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the quarterly review culture, current affairs, geopolitics skip to content donations advertise here qr history qr home contact us archive ← older posts statius’ silvae posted on june 19, 2018 by leslie statius’ silvae specifics regarding the life of publius papinius statius (c.45 ad-96 ad) are for the most part derived from material in the silvae . scholars believe that statius’ biography is recoverable. perhaps, but most scholarly conclusions are of the speculative kind. the questions surrounding his date of birth and death have not resulted in secure answers. the birth dates vary widely over a decade long period. all statements that allege that ‘he probably did this or probably did that’ reveal little more than an author’s agreement or disagreement with certain passages or with a historian’s ingenuity with details: only in rare cases do the learned judgments bring us closer to the truth. indeed, the bare bones facts are these: he was born of italian stock, educated well in greek and latin, won a number of prizes for his poetry, even married a widow with children, although he himself remained childless. much else is debatable. his present fame now is attended by specific volumes of poetry yet extant: thebaid , an epic poem based on the classic seven against thebes , another unfinished epic entitled achilleid , and his silvae , a five book series of verse compositions. there is a an assortment of material in the silvae : e.g., book i : the statue of domitian, the villa of manilius vopiscus, the baths of claudius etruscus and the kalends of december; book ii : the tree of atedius melior, to pollo on lucan’s birthday; book iii : the hercules at surrentum, the hair of flavius earinus; book iv : ode to vibius maximus, jesting to plotius gryphus; book v : on the death of prisicilla. the titles mentioned do not represent a comprehensive listing; each of these compositions is excellent in its own way. no one knows how or when poems and proverbs originated. as for the former, the earliest written records contain them. the transmission of poetry within popular oral lore is definite. the literary remains of cuneiform tablets, hieroglyphic, ancient hebrew and archaic greek, just to name a few, prove that poetry comes in a number of different forms and genres. finding meaning in a set of verses often involves the usage of a variety of critical tools. the meanings of poetic inscriptions, by nature, tend to be as elusive in their concealment of fact, as they are allusive in their use of indirect references. despite the obstacles a reader may face, the thrill of completion is reward in itself. readers of ancient poetry should search for covert and overt lexical meanings. a strict analysis of ancient greek or roman poetry along the 19 th century german philological lines of investigation is avoided herein. that mode of study was often austere in its approach to texts, friedrich schiller (1759-1805) and johann w. von goethe (1749-1832) being the 18 th century anti-types. shunning the eloquence of which thousands would have wanted to learn – as british classicists did learn – dry metrical evaluations supplanted much appreciation of literary qualities and, for no less than two generations, misdirected many imitators of german scholarly conventions. the story is sadder still after a century of new criticism: things have gone in reverse as forms of theoretical critiques have displaced both classical literary studies and philological analyses in numerous journals and publications. to compose or interpret extempore poetry requires tools of another kind: wit and imagination. quintilian (10.3.17) gave a description of what he believed silvae to be: “a quickly sketched draft written in an impromptu fashion, following the heat and impulse of the moment.” poetry can be composed in that way. it is likely that ancient comedy and tragedy included much impromptu material. the texts of statius’ silvae now in our possession do not strike one, however, as ad lib. neither side can prove their case beyond a doubt. philologically, one may attempt to deconstruct each and every line of verse, showing various hands or timeframes in its creation. but to what end? – to the creation of a painfully unedifying construal? by all accounts impressionistic painting draws from the resources of heart, mind and soul. the canvas, no less, becomes the medium of presentation. but in the end, the picture—with all its varied imagery and corresponding meanings—is no more than a manifestation of thought and sight and sound. a poem is design of images, all related by verbal arrangements. it is difficult to explain it otherwise, absent of acknowledgment of that one idea. how did statius imbue his writings with a kind of eloquence that caused his poems to be repeatedly copied? he wrote his poems in accordance with the first century semantic range of the word, silvae : defined as ‘wood’ or ‘forest.’ his jottings consist of literary timber and are constructed to be a place where the reader can become lost—in a forest of literary enjoyments—while at the same time, he or she wanders about pushing back artistic limbs and branches. it’s a world of culture that many neglect. the process is pedantic. and it is fortuitous that anyone should find the time to read extracts of poetry which derived much inspiration from the likes of virgil, ovid, and a host of other writers; but proving the inter-texuality of statius’ silvae and similar ancient passages demands much more time than is allotted here. statius makes a good companion. i recall travelling by bus from san francisco to santa rosa. north-central california, with its rustic hills and wide open spaces that face a vast body of water, has much in common with the landscape of statius’ italy. the latter is beautiful country and is the source of great bodies of literature: see gilbert highet’s (1906-1978) superbly written volume, poets in a landscape , random house 1957, reissued with new introduction by m.c.j. putnam, nyrb classics 2010) at least i had my trusty standby edition of statius’ silvae . reading my way through the latin texts, i arrived at ii.4 and came upon his eulogy on a parrot ( psittacus eiusdem ). this brief lament was written to mark the death of the parrot of atedius melior. on that day, as the wheels of time turned slowly and i made my way through statius’ writings, i even found time to scrawl a few impromptu verses. that day: an extempore poem there were lowering clouds that day. outside was a thick mist and fog which seemed to brood over troubled hearts. onward pressed the lad though, roaming pages from beginning to end, searching his texts for a new place to start. ———————————- statius often meditated on “death’ in his silvae . several of his compositions remind readers of someone who has died. hades and his helper, thanatos, worked in tandem and ensured their presence was felt throughout numerous stories of ancient myth. statius employed these specters while likewise finding it suitable to praise and memorialize friends and wealthy patrons in print. as my vehicle rolled across the famed golden gate bridge, i thought of the many sad persons who had leaped to their death. at certain times, writers have compared ‘freedom’ to the flight of birds. john keats (1795-1821) composed the poem ‘stay, ruby breasted warbler, stay’ in first person speech and as a monologue because he knew that his winged friend at any time would take flight. in his petition, keats pleaded ‘ stay…, and let me see thy sparkling eye… nor bow thy pretty head to fly …’. as had other ancient writers, statius’ pen spilled forth ink on avine freedom, but its conception in these passages is embedded in the verse-structure of a bird’s demise. he wrote of other creatures, once of a predatory cat. leo, the tame lion had been a famed animal-gladiator, free to kill, now free to let live. in an earlier day, crowds greeted his appearance, but leo died a conquered soul vanquished by a fleeing b

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