode inMetamorphoses 1, inwhich thedesiringmale subject (elegiac lover)is denied access to his beloved and must console himself with anillusion of her presence, which tends to be some form oftextualization of his desire. Hardie's interpretationf illusory objectsof desire builds productivelyon recent criticism about the writtennessof the elegiac puella (cf. articles by Maria Wyke, Alison Keith, andAlison Sharrock) and leads to a particularly powerful analysis ofDaphne's transformation nto a tree,which symbolizes the lover'sdesire, poetry,and the poetrybook itself {Met. 1.549 tenuis liber).Hardie pursues the idea of absent presences into the thirdchapter,which examines love and grief in the Metamorphoses, and showshow the lover-mourner overcomes loss through the creation ofmonuments of presence, such as inscribed tombstones. Here Hardiepays close attention o the song ofOrpheus inMetamophoses 10 andespecially the tale of Apollo and Hyacinthus in which Apollo turnshis dead beloved into a flower-text (termborrowed fromJanan)

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that s a monument for what he has lost. In the same chapter,he alsoanalyzes theepilogue of theMetamorphoses as the transformation fthe poet into his poem, a living, breathing tombstone, whichguaranteeshis presence in spiteofhis absence. Hardie' s exposition ofthis dea togetherwith ts classical intertextsEnnius, Vergil, Horace)is exciting, but it is unclear how he connects the poet's desire forpresence with the desire of the lover-mourner for a lost beloved.Hardie assumes thatOvid's desire to be a textual absent presence onthe lips of the people is a self-explanatoryend in itself.The rest of the book unfolds as a series of case studies thatillustrate the variations on Ovid's poetics of illusion (and desire).Chapter four concentrates on the illusion of epistolary presence inselected letters from the Heroides (the paired letters of Hero andLeander, the single letter of Laudamia, and the paired letters ofAcontius and Cydippe). The fifth nd sixth chapters are devoted toNarcissus (Met. 3) and Pygmalion (Met. 10), respectively.The formerbuilds on Hardie's article Lucretius and the Delusions of Narcissus(MD 20/2 1 [1988] 7 1 89), which may be regarded as the seed forthepresentbook. The latter deals with the topic of artand illusion andthe tradition of Pygmalion as the artist who fulfills his desiredfantasy.Chapter seven offers a studyof the absent presences of Ovidianlanguage, analyzing figuresof speech and names, particularly s theyare exemplified in the Metamorphoses. Chapter eight treats twoepisodes from theMetamorphoses that deal withmarriage, those ofTereus and Philomela (Met. 6) and Ceyx and Alcyone (Met. 11).Hardie's internal analysis of the play of absence and presence inthese episodes is first-rate. owever, one may question his claim thatthe fulfilleddesire ofCeyx and Alcyone for heperpetual presence ofeach other is an alternative ending to theMetamorphoses before thefinal four public and epic books that culminate in the exaltation ofRome. Here Hardie bases his approach uncritically on the arbitrarystructural nd thematicanalysis of Brooks Otis, and so convenientlyignores the bulk of private and erotic episodes in Books 13-14, aswell as the fulfillment f desire in the tale of Vertumnus and Pomonaand the reunion of Romulus and Hersilia at the end of Book 14.



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Chapter nine turns o selected examples fromOvid's exile poetryas a new application of thepoetics of illusion to the desire for Romeand forexperiencing the fullness of its presence. Chapter ten treatstwo modern novelists (David Malouf and Christoph Ransmayr) whorespond to Ovid's sense of alienation and desire for presence.Throughout the book, Hardie is concerned to corroborate hisinterpretation f Ovid with readings of the reception of Ovid in theliterature f the Renaissance (Petrarch,Shakespeare, Jonson) and heeven includes a twenty-page digression on the llusionism of the artistJean-Lon Grme in the nineteenth century,whose painting ofPygmalion graces the cover of the book.As far as coverage goes, Hardie does not make any claims forthecomprehensiveness of his reading of Ovid (his Ovid, he points out,has much in common with the Renaissance's). Although he doesoccasionally make reference to theArs Amatoria, Remedia Amoris,and Fasti (the invective Ibis is citedonlyonce in a footnote),he givesthe didactic works of Ovid the least attention.His concentration onOvid as the conjurer of illusions tends to crowd out other Ovidianpersonae and their historical reception. In this regard, Ovid in theMiddle Ages is significantlyabsent from Hardie's purview.Hardie's great strength s a reader of Ovid (not to mention ofLucretius and Vergil) is his ability to define a thematic patternanddemonstrate tspresence (seemingly everywhere). On thesurface,thebook's paradigmatic reading of illusionism in the Ovidian corpusexemplified by different rustrated overs or mournersdoes not lenditself to sequential development or the gradual building-up of anargument.However, the movement of the Ovidian career from poetof love {Amores, Heroides, Ars Amatoria, and Remedia Amoris) to apoet of lament {Tristia, Epistulae ex Ponto) gives the book a deepercontinuity. Hardie illustrates this continuity in the pivotalMetamorphoses through the song of Orpheus in Met. 10 and theepisode of Ceyx and Alcyone in Met. 11, in which lovers becomemourners and seek to regain thepresence of their ost beloveds. Mostof the chapters can nonetheless be read as stand-alone studies or inany order the reader wishes (each contains cross-references torelevant discussions in otherchapters and so encourages hopscotch-

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reading. Sometimes, the choppy internalstructuring f chapters canbe exasperating as Hardie has a tendency to interweave differentdiscussions and abruptlymove from one topic to another. Anotherpotentiallyoff-puttingharacteristic ofHardie' s style s his tendencyto build his cases circumstantiallyand associatively by heaping upexamples. However, excellent close readings and writing of highquality compensate much for the structural shortcomings ofindividual chapters. The volume, which includes 12 illustrations, salso well produced with few errors. The most confusingtypographical problem I found was the misprintof fn. 33 on p. 12,which properly belongs to p. 14.In the remaining space of this review, I will give a sample ofsome of themany, finely-detailed nterpretationshat Hardie gives tohis chosen constellation of Ovidian texts. To limitthesampling I willlook at those readings of Ovid that relate toVergil, whose poetics ofillusion is ubiquitous in Ovid. According to Hardie, Ovidrepeatedly responds to and reworks Vergil's illusionist narrative ofunsatisfied desire in Aeneid 1 and 4. The first uch reworkingoccursin Ovid's drama of absent presences in the Amores. Hardie comparestheelegiac Ovid and Corinna to Aeneas and Dido. Afterbeing absentand unnamed at thebeginningof theAmores,Corinna finallypresentsherself nakedly to Ovid in Amores 1.5, but her presence, asimmediate as it may seem, is also destabilized by its liminaluncertainty, osed in thetwilightbetween mortal and divine, realityand personification.Corinna's quasi-divine presence (replacing thatofAugustus, which will become thesubject of Ovid's exile poetry) san illusion conjured by the desirous poet. But how is the poet'sencounterwithan illusoryCorinna supposed to remind us of Aeneasand Dido in the Aeneid? Vergil is, of course, in the detail. Hardieobserves thatCorinna's epiphany occurs in the same crepuscular light(Am. 1.5.3-6) as that in Vergil's underworld of illusorypersonifications (Aen 6.270-72), when Aeneas sees Dido forthe lasttime (Aen. 6.451-54). And because this scene is parallel structurallywith Dido's firstappearance to Aeneas in Aeneid 1, Hardie takesOvid's allusion to the dreamy lightof theVergilian underworld as acue to associate Corinna with Dido.



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Aeneas's love for Dido is, of course, not made explicit untilAeneid 6.455, but Hardie builds a circumstantialcase for tsvalidityin Aeneid 1 throughOvid. In the sixth chapter on Pygmalion, hepoints out thatthe reactions of a viewer to a statue and to a beautifulhuman being are comparable. In the Metamorphoses , Perseusexperiences stupor when he sees Andromeda chained to a rock andcan scarcely distinguish her from a statue {Met. 4.675). Hardieobserves a similar stupor inAeneas when he views the reliefs on theCarthaginian temple ofJuno Aen 2.494-95), whereupon Dido entersthe scene as a flesh-and-blood materialization of the Amazon queenPenthesilea ( 185), whom Aeneas was just looking at instone. So, byassociation, Aeneas's aesthetic stupor glides into erotic stupor.Hardie notes further hat,at Aen. 6.471, the unresponsive shade ofDido is compared to a block of Parian marble (6.47 1 and therefore slikewise compared to a piece of art,retrospectively confirmingherstatue-like appearance in Aeneid 1 and hence her qualities as anabsent presence. Aeneas's desire for Dido has deeper causes. Dido'sDiana-like appearance recalls Venus's disguise as a Carthaginianvirgin and so suggests that she is a stand-in for Aeneas's mother.Hardie highlights the incestuousness of Aeneas's desire for Didothroughan incestuous reading of Apollo's pursuit of Daphne, wholooks like his sister Diana. It is interestingto note in response toHardie thatthe late-antique commentator Tiberius Claudius Donatuspraises Aeneas fornotbecoming enflamedwithpassion when he seesthe tempting Carthaginian virgin inAeneid 1One of the central themes of Hardie' s book is the pathologicaldelusion of the Ovidian lover, perhaps summed up best by the storyof Narcissus's love for his own reflection. In this tale, Hardie seesOvid mining the end of the fourthbook of Lucretius's De RerumNatura in which the Epicurean satirizes the lover's preoccupationwith theimage and name of the absent lover, substituting pes forres.Ovid's Narcissus also recalls for Hardie Vergil's Eclogues, forNarcissus rejects the presence of his lover Echo and pursues theabsent image of himself in an unsympathetic pastoral setting. Thethemes of presence and absence are central to Vergil'sreinterpretation f Theocritean bucolic. In the first clogue , Tityrus

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teaches the woods to echo back Amaryllis (correctingthe Lucretianview of echo) and so enjoys his beloved's presence in harmonywiththepastoral world. By contrast, n the second Eclogue, Corydonwoosthe absent Alexis by castingwords at theunresponsive mountains andwoods. If Tityrus is a fulfilled singer, Corydon is a frustrated ne,looking back to Gallan (and Callimachean) elegy and ahead to thefigureof Gallus in Eclogue 10, who pursues his absent beloved in aharshArcadian landscape. As a successor of Corydon and Gallus inEclogues 2 and 10, Ovid's Narcissus representsthe strain of elegiacabsence in theEclogues. Conversely, the fulfilled ove ofTityrus ndAmaryllis findsexpression elsewhere inOvid's work. The Heroides,forexample, conclude with the prospective union of Acontius andCydippe, effectedthrough writing,which marks the end of Ovid'selegiac program.Hardie also reads thereunion ofCeyx and Alcyoneas the realization of the ideal of pastoral presence celebrated byVergil in Eclogue 1These are just some of many examples of the ways in whichHardie reads Vergil togetherwith Ovid. More could and probablyshould be said about Ovid's repeated reworkings of the dream ofHector in Aeneid 2 and thepersonificationof Fama inAeneid 4, eachexemplifying,respectively, the visual and verbal modes of illusionthatOvid takes over fromVergil, but it s timeto conclude withsomegeneral remarks about Hardie's reading ofVergil throughOvid. Firstof all, he does not advocate his own theoryof reception, but adoptsthereception-orientedapproach of Charles Martindale, which viewsthe meaning of an author as shaped by the historyof its receptionthroughtherewriting r rereadingof laterauthors.A good specimenof Hardie's criticism in this regard is his subtle analysis of BenJonson's Poetaster, in which Vergil is judged the poet of truepresences and Ovid of false. Hardie's studyof thepoetics of illusiondoes not take into account other aspects of Ovid's relationship toVergil or indeed much of the recent scholarship on the subject. Soanyone looking for a quick guide to the topic of Ovid and Vergilshould be forewarnedthatHardie plies his own way. More generally,one could knock Hardie for engaging selectively with Ovidianscholarship or repeatingthefindingsof other scholars withoutbeing



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aware of their existence. On the other hand, the breadth of hisreading,inclassics and otherdisciplines, provides much new food forthought.For Ovidians, Ovid's Poetics of llusion may be hailed as amasterly synthesis and summation of recent critical impulses; forVergilians, it offersmany stimulating insightsinto theway Vergil'spoetics of illusion are present in Ovid.

BIBLIOGRAPHYFowler, D. 2000. Pyramus, Thisbe, King Kong: The Presence ofPoetry in Roman Constructions. Oxford.Frnkel, H. 1945. Ovid: A Poet Between Two Worlds. Berkeley andLos Angeles.Holzberg, N. Ovid: Dichterund Werk.Munich, 1997. Translated intoEnglish as Ovid: The Poet and His Work Ithaca 2002).Janan,M. The Book of Good Love? Design versus Desire in Met.10 Ramus 17 (1988) 110-37.Keith, A. Corpus eroticum: Elegiac Poetics and Elegiac Puellae inOvid's Amores, CW 88(1 994) 27-40.Mack, S. 1988. Ovid. New Haven.Malouf, D. 1978. An Imaginary Life. London.Martindale, C. 1993. Redeeming the Text. Cambridge.Rand, E. K. 1925. Ovid and His Influence. Boston.Ransmayr, C. 1990. Die Letzte Welt. Roman mit einem OvidischenRepertoire (Nrdlingen 1988). Trans, intoEnglishbyJ. E. Woodsas The Last World: A Novel With an Ovidian Repertory (NewYork 1990).Sharrock,A. Womanufacture, JRS 81 (1991) 36-49.Wilkinson, L. P. 1955. Ovid Recalled. Cambridge.Wyke, M. Written Women: Propertius' scripta puella , JRS 77(1987) 47-61.

DEPARTMENT OF CLASSICS AND ANCIENTMEDITERRANEAN STUDIES, PENNSYLVANIA STATEUNIVERSITY STEPHEN WHEELER

Vergilius0 (2004)

Review of Ovid's Poetics of Illusion by Philip Hardie

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