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Of the elements of style that mark the German Baroque, the attempt to elicit a strong emotional or even religious reaction ranks as one of the most important.’ By studying how the Baroque poets used Classical themes and images to achieve such an effect, we will bring into focus one of the ways in which the poets of the seventeenth century differed from their Humanist predecessors. Where the sixteenth century neo-Latin poets looked to the Romans as literary models, the German poets of the Baroque played against those models to achieve the effects for which they strove. Baroque reference to the Romans deviates from a Classical or Renaissance norm with the purpose of surprising the reader by disturbing the generic or thematic expectations he or she brings from a knowledge of the Classics themselves. We will explore Baroque strategies of reference to the Latin classics by tracing the history of a particular pattern of imagery associated with the Baroque topos of constantia, or constancy. Werner Welzig shows how constancy, or the ability to hold fast in the face of events2 appears in Classical and medieval literature. The metaphor of the individual as a ship afloat on a sea of troubles frequently expressed and explored comtantia. This topos appears in Roman epic, lyric and philosophy. The neo-Latin poets use it in ways closely tied to that Classical heritage. The Baroque German poets3 use the topos in new contexts which may be quite distant from those in which it originally appeared, as we will see as we follow the image through Justus Lipsius’ philosophical dialogue De constantia and a series of German poems. What ideas did the ship topos express in Roman literature, and how do the ideas with which the topos is associated change in the transition from Renaissance to Baroque style? We begin a brief survey of the Classical ship image with its appearance in Vergil’s Aeneid. Aeneas’ ships, carrying the last remnants of Troy, encounter a storm caused by Juno’s wrath at 1.81 ff. In this scene, the ship stands both for the state and for the individual. The varying winds that attack Aeaneas’ fleet (“venti velut agmine facto,” 1.82) are given a political meaning when Neptune sends them back to their master Aeolus with the words “Fate did not give the rule of the sea and the rough trident to [Aeolus] but to me” (“non illi imperium pelagi saevumque tridenturn,/ sed mihi sorte datum,” I. 138-40). Vergil extends the political metaphor as Neptune calms the waves, riding over them in his chariot just as a man “heavy with piety and merits” (“pietate gravem et meritis”) calms a crowd bent on violent sedition (1.141 ff.). The storm also throws Aeneas’ own steadiness into question. His limbs dissolve in fear (“extemplo Aeneae solvuntur frigore membra,” 1.92) and he longs for death. Vergil uses the metaphor of a ship at sea in both a political and an ethical sense. On a

Ships, the sea and constancy: A classical image in the Baroque Lyric