[Contents are listed at the end of the review]
The Dictionnaire des images du poétique dans l’Antiquité is a work of remarkable scope whose title requires glossing. Given the porous nature of ancient boundaries between the literal and the analogical, the “images” refer not only to figures of analogy (metaphor, simile, allegory, personification, etc.), but also to conventional postures, mythological figures, and concepts that accrued poetological resonance through centuries of use. “Le poétique,” in turn, reaches beyond the confines of poetry to designate figurative representations of literary phenomena at large, including composition, reception, critique, and the self-representation of verbal art. The result is a two-volume, 2,292-page work, the product of collaboration among 130 contributors from sixteen countries, whose 180 entries, from “Abeilles, miel / Bees, honey” to “Voyage, route, chemin / Travel, road, path,” trace such diverse images diachronically from the archaic through the imperial periods, in Greek and Latin sources alike, and across both verse and prose. There has been no panoramic synthesis of the ancient “images du poétique” on anything approaching this scale. An undertaking of such breadth necessarily draws on the resources of several disciplines, from archaeology and art history to philology and literary criticism, and the Dictionnaire’s most persuasive implicit argument is that no single one of them can capture the ancient metapoetic imaginary alone.
The Dictionnaire engages candidly with the methodological difficulties inherent in metapoetic interpretation. The central problem is one of identification: some metaliterary metaphors are perfectly explicit, but others are far harder to detect, especially when an author reflects at length on “une image” without drawing an overt parallel with verbal composition. When does a river become a comment on stylistic amplitude? When does a poet’s praise of a statue’s finesse invite the reader to consider the finesse of the poem itself? The danger of undisciplined reading is real—taken far enough, as critics of metapoetic reading have charged, it reduces all ancient literature to a narcissistic discourse about itself. But radical skepticism would forfeit a rich body of evidence. Between these extremes, the Dictionnaire proposes two safeguards: first, that a suspected metapoetic image should belong to a recognized tradition or traceable filiation; and second, that it should not stand isolated but converge with other potentially reflexive images in the same passage. This twofold criterion—diachronic depth and local convergence—underwrites the Dictionnaire’s interpretive approach.
The entries themselves follow a recognizable format: a bilingual title in French and English, a lexical rubric listing the principal Greek and Latin terms that activate the image, a historical or anthropological introduction, a diachronic survey of metapoetic uses, and a selective bibliography. Within this format, entries vary considerably in scale. “Peinture / Painting,” the longest in the Dictionnaire at over a hundred pages, distributes its material among multiple contributors, each covering a distinct period or thematic strand; “Sculpture” and “Voyage, route, chemin / Travel, road, path,” are similarly expansive, with substantial historical preambles and detailed internal subdivisions. Entries on less expected images (e.g. “Ail, oignon / Garlic, onion,” “Greffe / Grafting,” “Praeteritio”) occupy only a handful of pages, yet even these open paths into the Dictionnaire’s wider network. For what connects such disparate entries is the system of cross-references that runs throughout the work, drawing each image into relation with others. “Corps / Body,” for instance, directs to eleven other entries, from “Architecture” and “Couteau, lame / Knife, blade” to “Femme aimée / Beloved woman” and “Greffe / Grafting,” a range that attests to the interwoven character of the ancient metapoetic imaginary. A consolidated bibliography of over two hundred pages and four indices (an index locorum, an index rerum et personarum, and supplementary indices of Greek and Latin terms) offer further modes of consultation: one may trace γλυκύς or ἐνάργεια, ingenium or mollitia across dozens of entries, assembling a dossier on the ancient critical vocabulary that no single entry could contain.
The Dictionnaire acknowledges important prior attempts toward a partial synthesis—from Rosemary Harriott’s overview of craft analogies in Poetry and Criticism before Plato (1969) through Perrine Galand-Hallyn’s exploration of poetic description as a vehicle for metapoetic reflection from Homer to the Renaissance (Le Reflet des fleurs, 1994) and Alain Deremetz’s theoretical defense of reflexive reading applied to Latin poetry (Le Miroir des Muses, 1995), to René Nünlist’s systematic catalogue of metapoetic metaphors in archaic Greek poetry (Poetologische Bildersprache in der frühgriechischen Dichtung, 1998) and Isa Gundlach’s more selective study of the same phenomena among the Augustan poets (Poetologische Bildersprache in der Zeit des Augustus, 2019)—while noting that each has been bounded by period, language, or genre. The Dictionnaire is the first to bring those dimensions together within a single work of consultation. But what strikes this reviewer as equally significant is the decision to cast the enterprise as a dictionary, which is not merely an organizational convenience but a form whose connective structure mirrors that of the ancient metapoetic imaginary itself. This figurative self-understanding, as the entries repeatedly demonstrate, operated through association, convergence, and transformation rather than through linear development: the swan, to take an example highlighted by the editors themselves (“Avant-Propos,” p.10), is linked (among other associations) to Apollonian inspiration in one context, to the approach of death in another, and to Alexandrian refinement in a third, and its meaning at any given point depends on which of these associations a poet chose to activate. Unlike a linearized monograph or a mechanical catalogue, the Dictionnaire keeps this network navigable: its myriad entries, interlinked by cross-references, allow the reader to trace the associative paths that ancient poets themselves followed when one image called up another. And even apart from such cross-referencing, the sheer alphabetical adjacencies reward browsing: to move from “Océan / Ocean” to “Oiseau / Bird” to “Orphée / Orpheus” to “Outils / Tools” is to experience something of the range of the ancient metapoetic imagination itself.
Within this framework, individual entries employ markedly different interpretive methods; three may illustrate their range. The “Peinture / Painting” entry opens with an art historical introduction to ancient painting techniques (e.g., encaustic, tempera, fresco), the near-total loss of Greek easel painting, and the indirect evidence recoverable from the fourth-century BCE frescoes at Vergina and the trompe-l’œil wall paintings at Boscoreale, material context without which the rhetorical tradition’s mapping of “austere” and “florid” pigments onto categories of literary style would remain opaque. The “Navigation / Sailing, seafaring” entry demonstrates a different approach: here what matters is less material knowledge but structural and generic position, since the navigation metaphor serves as a vehicle for recusatio in Augustan elegy, as a closural device when Ovid and Virgil bring their works to port, and as an existential figure in Ovid’s exile poetry. Only diachronic and generic analysis can disentangle these functions. The “Harmonia” entry takes yet another approach, tracking the semantic drift of a single term from its Homeric sense of physical joining (i.e., the joints in a ship’s hull) through musical tuning and into rhetorical and literary theory, where it becomes a key concept for the fitting-together of compositional elements, before being personified as the mythological figure whose very name encodes the reconciliation of opposites. That some images demand technical context, others structural analysis, and others the patient tracking of semantic extension is itself evidence that the ancient metapoetic imaginary was heterogeneous in kind and that its study requires a correspondingly pluralistic approach.
The commitment to material context is especially rewarding in the craft entries. The “Métallurgie / Metallurgy” entry, for instance, observes that the construction of the Homeric shield is technically implausible (its gold layer could not plausibly withstand a bronze-tipped spear) which clarifies, rather than diminishes, the poetological function of the description: the shield figures Homeric poetry itself, a divine artifact whose modeled scenes mirror the poet’s own act of world-making. The entry goes on to explain the lost-wax casting method step by step—the fashioning of the wax model (κηροχυτεῖ), its rounding (γογγύλλει) with a clay shell, the casting (χοανεύει) by pouring molten bronze into the fired mold—and in doing so transforms a passage of Aristophanes’ Thesmophoriazusae (ll. 52-57) that might otherwise read as a comic jumble of craft vocabulary into a technically precise description of Agathon’s compositional process. And Horace’s well-known image of a bronze-caster who renders fingernails and flowing hair with exquisite precision but cannot produce a whole figure (Ars P. 32–37) is illuminated by the reminder that ancient statues were typically cast in separate parts and soldered together, so that the tension between part and whole was not merely a literary conceit but a practical problem that confronted every craftsman.
No work of this scale will be free of lacunae, and two may be noted. The “Poikilia” entry is a valuable study of the Greek concept’s trajectory from crafted artifacts into musico-poetic performance and miscellany, but varietas, its closest Latin counterpart and a concept no less central to Roman literary thought, has no entry of its own; a companion piece treating its function in Roman rhetorical and critical thought—from Cicero through Quintilian and beyond—would have been welcome. More practically, a thematic index grouping entries by metaphorical domain (e.g. craft, landscape, animal, bodily phenomenon) would have helped readers discover constellations of related images that the alphabetical arrangement and cross-reference system can only partially reveal. These are gaps that the dictionary’s very comprehensiveness makes visible, and they point less to shortcomings than to the research the work will undoubtedly stimulate. Typographical imperfections are few and minor: “greek” for “Greek” (pp. 219, 795), “latin” for “Latin” (p. 798), longua for lingua (p. 229), οἰ for οἱ (p. 490), “persistance” (p. 642), “oportunité” (p. 660), “skilfull” (p. 735), “carried of” for “carried off” (p. 769), occasional dittographies (pp. 852, 1513), and stray double commas (pp. 812, 1346). None affects the substance of the arguments.
Ephraim Chambers observed in the preface to his Cyclopaedia (1728) that a well-designed dictionary was “capable of the Advantages of continued Discourse.”[1] The Dictionnaire des images du poétique vindicates that observation. The discourse begins within the work itself, as cross-references draw images into conversation with one another and the indices let readers compose their own itineraries through the material. The discourse continues outward: the diachronic narratives gathered here invite comparison with the afterlives of these same images in medieval, Renaissance, and early modern literature—territories that several entries gesture toward but that lie beyond the dictionary’s stated scope. The relationship between Greek and Latin metapoetic traditions, so richly documented in many entries, awaits the kind of sustained comparative theorization that only a work of this breadth could make possible. Scholars will be writing articles and monographs that begin from these pages for years to come.
Table of Contents
Abeilles, miel / Bees, honey : 37
Abondance, fertilité / Abundance, plenty, fertility : 59
Agriculture, croissance végétale / Agriculture, plant growth : 66
Ail, oignon / Garlic, onion : 86
Aimant / Magnet : 88
Air, fumée, brume, nuée / Air, smoke, mist, haze, cloud : 93
Ambre / Amber : 99
Âne, braiment / Donkey, braying : 100
Aôton : 105
Araignée, toile d’araignée / Spider, spider-web: 107
Arbres, forêt / Trees, forest : 111
Arc-en-ciel, Iris / Rainbow, Iris : 123
Architecture : 132
Argile, modelage, moulage / Clay, modelling, molding : 154
Assaisonnement, acidité, amertume / Seasoning, pungency, bitterness : 171
Athlétisme, compétition, sport / Athletics, contest, sports : 177
Atticisme et asianisme / Atticism and asianism : 199
Audace / Audacity : 207
Balance / Scales : 215
Bégaiement (et autres troubles du langage) / stammering (and other language disorders) : 222
Bouche / Mouth : 231
Bouclier / Shield : 238
Boue / Mud : 247
Bride, rênes / Bridle, rein(s) : 252
Broussailles, épines, échardes / Brush, thorns, splinters : 257
Bruit, vacarme / Noise, din, uproar : 268
Camènes / Camenae : 275
Carré / Square : 278
Catabase / Catabasis : 283
Char, équitation / Chariot, horse riding : 289
Charpenterie, menuiserie / Carpentry, woodworking : 306
Chasse / Hunting : 320
Chien / Dog : 338
Cigale, sauterelle / Cicada, grasshopper : 352
Cire / Wax : 358
Citoyenneté / Citizenship : 363
Coiffure, chevelure / Hairdo, hair : 369
Confins du monde / Fringes of the known world : 373
Corneille / Crow : 380
Coronis (et autres signes éditoriaux) / Coronis (and other editorial marks) : 386
Corps, organicité, parties du corps / Body, organicity, body parts : 391
Corpulences, types de corps / Body sizes, body types : 408
Couleur, patine, teinture / Colour, patina, dyeing : 427
Coupes / Drinking-cups : 435
Couronne, tressage / Crown, plaiting : 441
Couteau, lame / knife, blade : 448
Crédulité / Credulity : 454
Cyclopes, Polyphème / Cyclops, Polyphemus : 461
Cygne / Swan : 470
Danger : 479
Danse, chœur / Dance, chorus : 485
Dard, aiguillon, thyrse / Sting, goad, thyrsus : 508
Dérivation, adduction d’eau / Diversion canal, water conveyance : 515
Divination, prophéties, oracles / Divination, prophecies, oracles : 524
Domina : 540
Drogue, remède / Drug, remedy : 545
Écho / Echo : 551
Élevage, bétail, troupeau / Husbandry, cattle, herd : 562
Enfance, jeunesse, cours de la vie / Childhood, youth, course of life : 573
Envie / Envy : 585
Épitaphes, tombeaux / Epitaphs, tombs : 593
Épîtres, écriture épistolaire / Epistles, epistolary writing : 600
Éros, Aphrodite, Vénus / Eros, Aphrodite, Venus : 609
Esclave rusé, ruse / Clever slave, trick, cunning : 627
Excréments / Excrement : 632
Fable : 635
Fama : 642
Femme aimée / beloved woman : 650
Férocité, sauvagerie / Ferocity, savagery : 655
Festinatio : 656
Fil, Filage / Thread, Spinning : 661
Filiation, parenté / Filiation, kinship : 667
Fleurs / Flowers : 675
Foudre, tonnerre / Thunderbolt, thunder : 684
Froid, froideur / Cold, coldness : 698
Gladiateur / Gladiator : 711
Grâces, Charites / Graces, Charites : 718
Graver, inciser, creuser / Engraving, carving : 724
Greffe / Grafting : 728
Grenouilles / Frogs : 730
Guerre, combat / Warfare, fighting : 737
Harmonia : 773
Héraut, messager / Herald, messenger : 781
Honte, retenue / Shame, restraint : 789
Hospitalité / Hospitality : 799
Humanité / Humanity, mankind : 801
Humbles, humilité, basse condition / Humble people, lowness of position : 810
Ignorance : 823
Îles, insularité / Islands, insularity : 828
Infamie / infamy : 831
Insectes, arthropodes / Insects, arthropods : 833
Insomnie, veille / Sleeplessness, wakefulness : 837
Isthme, détroit, pont / Isthmus, strait, bridge : 841
Jardin (parc, potager, verger) / Garden (park, kitchen-garden, orchard) : 847
Jardins d’Adonis / Gardens of Adonis : 857
Jardin de Tantale / Garden of Tantalus : 858
Jeux, jouets / Games, toys, playthings : 858
Labeur, peine, fatigue / Labor, effort, fatigue : 869
Labyrinthe / Labyrinth : 877
Lécythe, ampoule / Lekythos, oil-flask : 889
Lumière, éclat / Light, brightness : 898
Magie, enchantement / Magic, enchantment : 911
Maquillage, soins du corps / Makeup, body care : 934
Méandre / Maeander : 941
Médecine, santé, maladie / Medicine, health, disease : 944
Mémoire / Memory : 969
Merveille, émerveillement / Marvel, wonder : 977
Métallurgie / Metallurgy : 986
Métamorphose / Metamorphosis : 996
Métropole, mère patrie / Metropolis, homeland : 1007
Miroir / Mirror : 1010
Mitra : 1014
Monnaie / Coin, coinage : 1018
Monstres, hybrides / Monsters, hybrids : 1033
Mora : 1042
Morsure / Bite : 1053
Mosaïque / Mosaic : 1060
Muses : 1065
Musique / Music : 1076
Narcisse, narcissisme / Narcissus, narcissism : 1089
Navigation / Sailing, seafaring : 1096
Nez, odeur, parfum / Nose, smell, perfume : 1124
Noix, noyer / Walnut, walnut tree : 1133
Nourriture, cuisine, goût / Food, cooking, flavour : 1135
Nymphes / Nymphs : 1147
Océan / Ocean : 1153
Oiseau / Bird : 1157
Orphée / Orpheus : 1162
Outils / Tools : 1171
Paon / Peacock : 1211
Pas, traces de pas / Steps, footsteps : 1214
Pêche, pêcheurs / Fishing, fishermen : 1220
Peinture / Painting : 1227
Perroquet / Parrot : 1343
Pieds, chaussures, marche / feet, shoes, walking : 1346
Pierre de touche / Touchstone : 1365
Pierres précieuses, joaillerie, orfèvrerie / Gemstones, jewelry, goldsmithery : 1368
Poikilia : 1388
Pommes, fruits / Apples, fruits : 1394
Praeteritio : 1402
Prairie, pré, pâturage / Meadow, pasture : 1403
Premiers hommes, barbares / Early humanity, barbarians : 1416
Protée / Proteus : 1419
Pureté / Purity : 1426
Religion, initiation, mystères / Religion, initiation, mysteries : 1445
Répétition / Repetition : 1451
Rêve / Dream : 1459
Richesse, luxe / Wealth, luxury : 1468
Rivières, Fleuves / Rivers : 1480
Roseau, chalumeau, flûte de Pan / Reed, shepherd’s pipe : 1497
Rosée / Dew : 1504
Rossignol / Nightingale : 1511
Sacrifice, libation, offrande / Sacrifice, libation, offering : 1517
Sceptre, bâton, baguette / Sceptre, staff, stick : 1531
Sculpture : 1546
Sel / Salt : 1621
Serpent / Snake : 1628
Sexe, puissance sexuelle, érotisme / Sex, sexual potency, eroticism : 1657
Signes / Signs : 1679
Sirènes / Sirens : 1688
Source, fontaine / spring, fountain : 1696
Souris / Mouse : 1707
Sphragis : 1713
Tatouage / Tattoo : 1723
Théâtre, tragédie / Theatre, tragedy : 1727
Théomachie / Theomachy : 1745
Tissage, tressage, couture / Weaving, plaiting, stitching : 1755
Tissu, étoffe, vêtement / Fabric, material, clothing : 1772
Toreutique, argenterie, orfèvrerie / Toreutics, silverwork, goldsmithery : 1780
Tortue / Tortoise : 1813
Torture : 1817
Tourbillon, volute, rinceau / Vortex, curl, foliage scroll : 1821
Trésor / Treasury, treasure : 1835
Verre, cristal de roche, transparence / Glass, rock crystal, translucency : 1839
Vers des livres, mites / Book worms, moths : 1845
Ville et campagne / City and country : 1850
Ville (fondation de) / City-foundation : 1857
Vin, ivresse / Wine, drunkenness : 1861
Vol, larcin / Stealing, theft : 1888
Vomissement, crachat, rot / Vomiting, sputum, burp, belch : 1894
Voyage, route, chemin / Travel, road, path : 1903
Notes
[1] E. Chambers, Cyclopaedia, London 1728, vol. I, i.