Metaphor, Allegory, and the Classical Tradition: Ancient by G. R. Boys-Stones

By G. R. Boys-Stones

How heavily do the theoretical notions of "metaphor" and "allegory" constructed through historic rhetoricians replicate the perform of Classical writers? this question is tackled via 11 new papers via a crew of special teachers. old theories of metaphor are in comparison with twentieth-century possible choices; idea is confirmed opposed to perform; and allegory--a detailed notwithstanding missed characteristic of historic literature and philosophy--is explored opposed to the historical past of the rhetoricians' declare that it really is one kind of metaphor.

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24 Horace evidently aims to surprise us. Misdirection and elusive trains of thought are after all characteristic of Horace. But elsewhere his surprises and apparent digressions or omissions serve to highlight key concerns (cf. Innes 1989). 26 One factor is that even in the Ars Poetica Horace is concerned to avoid the rigid structure of a textbook and prefers gliding transitions and an impression of the informality of conversation, sermo. g. 152: ‘aut inusitatum aut novatum aut translatum’). If Horace had included metaphor he might have seemed to be following too closely the traditional headings of the textbook.

8 in echo of Callimachus, Aitia fr. 24 Pfeiffer. On callida iunctura as characteristic of Horace’s style, see Nisbet (1999). Hamburg 128: ‘words in combination’ (sunqvtwn): see Schenkeveld (1993a) for attractive arguments to support the following definition: ‘They 29 24 Doreen Innes that semantic collocation may indeed include metaphor, ‘but this is not to the fore’. He is right to the extent that callida iunctura is conspicuously instantiated not by metaphor but by the intricate word-order of notum .

Cicero, Orator 80 for archaisms among propria). ) have been long lost but may be unearthed to renewed life, an echo of Varro: ‘Things which buried by age . . 2: ‘quae obruta vetustate . . eruere conabor’). 32: ‘ex aede Vestae stercus everritur’): Horace asks us to visualize a similar cleansing of rubbish, this time the rubbish of old words. The use of imagery here is strikingly complex and multilayered. It suggests the most attractive answer to Horace’s neglect of imagery as a type of diction.

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