By Kronig R.
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As becomes increasingly clear in the course of Xenophon’s text, an ordered sense of counting is only possible in spaces with which the author is culturally familiar. The Anabasis runs into the same countercartographic inland space that first appeared in the Odyssey (ch. 2). In both cases, I argue that the sea provides cohesion and unity within the Greek literary landscape, especially given its connection to the Ocean that runs around the edges of the Shield of Achilles and the borders of maps. In the Oeconomicus, Xenophon presents a plot that is predicated on the idea that a certain area of space (one’s oikos) can be ordered, catalogued, and – no matter how much it is filled with detail or objects – supremely viewable.
V. (I, II). 1462a18); Laird 1996, 76. See Brague 1985 and Ford 2002, 242–5, on the complementary dualisms of animal/ picture and written work/painted work embodied in the words zˆoon and graphˆe in Plato. More recently, Morgan (forthcoming) has discussed the Timaeus passage with reference to the role of art, animation, and the Forms in Plato. 39 space and time in ancient greek narrative creatures fashioned in a picture (graphˆe) or animals that were actually alive (zˆonta), but at rest. A desire would come upon him to look upon these same animals moving (kinoumena) and exercising, in competition, some of the attributes that seemed to be evident in their bodies.
19b4–c2): prosoiken d d tin© moi toi de t¼ pqov, o³on e tiv z a kal pou qeasmenov, ete Ëp¼ graf v e«rgasmna ete kaª zänta lhqinäv ¡suc©an d gonta, e«v piqum©an f©koito qesasqai kinoÅmen te aÉt ka© ti tän to±v sÛmasin dokoÅntwn proskein kat tn gwn©an qloÓnta· taÉt¼n kaª gÜ pponqa pr¼v tn p»lin ¥n dilqomen. I have the same feeling concerning [our city] that someone might have if he were to look upon beautiful animals (zˆoa), whether that means 42 43 44 ideologically informed assumptions.