While Statius’ interventions in the poem seem to encourage a comparison between the poem’s characters and Virgil’s heroes, Chapter 2 shows that the Thebaid actually patterns its heroic narratives after some of the most politically charged myths of Ovid’s Metamorphoses, such as the stories of Cadmus, Perseus, Hercules, and Theseus. Statius’ descriptions of dysfunctional heroes, who re-tread the failure of their Ovidian ancestors to carry on the foundational mission of Virgil’s Hercules and Aeneas, seem to rework the anti-heroic paradigm set by Ovid’s Cadmus (Met. 3–4). By exploring the darker sides of the Aeneid’s gigantomachic discourse, these narratives open the Thebaid to a redefinition of traditional heroic paradigms that potentially questions the political significance of the heroes appropriated by the Flavian emperors in their refashioning of Augustan ideology. While offering new insights into Statius’ renegotiation of poetic independence from his predecessors, this exploration also illuminates the Thebaid’s sophisticated engagement with the material and ideological environments of Flavian Rome.

Building on the concept of enargeia, Chapter 4 examines the cinematism of epic ecphrases: passages containing detailed descriptions of remarkable objects. To the ancients, Homer’s vividness of presentation put him in the forefront of painters, while film directors, chiefly Eisenstein, have repeatedly referred to him as a precursor. In particular, the stories told on the shield of Achilles in the Iliad validate Eisenstein’s concept. Eisenstein wrote extensively about Lessing’s thesis, advanced in his influential Laocoön, about the limits of painting and poetry; both authors’ approaches are evaluated here, with Eisenstein’s argument proven the stronger one. The story of Theseus and Ariadne depicted on the coverlet in Catullus’ poem 64, the most complex ecphrasis in classical literature, is then treated as the basis of a film adaptation, which reveals the astonishing sophistication that can be discovered from the perspective of cinematism. Shorter observations about Virgil and, in passing, Juvenal round out this chapter.

This chapter explores how Diana Taylor’s definition of “archive” (e.g., historical artifacts and written records) and “repertoire” (performance practices) as distinct but related forms of cultural memory illuminates the representation of mythic performance in Plutarch’s Lives. More than simply applying modern performance theory to ancient texts, my analysis brings Plutarch into dialogue with Taylor, showing that he reflects upon similar theoretical problems in a distinctive way. In recounting Theseus’ visit to Delos, Plutarch describes how the hero’s defeat of theMinotaur is commemorated by object dedication and choral dance. These two acts of memory are closely intertwined, as both ritual object and mimetic dance function as vehicles to transmit specific elements of the myth. Yet Plutarch also questions the efficacy of dedications and performance practices as such vehicles, calling attention to the limits of both object endurance and mimetic song-dance. By positioning his own writing as a form capable of encompassing and surpassing both the archive and the repertoire, he ultimately reveals how the literary text itself both instantiates and complicates those very distinctions.

This chapter examines the festival’s stories, which explained why it was being held, who its multiple founders were and why a new cult was added at the end of the sixth century. These stories focus on the gods’ victory over the Giants as the reason for the festivities and on the founders Erichthonios and Theseus. They also explain the importance of the pyrrhiche and the apobatic contest, while another important narrative concerns the cult of Harmodios and Aristogeiton, the two men identified by Athenians as the slayers of the tyrant and the bringers of democracy. Collectively, these narratives make the Panathenaia a unified occasion as a victory celebration commemorating the gods’ martial success against the Giants, and they also bring out the importance of autochthony, democracy and what being an Athenian entailed; what narrative was told at what moment depended in part on what aspect was being emphasised. Together, these stories mark the Panathenaia as the most important occasion for working out and displaying Athenian identities.