OUP (2017) h/b 440pp £85 (ISBN 9780198724292)
G. begins by expressing his fascination from his early years with the way news and stories spread by ‘word of mouth’, before they are given in a more permanent written form. To study such a phenomenon from antiquity entails attempting to use the material within texts to see beyond them! Inevitably Virgil’s Fama (Aeneid 4.173-197) and Ovid’s ecphrasis, the cave of Fama (Metamorphoses 12. 39-63) are major points of reference, each with different focus, Virgil describing the figure, Ovid the cave.
However, it is Hendrik Goltzius’ engraving ‘Fame and Virtue’ (1586) that G. uses to introduce Fama as both rumour and renown: in the picture images such as a skull, a winged hourglass, a landscape with ruins indicate the brevity of life while the open book of history, read by Virtue, or the phoenix arising depict renown transcending the limits of life. Fame is winged and plays one trumpet while holding another, rather like a Victory proclaiming a victor’s triumph, but she also has eyes and ears among her feathers recalling the astonishing depiction by Virgil of Fama, the spreader of rumour.
When the basic outline of the following ten chapters has been traced at the end of the introduction (p.10-11), G. launches into a detailed study, beginning with ‘flying information’ (2, not 3 words!), winged words and winged messengers, journeys, fire signals and even premonitions. Chapter 2 examines Latin fama while at the end of chapter 3 (‘True and False’), G. offers a summary of the ‘distinctive elements’ of his subject so that there is a relatively simple outline to which readers can refer if the winding ways of ‘winged words’ seem labyrinthine. To simplify the simplification: rumours are rapid, chain-like, erratic, oral in circulation; in general they are spontaneous, evanescent, their source hard to identify. Content may be truthful or not, truth may be partial or twisted, uncertainty rife, and verification impossible (unlike a ‘normal’ message).
This list of basic features reappears in chapter 4 where much of the focus has been on modern theories of rumour and gossip. A significant difference between ancient and modern is the exclusively oral/aural communication in antiquity. However G. avers that contemporary technology does not affect ‘the nature and dynamics of the phenomenon’.
A generous amount of space is devoted to the discussion of the sources of rumour and their reliability, including voices of divine origin. Let one example (Livy 5.32.6-7) suffice. A voice—aptly named Aius Locutius or Aius Loquens (Cicero de divinatione 1.101, 2.69) after this incident—spoke one night to a plebeian Marcus Caedicius on the Via Nova, telling him to inform the magistrates that the Gauls were coming. However, since he was merely a plebeian, his voice was not heard—with disastrous consequences for the city and subsequent dedication of a shrine to the Voice.
From voice to personification and a physical form, the narrative leads to the central figure of the book, the Fama of Virgil. A close analysis of this dea foeda with its ‘disconcerting number of organs for the reception and replication of discourse’ is followed by a brief illustration of the ‘exemplary importance’ of Virgil’s creation, before turning to the domus Famae of Ovid (Metamorphoses 12.39-63).
At the beginning of chapter 7 the focus moves to praise, renown, reputation, glory and the ability to triumph over death, but it includes negative aspects too: vainglory and worldly renown (as a mere breath of wind). Wisely there is an apologia for not examining in detail the theme in ‘the vast body of Christian writings’. Through Cicero’s Somnium Scipionis, Boethius, Petrarch in particular, Augustine, Dante, Boccaccio and Chaucer, the transition from antiquity to the middle ages is traced while the iconography is the focus of chapter 8 where G. begins by pointing to the contrast between Virgil’s ‘grim monster’ and Fama that spreads renown. However, there is no substantial iconographic tradition for Gloria until the time of Petrarch, and when it does emerge, it frequently owes much to the Roman triumph.
Chapter 9 looks at some variations on the iconography, including Hegelund’s ‘Calumny’, an extraordinary Fama Malum (sic), the monstrum horrendum ingens with additions—a Mr Punch, scissors, ball of wool hang from her girdle, she shoots arrows three at a time, and has big ears, a forked tongue and eyes in her feathers and skirt. The final chapter is devoted to Chaucer’s ‘House of Fame’ which picks up themes developed in the book: Gloria desired as the good, long-lasting reputation for example, is replaced by a more random allocation in Chaucer of either obscurity or reputation, good and bad alike.
This review has only been able to offer an occasional glimpse of the rich array of sources deployed and discussed, let alone the close analysis of those sources. The ambitious scale of the book will make it a significant contribution to the study of fama in all her manifestations. There is a big field still to cultivate and in the conclusion G. points to some further directions the study of ‘this enormous and diverse repertoire’ could take.
Alan Beale