“Poetry for the eyes” is a felicitous definition of Ovid’s epic. The Metamorphoses are a model for the Achilleid in this as in other aspects,1 like the themes of deceit, transformation, and gender fluidity; the spectacle of appearances, matched by ambiguity in language; the provocation of the proem, with its program of a cyclic epos and a carmen deductum (finely spun song); the dialogue with alternative genres, like elegy and comedy; and, in addition, the lightness of tone, irony, and detachment towards the characters, first and foremost Achilles. The greatest Greek hero is here the object of a witty attitude that recalls Ovid’s epic, and of cleverly provocative jokes evoking the narrative about him in Metamorphoses 12 and 13, as well as his appearance as an exemplum in the Ars amatoria. Statius shares with Ovid multiple modes of literary self-consciousness and, in his whole work, is indebted to his experimentations; in the Achilleid he owes him, inter alia, an exercise in poetry as a feast for the eyes. In the same years when he composed his second epic, the Flavian poet experimented with the ekphrastic poetry of the Silvae: an epideictic mode of poetry based on visual evidence, transfiguration of reality into mythic images, and a rhetoric of wonder. Like the celebratory gesture of occasional poetry, the subject matter of the Achilleid also lends itself to a poetics of vision, of stupefying vision: the Scyros episode above all, with its ingredients—ambiguity, disguise, simulation, unveiling—is a sequence of intriguing images and lively scenes, exploited by a rich figurative tradition, as well as by dramatic poetry, like Euripides’ Skyrioi. Statius presupposes this visual (and scenic) heritage, which is part of the artistic experience and material culture of his contemporaries, and vies with it in another medium. This ironic and light poetic discourse does not interrogate dramatic scenarios, but switches between tones without letting pathos prevail. It also adheres to the surface of things: it translates feelings into symptoms and stories into signs, looks with the eyes of the characters and follows the mimicry of their looks, and exhibits their rhetorical poses and ostentatious gestures, orchestrating stage movements to perfection. With an 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 S39 R40

中文翻译：

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英雄的愿景：Statius 的 Achilleid 中的视错觉和多焦点史诗

“眼睛的诗歌”是对奥维德史诗的恰如其分的定义。变形记是 Achilleid 在这方面和其他方面的典范，1 如欺骗、转变和性别流动的主题；外表的奇观，与语言的歧义相匹配；proem 的挑衅，其循环 epos 和 carmen deductum 的程序（精巧的歌曲）；与其他类型的对话，如挽歌和喜剧；此外，轻快的语气、讽刺和对人物的超脱，首先是阿喀琉斯。最伟大的希腊英雄在这里是一种机智态度的对象，让人想起奥维德的史诗，巧妙地挑逗性笑话唤起了 Metamorphoses 12 和 13 中关于他的叙述，以及他在 Ars amatoria 中作为典范的出现。Statius 与 Ovid 分享了多种文学自我意识模式，并且在他的整个作品中都归功于他的实验；在 Achilleid 中，他欠他的，除其他外，诗歌的练习是一场视觉盛宴。在他创作第二部史诗的同一年，弗拉维安诗人尝试了席尔瓦的 ekphrastic 诗歌：一种基于视觉证据的流行诗歌模式，将现实变形为神话形象，以及一种奇迹的修辞。就像偶尔诗歌的庆祝姿态一样，阿喀琉斯的主题也适用于视觉诗学，令人昏昏欲睡的视觉：Scyros情节首先，其成分——模糊、伪装、模拟、揭幕——是一系列有趣的图像和生动的场景，被丰富的比喻传统以及戏剧性的诗歌所利用，就像欧里庇得斯的《天际》。Statius 预设了这种视觉（和风景）遗产，这是他同时代人的艺术体验和物质文化的一部分，并在另一种媒介中与之竞争。这种具有讽刺意味和轻松诗意的话语不会询问戏剧性的场景，而是在不让悲情盛行的情况下在音调之间切换。它还贴在事物的表面：将感情转化为症状，故事转化为符号，以人物的眼睛看，模仿人物的容貌，展现他们的修辞姿势和招摇，将舞台动作编排得淋漓尽致。1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 36 3 3 7 R 这是他同时代人的艺术经验和物质文化的一部分，并在另一种媒介中与之竞争。这种具有讽刺意味和轻松诗意的话语不会询问戏剧性的场景，而是在不让悲情盛行的情况下在音调之间切换。它还贴在事物的表面：将感情转化为症状，故事转化为符号，以人物的眼睛看，模仿人物的容貌，展现他们的修辞姿势和炫耀姿态，将舞台动作编排得淋漓尽致。1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 36 3 3 7 R 这是他同时代人的艺术经验和物质文化的一部分，并在另一种媒介中与之竞争。这种具有讽刺意味和轻松诗意的话语不会询问戏剧性的场景，而是在不让悲情盛行的情况下在音调之间切换。它还贴在事物的表面：将感情转化为症状，故事转化为符号，以人物的眼睛看，模仿人物的容貌，展现他们的修辞姿势和招摇，将舞台动作编排得淋漓尽致。1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 36 3 3 7 R 但在不同的音调之间切换，不会让悲伤占上风。它还贴在事物的表面：将感情转化为症状，故事转化为符号，以人物的眼睛看，模仿人物的容貌，展现他们的修辞姿势和炫耀姿态，将舞台动作编排得淋漓尽致。1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 36 3 3 7 R 但在不同的音调之间切换，不会让悲伤占上风。它还贴在事物的表面：将感情转化为症状，故事转化为符号，以人物的眼睛看，模仿人物的容貌，展现他们的修辞姿势和招摇，将舞台动作编排得淋漓尽致。1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 36 3 3 7 R