{"title":"空洞的爱:图努斯在《埃涅伊德》中追求幻影的欲望与妄想的话语","authors":"Kenneth L. Draper","doi":"10.1086/721554","DOIUrl":null,"url":null,"abstract":"In Aeneid 10.636–88, Juno creates a phantom Aeneas and tricks Turnus into chasing it off the battlefield and onto a departing ship. In this article, I consider a feature of the episode that has not received critical attention: Virgil uses a suite of intertexts (Lucretius 4, Catullus 63 and 64, and Horace’s Carm. 3.27) to cast Turnus as a deluded lover of Aeneas. I argue that by assimilating Turnus’ martial struggles to the sufferings of love, Virgil draws our attention to the erotics of warfare—the frustrated desires and tragic delusions of combat.","PeriodicalId":46255,"journal":{"name":"CLASSICAL PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7000,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Hollow Love: Discourses of Desire and Delusion in Turnus’ Pursuit of the Phantom in Aeneid 10\",\"authors\":\"Kenneth L. Draper\",\"doi\":\"10.1086/721554\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In Aeneid 10.636–88, Juno creates a phantom Aeneas and tricks Turnus into chasing it off the battlefield and onto a departing ship. In this article, I consider a feature of the episode that has not received critical attention: Virgil uses a suite of intertexts (Lucretius 4, Catullus 63 and 64, and Horace’s Carm. 3.27) to cast Turnus as a deluded lover of Aeneas. I argue that by assimilating Turnus’ martial struggles to the sufferings of love, Virgil draws our attention to the erotics of warfare—the frustrated desires and tragic delusions of combat.\",\"PeriodicalId\":46255,\"journal\":{\"name\":\"CLASSICAL PHILOLOGY\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.7000,\"publicationDate\":\"2022-10-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"CLASSICAL PHILOLOGY\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/721554\",\"RegionNum\":2,\"RegionCategory\":\"历史学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"CLASSICS\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"CLASSICAL PHILOLOGY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/721554","RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"CLASSICS","Score":null,"Total":0}
Hollow Love: Discourses of Desire and Delusion in Turnus’ Pursuit of the Phantom in Aeneid 10
In Aeneid 10.636–88, Juno creates a phantom Aeneas and tricks Turnus into chasing it off the battlefield and onto a departing ship. In this article, I consider a feature of the episode that has not received critical attention: Virgil uses a suite of intertexts (Lucretius 4, Catullus 63 and 64, and Horace’s Carm. 3.27) to cast Turnus as a deluded lover of Aeneas. I argue that by assimilating Turnus’ martial struggles to the sufferings of love, Virgil draws our attention to the erotics of warfare—the frustrated desires and tragic delusions of combat.
期刊介绍:
Classical Philology has been an internationally respected journal for the study of the life, languages, and thought of the Ancient Greek and Roman world since 1906. CP covers a broad range of topics from a variety of interpretative points of view. CP welcomes both longer articles and short notes or discussions that make a significant contribution to the study of Greek and Roman antiquity. Any field of classical studies may be treated, separately or in relation to other disciplines, ancient or modern. In particular, we invite studies that illuminate aspects of the languages, literatures, history, art, philosophy, social life, and religion of ancient Greece and Rome. Innovative approaches and originality are encouraged as a necessary part of good scholarship.