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This is the story of a mechanical tradition, so let us begin with a machine (Figure 1.1).1 Take a hollow bronze sphere, drilled at two diametrically opposite points to allow the insertion of two L-shaped tubes, carefully soldered to the outside of the sphere so that it remains completely sealed except for their ends. Add one more tube, in the plane perpendicular to the first two, and a socket for a pivot opposite that. Place the sphere on a covered vat of boiling water so that the third tube conducts steam into the sphere, where it can be ejected from the L-shaped tubes. Once the steam begins to flow, the sphere will rotate on the pivot, propelled by the steam leaving the tubes.
Chapter 8 turns to the famous judgment of Julius Caesar’s commentarii (nudi, recti, venusti, 262). Not only textual aesthetics but also visual analogies and the plastic arts underlie Cicero’s judgments. An analysis of statuary analogies and of the fuller contexts for Cicero’s statements suggests a deft ploy on his part. He portrays himself as Phidias crafting a statue of Minerva (the Parthenon Athena) and Caesar as Praxiteles crafting a statue of Venus (the Aphrodite of Knidos). The fundamentally different symbolic resonances of the goddesses simultaneously challenge Caesar’s military accomplishments and underscore Cicero’s civic achievements. Cicero thereby promotes his vision of the need to restore the Roman republic once the civil war has concluded.
Chapter 6 shows how Cicero establishes a normative framework for the writing of literary history. Across the dialogue and through the various speakers he offers a sustained critique of literary historiography. Several fundamental tensions and conflicts emerge: absolute versus relative criteria in assessing literature and building canons; presentism and antiquarianism; formalism and historicism; and the recognition that all literary histories are subject to their crafters’ emphases and agendas.