DOCSLIB.ORG

Genre and Metapoetics in Vergil's Eclogues and Georgics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Genre and Metapoetics in Vergil's Eclogues and Georgics Writing Poems on Trees: Genre and Metapoetics in Vergil’s Eclogues and Georgics by John H. Henkel A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics. Chapel Hill 2009 Approved by: James O’Hara, Advisor Sharon James, Reader Stephen Harrison, Reader James Rives, Reader William Race, Reader Oc 2009 John H. Henkel ALL RIGHTS RESERVED ii Abstract JOHN H. HENKEL: Writing Poems on Trees: Genre and Metapoetics in Vergil’s Eclogues and Georgics. (Under the direction of James O’Hara.) This dissertation seeks to provide firmer grounding for the study of metapoetics in Roman poetry by investigating Vergil’s use of metapoetic narrative, symbolism, and metaphor in the Eclogues and Georgics. I argue that Vergil’s patterning of characters in the Eclogues after existing narratives, his discussion of farming in the Georgics, and the related references to trees and shade in the Eclogues, can be read as reflecting metaphorically on the theory and practice of poetry in Rome in the late first century BCE. By comparing Vergil’s discussions of trees and farming with passages of explicit literary criticism in Horace, Cicero, and others, I show that Vergil structures the Eclogues and Georgics in a way that allows references to agriculture and the natural world to be read as metaphors not only for life, as some Georgics scholars have shown, but also for poetry. My first chapter demonstrates my method by discussing a specific, pointed allusion to Aratus and his Hellenistic reception in Vergil’s passage on the farmer’s nighttime activities (Geo. 1.291–296). Here, as throughout the dissertation, I argue that certain passages about trees and/or farming can also be seen as literal reflections of the terms of literary-critical metaphors, such as the “wakefulness” (agrypnie) for which Callimachus praises Aratus’s Phaenomena (Callimachus Epigram 27). My second, third, and fourth chapters discuss a coherent pattern of literary symbolism in Vergil’s references to trees, forests, shade, and grafting in the Eclogues (Ch. 2–3) and the iii Georgics (Ch. 4). In Chapters 2–3 I also argue that Vergil patterns the narratives of Eclogues 2, 8, and 10 after erotic narratives from Callimachus, Theocritus, and Gallus in order to represent the interaction between Gallan love elegy and Theocritean pastoral in the Eclogues through the love affairs of characters in these poems. In my conclusion I outline further patterns of metapoetic symbolism in Vergil and show that other Augustan poets both allude to Vergil’s metapoetic symbols and, using the same technique, devise metapoetic symbols of their own. iv For Franny. ... cuius amor tantum mihi crescit in horas quantum vere novo viridis se subicit alnus. v Acknowledgments Over the course of this project, I was supported financially, intellectually, and emo- tionally by a number of people and institutions, whose important contributions I gratefully acknowledge here. The research for this dissertation was carried out both at the University of North Carolina in Chapel Hill and at the American Academy in Rome, where I was sup- ported by a Berthe Marti Affiliated Fellowship from the University of North Carolina and Bryn Mawr College. I am grateful to all three of these institutions for financial support. I am also grateful to library staff at the American Academy in Rome, who promptly acquired a number of books at my request, and who allowed me to spend many wakeful nighttime hours in the library. My reading of Vergil and Augustan poetry has changed a lot over the course of my years in Chapel Hill and year in Rome, and I owe thanks to the many friends and acquaintances with whom I have discussed Latin poetry over these years. Although I cannot hope to list all of these people, I owe special thanks, among others, to Dennis McKay, Chris Polt, Erika Zimmermann Damer, Chris Cudabac, Daniel Kiss, Christy Marquis, Massimo Giuseppetti, Jackie Elliott, and Scott McGill. I beg the pardon of anyone whom I have inadvertently omitted from this list. Particular thanks are owed to the members of my committee—Jim O’Hara, Sharon James, Stephen Harrison, James Rives, and William Race. All of them offered helpful advice, encouragement, and resistance. Stephen Harrison first encouraged me to write vi up the idea that became Chapter 1 of the present dissertation, and which prompted me to change the focus of my research; his comments and his published research on metapoetics helped me shape my own approach to the subject. Sharon James offered both encouragement and challenging resistance throughout my years at Chapel Hill, and especially during the research stages of this project. We have discussed Latin poetry, and especially elegy, at great length over these years, and although we still disagree on some issues, I look forward to continued discussions in the future. Jim O’Hara, my advisor, deserves greater thanks than I can express here. Jim taught me much of what I know about Latin poetry, and the process of working with him—on both my thesis and dissertation—has made me who I am as a scholar. Throughout graduate school, and especially throughout my research, he was generous with both encouragement and criticism (almost always constructive), and when I needed funding he generously found me work as a research assistant. He was generous also with both time and availability, and I will sorely miss working in an office across the hall from him. Finally, thanks are due most of all to my wife Franny, whose constant support and encouragement has been invaluable both to the completion of this project and to my personal well-being. I dedicate this dissertation to her as a token of my appreciation. vii Contents List of Abbreviations xi Introduction 1 1 Aratus and Nighttime labor: A Self-Reflexive Metaphor in Geor- gics 1 8 1.1 Introduction: A Metapoetic Vignette . 8 1.2 Hellenistic Epigram and the Roman Reception of the Phaenomena . 10 1.3 A Metaliterary Vignette at Georgics 1.291–296 . 23 1.4 Conclusion . 34 2 Gallus, Acontius, and Elegy 36 2.1 Metanarratives and Metapoetic Symbolism . 37 2.2 The Story of Acontius as an Elegiac Metanarrative . 48 2.3 Two Genres in the Eclogues ....................... 54 2.4 Eclogues 2, 8, and 10 . 66 2.4.1 Eclogue 2 ............................. 67 2.4.2 Eclogue 8 ............................. 81 3 Gallus, Acontius, and the Metapoetics of Trees 95 3.1 Eclogue 10................................. 95 viii 3.1.1 The Elegiac Poet and the Pastoral Conceit . 102 3.1.2 The Pastoral Narrator and the Elegiac Conceit . 123 3.2 Trees and the Metapoetic Symbolism of the Eclogues . 133 3.2.1 Silvae ............................... 137 3.2.2 Arbores .............................. 152 3.2.3 Umbrae .............................. 162 4 The Metapoetics of Arboriculture in Georgics 2 170 4.1 Second Proem . 174 4.2 Natural and Artificial Propagation . 192 4.2.1 Ingenium and Ars ........................ 195 4.2.2 Personification and Natura Creatrix . 200 4.2.3 Metrical Feet on the Road of Poetry: Literary Double Meaning in Terms for Artificial Propagation . 204 4.3 The Problem of Shade . 214 4.3.1 On Not Being Lucretius: Spontaneous Trees . 216 4.3.2 Generic Imitation: Shoots and Shade . 225 4.3.3 Problems with Growing from Seed: Shadow and Belatedness . 228 4.4 Intertextual Grafting . 240 5 Connections and Conclusion 250 5.1 Transplanting and Intertextuality in the Aeneid . 250 5.2 Metapoetic Plowing in the Georgics ................... 253 5.3 Metapoetic Symbolism in Other Augustan Poets . 260 ix 5.4 Conclusion . 272 Bibliography 274 x List of Abbreviations Brink Brink, C. O., ed. 1963–1982. Horace on Poetry. Cambridge: Cam- bridge University Press. Clausen Clausen, W., ed. 1994. A Commentary on Virgil, Eclogues. Oxford: Clarendon Press. Coleman Coleman, R., ed. 1977. Vergil: Eclogues. Cambridge: Cambridge University Press. Conington Conington, J., ed. 1865–1875. The Works of Virgil. London: Whit- taker. McKeown McKeown, J. C., ed. 1987–<1998>. Ovid: Amores. Text, Prolegomena and Commentary in four volumes. Liverpool and Wolfeboro, N. H.: Francis Cairns. Mynors Mynors, R. A. B., ed. 1990. Virgil: Georgics. Oxford: Oxford Univer- sity Press. OLD Glare, P. G. W., ed. Oxford Latin Dictionary. Oxford: Clarendon Press. Thomas Thomas, R. F., ed. 1988. Virgil: Georgics. Cambridge: Cambridge University Press. TLL Deutsche Akademie der Wissenschaften zu Berlin. 1900–<2008>. The- saurus Linguae Latinae. Leipzig: B. G. Teubner. xi Introduction Vergil is prolific in his use of metaphor to reveal his poetic program. In fact, com- pared to some of his contemporaries, he gives us very little information about his poetic program in any other form. Many of the metaphors he uses are highly allusive and depend for their meaning on the recognition of specific allusions. So in Eclogue 6 Vergil expresses his Callimacheanism in part by styling his poem as “fine-spun” (deductum carmen, 6.5), using a weaving metaphor that alludes to the metaphori- cal fineness (λεπτότης) of Callimachean poetry. Other metaphors are more or less conventional (although these are sometimes also specifically allusive), as when in the Georgics Vergil characterizes his progress through the poem as a chariot race or sea journey. On the handful of occasions when Vergil seems to be telling us something straightforward about his poem, as when he characterizes the Eclogues as “Sicilian”/“Syracusan” (= Theocritean; Ecl. 4.1, 6.1) verse or the Georgics as an “Ascraean” (= Hesiodic; Geo. 2.176) song, he seems at least partly to mislead us, since, as Farrell has shown, he makes these claims at the same time as his imitative program is departing from these models.1 By contrast, while other Augustan poets are likewise prolific in their allusive use of programmatic metaphors, they also make straightforward statements that help us to contextualize their metaphorical claims.
Load more

Recommended publications
  • Free Masonry
    1 FREE MASONRY. ITS PRETENSIONS EXPOSED IN FAITHFUL EXTRACTS OF ITS STANDARD AUTHORS; WITH A REVIEW OF TOWN'S SPECULATIVE MASONRY: ITS LIABILITY TO PERVERT THE DOCTRINES OF REVEALED RELIGION, v DISCOVERED IN THE SPIRIT OF ITS DOCTRINES, AND IN THE APPLICATION OF ITS EMBLEMS : ITS DANGEROUS TENDENCY EXHIBITED IN EXTRACTS FROM THE ABBE UAKIUII AND PROFESSOR ROBISON; AND FURTHER ILLUSTRATED IN ITS BASE SERVICE TO THE ILLUMINATI. BY A MASTER MASON. "And when thou art spoiled, what wilt thou do 1 Though thou clothcst thyself with crimson, though thou dockest thee with ornaments of gold, though thou reddest thy face with painting, in vain shalt thou make thyself fair ; thy lovers will despise thee ; they will seek thy life." — Jeremiah. NEW-YORK: 1828. .♦?..'* > southern District of AV»- Krrfc, ss. BE IT REMEMBERED, that on tho twenty -eighth day of April, A- D. 1823, in the fifty- >l g. second year of the Independence of the United States of America, D wight Fanner, of J the said district, has deposited in this office the title of a book, the right whereof he claims an proprietor, in tho words following, to wit: '' Free Masonry. Its Pretensions exposed in faithful extracts of its standard Authors ; with a Review of Town's Speculative Masonry : its liability to pervert the doctrines of Re vealed Religion, discovered in the spirit of its Doctrines, and in the application of its Emblems : its dangerous tendency exhibited in axtrac.ta from the Abbe Barruel and Professor Robison ; and further illustrated m its base service to the Uluminati. By a Master Mason.
    [Show full text]
  • Virgil in English Verse Eclogues and Eneid I. Vi
    V I R G I L I N E N G L I S H V E R S E — E CL OGUE S an d E NE ID I . VI . B Y TH E W RIGHT HON . SIR CHA RLES BO EN ’ ONE OF H E R MAJ EST Y S LORDS J U ST ICES OF APPEAL ON CE FELLOW AND N O W VI S I T OR OF BALLI O L C OLLE GE H O D. L O TH E NI VERS I Y O O ORD C . U X N . F T F F HON . D . O THE U N IVERS I Y O E D I NB RGH LL . F T F U SE CON D E DITION LONDON J O HN M Y A L B E M A RL E T E ET U RRA , S R 1 889 a A l l. r i g h t s w w r v ml wi o q fi g ? PRIN TED BY ‘ - SPO ISWOODE AN D CO . N EW S REE S U RE TT , T T Q A LON DON E P R E F A C . A TRANSLATOR of Virgil into E n glish verse finds the road along w hich he has undertaken to travel strewn with the bleachin g bones of unfortunate pilgrims who have pre c ede d him Th a o f e . e adventures an d the f te the great r number have been briefly set forth in an essay published by the late Profes sor Conington in the Quar terly Review of J uly 1 86 1 , and reprinted in the first volume of his m iscellaneous w s .
    [Show full text]
  • Gate to Vergil
    THE GATE TO VERGIL BY CLARENCE W. GLEASON, A.M. MASTER IN THE ROXBURY LATIN SCHOOL »'• * GINN & COMPANY BOSTON . NEW YORK • CHICAGO • LONDON COPYRIGHT, 1898, BY CLARENCE W. GLEASON ALL RIGHTS RESERVED 613.10 Wf)t gtftcngtttn jgregg GINN & COMPANY • PRO­ PRIETORS • BOSTON • U.S.A. Poeta fui e cantai di quel giusto Figliuol d' Anchise, che venne da Troja Poich^ '1 superbo Ilion fu combusto. "A poet was I, and I sang that just Son of Anchises, who came forth from Troy, After that Ilion the superb was burned." Inferno, I, 73-75 (Longfellow's translation). PREFACE. THE course of a pupil beginning the study of Latin is not a smooth one. He starts out bravely enough, with his beginner's book and easy Latin reader, but is no sooner comfortably under way than he finds himself upon the ragged reefs of the Gallic War or, perhaps, stranded on the uncertain shoals of Nepos. If by careful steering he gets safely past these dangers he is immediately confronted by new obstacles which threaten him in the form of Latin verse. The sky grows dark, difficulties gather on all sides ; eripiunt subito nubes caelumque diemque. Sometimes he loses heart and drops the helm or, in spite of all his efforts, drifts back and must begin his cruise anew. It is with a view to remove some of the chief difficulties in the beginner's way that the present book has been pre­ pared. As the purpose of the Gate to Vergil is somewhat different from that of the Gate to Caesar and Gate to the Anabasis the work has been planned on slightly different lines.
    [Show full text]
  • Lublin Studies in Modern Languages and Literature
    Lublin Studies in Modern Languages and Literature VOL. 43 No 2 (2019) ii e-ISSN: 2450-4580 Publisher: Maria Curie-Skłodowska University Lublin, Poland Maria Curie-Skłodowska University Press MCSU Library building, 3rd floor ul. Idziego Radziszewskiego 11, 20-031 Lublin, Poland phone: (081) 537 53 04 e-mail: [email protected] www.wydawnictwo.umcs.lublin.pl Editorial Board Editor-in-Chief Jolanta Knieja, Maria Curie-Skłodowska University, Lublin, Poland Deputy Editors-in-Chief Jarosław Krajka, Maria Curie-Skłodowska University, Lublin, Poland Anna Maziarczyk, Maria Curie-Skłodowska University, Lublin, Poland Statistical Editor Tomasz Krajka, Lublin University of Technology, Poland International Advisory Board Anikó Ádám, Pázmány Péter Catholic University, Hungary Monika Adamczyk-Garbowska, Maria Curie-Sklodowska University, Poland Ruba Fahmi Bataineh, Yarmouk University, Jordan Alejandro Curado, University of Extramadura, Spain Saadiyah Darus, National University of Malaysia, Malaysia Janusz Golec, Maria Curie-Sklodowska University, Poland Margot Heinemann, Leipzig University, Germany Christophe Ippolito, Georgia Institute of Technology, United States of America Vita Kalnberzina, University of Riga, Latvia Henryk Kardela, Maria Curie-Sklodowska University, Poland Ferit Kilickaya, Mehmet Akif Ersoy University, Turkey Laure Lévêque, University of Toulon, France Heinz-Helmut Lüger, University of Koblenz-Landau, Germany Peter Schnyder, University of Upper Alsace, France Alain Vuillemin, Artois University, France v Indexing Peer Review Process 1. Each article is reviewed by two independent reviewers not affiliated to the place of work of the author of the article or the publisher. 2. For publications in foreign languages, at least one reviewer’s affiliation should be in a different country than the country of the author of the article.
    [Show full text]
  • Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
    Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag.
    [Show full text]
  • Ovid's Wife in the Tristia and Epistulae Ex Ponto
    OVID’S WIFE IN THE TRISTIA AND EPISTULAE EX PONTO: TRANSFORMING EROTIC ELEGY INTO CONJUGAL ELEGY by AMY NOHR PETERSEN (Under the Direction of T. KEITH DIX) ABSTRACT Augustus exiled Ovid to Tomis in AD 8 in part, the poet says, because of his carmen, the Ars Amatoria. Ovid presents the misfortunes of exile in two collections of elegiac epistles, the Tristia and Epistulae ex Ponto. As the recipient of nine epistles, Ovid’s wife is his most frequent addressee. Other poems throughout the two works also mention her. Ovid models the persona of his wife in the exile poetry on characters he developed in the Amores, Heroides, and Ars Amatoria. She appears initially as an abandoned heroine, then as a beloved from whom Ovid seeks fulfillment of his needs, and eventually becomes a pupil in imperial courtship. The resulting “conjugal love elegy” does not replace his earlier erotic elegy but recasts it as a means for Ovid to lament his misfortunes, present a new image for his poet-narrator, and immortalize his genius. INDEX WORDS: Augustus, Coniunx, Elegy, Epistolary Poetry, Epistulae, Exile, Latin, Livia, Ovid, Ovid’s wife, Tristia OVID’S WIFE IN THE TRISTIA AND EPISTULAE EX PONTO: TRANSFORMING EROTIC ELEGY INTO CONJUGAL ELEGY by AMY NOHR PETERSEN B.A., The University of Minnesota, 1996 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Amy Nohr Petersen All Rights Reserved OVID’S WIFE IN THE TRISTIA AND EPISTULAE EX PONTO: TRANSFORMING EROTIC ELEGY INTO CONJUGAL ELEGY by AMY NOHR PETERSEN Major Professor: T.
    [Show full text]
  • Reading Death in Ancient Rome
    Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus.
    [Show full text]
  • An Introduction to Latin Literature and Style Pursue in Greater Depth; (C) It Increases an Awareness of Style and Linguistic Structure
    An Introduction to Latin Literature and Style by Floyd L. Moreland Rita M. Fleischer revised by Andrew Keller Stephanie Russell Clement Dunbar The Latin/Greek Institute The City University ojNew York Introduction These materials have been prepared to fit the needs of the Summer Latin Institute of Brooklyn College and The City University of New York. and they are structured as an appropriate sequel to Moreland and Fleischer. Latin: An Intensive Course (University of California Press. 1974). However, students can use these materials with equal effectiveness after the completion of any basic grammar text and in any intermediate Latin course whose aim is to introduce students to a variety of authors of both prose and poetry. The materials are especially suited to an intensive or accelerated intermediate course. The authors firmly believe that, upon completion of a basic introduction to grammar. the only way to learn Latin well is to read as much as possible. A prime obstacle to reading is vocabulary: students spend much energy and time looking up the enormous number of words they do not know. Following the system used by Clyde Pharr in Vergil's Aeneid. Books I-VI (Heath. 1930), this problem is minimized by glossing unfamiliar words on each page oftext. Whether a word is familiar or not has been determined by its occurrence or omission in the formal unit vocabularies of Moreland and Fleischer, Latin: An Intensive Course. Students will need to know the words included in the vocabularies of that text and be acquainted with some of the basic principles of word formation.
    [Show full text]
  • Lucretius Carus, Titus
    Lucretius Carus, Titus. Addenda et Corrigenda* ADA PALMER (University of Chicago) The Addenda follow the order of the original article (CTC 2.349–65) and consist of a) additional material for the Fortuna, Bibliography and commen- taries, b) vernacular translations of the seventeenth century. New information on copyists, owners and annotators is included within the Fortuna, following the original structure. Fortuna p. 349a4. Add: A theory, now discredited, was much discussed in the fifteenth century that the surviving six-book poem was actually the middle or end of a twenty-one- book work. This confusion arose from a passage in M.T. Varro De( Lingua Latina * The author is grateful for the support and assistance of David Butterfield, Alison Brown, James Hankins and Michael Reeve. She owes much to the support given to her by the Villa I Tatti Harvard University Center for Italian Renaissance Studies, and the Mel- bern G. Glasscock Humanities Center at Texas A&M University. Gracious help was also provided by librarians at many institutions, including the Biblioteca Medicea Lauren- ziana, Biblioteca Nazionale and Biblioteca Berenson, Florence; Biblioteca Nazionale, Rome; Biblioteca Apostolica Vaticana, Vatican City; Biblioteca Marciana, Venice; Biblioteca Ambrosiana, Milan; Biblioteca Comunale A. Mai, Bergamo; Biblioteca Estense, Modena; Biblioteca Malatestiana, Cesena; Biblioteca Comunale Passerini- Landi, Piacenza; Biblioteca Capitolare, Padua; Biblioteca dell’Accademia Rubiconia dei Filopatridi, Savignano sul Rubicone; Biblioteca Nazionale, Naples; Bibliothèque Sainte-Geneviève and Bibliothèque Nationale, Paris; Öffentliche Bibliothek der Uni- versität, Basel; Österreichische Nationalbibliothek, Vienna; Cambridge University Library; Bodleian Library, Oxford; Harvard University’s Widener and Houghton Libraries, Cambridge, Mass.; Cushing Memorial Library & Archives, College Station, Tex.; and especially the British Library, London.
    [Show full text]
  • V.S. Lectures, No. 78 the TENTH ECLOGUE a Lecture Delivered to the Virgil Society 22Nd October 1966 by C.G
    V.S. Lectures, No. 78 THE TENTH ECLOGUE A lecture delivered to the Virgil Society 22nd October 1966 by C.G. Hardie, M.A. The Eclogues of Virgil are among the most puzzling poems that have come down to us from the ancient world. The Tenth is no easier to understand than the Fourth or the Sixth, and it has attracted much, though less special attention than, for instance, the linked problems of the First and Ninth, At a meeting of this Society, nine years ago, on the 19th October 1957, I spoke about the Fourth Eclogue (Lecture Summary No. 42) and six years ago, on 22nd October 1960, on the Sixth Eclogue (No. 50). I must begin today by making a rather different point about the Fourth Eclogue than I made then, and then proceed to say briefly much the same about the Sixth, repeating myself somewhat because Gallus in the Tenth cannot be understood without some theory of what Gallus means in the Sixth. The importance of the Fourth Eclogue in Virgil's development lies, in my opinion, in that the poet of the humble pastoral, the imitator of the Alexandrian school, the ’neoteric1 follower of Callimachus and Catullus, one of the 'cantores Euphorionis1" for the first time, in a moment of intense enthusiasm, conceived of himself as one day in the future called to be the Roman Homer. The climax of the Fourth Eclogue is not the growing up, the accession and the triumph of the child in unifying and pacifying the world, but the thought that Virgil will be the poet of this divine life and victory.
    [Show full text]
  • Agmine Facto: Rampant Rhetoric in Aeneid I
    Agmine facto: rampant rhetoric in Aeneid I RWShaw Foreign Languages, University of New Orleans, Lakefront Campus New Orleans, Louisiana 70148. 011-1-504-280-6929 (Office), 011-1-985-646-2526 (Home) E-mail: [email protected] This article is the product of continued research in Vergil's pictorial imagery, a topic addressed earlier in a paper on the Laocoon episode of the Aeneid, which appeared in the 2001 edition of SAlAH. The poet's visual rhetoric seems to remove the barriers traditionally imposed on poetry and the literary arts, and his verbal palette contains all the descriptive elements indigenous to painting, cinema, and sculpture. The convoluted verse results in the strategic placement of words to convey visually the images in his narrative format. These observations remain the premise on which I have based my commentary on the first major event of the epic, the storm sequence of Bk i. A catalogue raisonne provides a survey of the art inspired by the passage dating from early Italian Renaissance through the late sixteenth and early seventeenth centuries. There ensues a transposition of the exegesis to the author's visual interpretation in an attempt to mirror Vergil's painter-like and sculptural qualities in the genre of abstract expressionism and to evoke once again Horace's humanistic doctrine on poetry and the visual arts, ut pictura poesis. Episodic narrative and the simile Whereas this first simile of the epic functions in a symbolic capacity to involve In her article entitled "Vergil: painter with men and elemental forces, it also works in 1 words," Pauline Turnbull stated that Vergil's collaboration with a second simile to frame painter-like quality was manifested in the the episode thematically and structurally as a descriptions of the actual and the metaphor.
    [Show full text]
  • DECEPTION and THEODICY in AENEID 1-4 by Kevin Gaul
    DECEPTION AND THEODICY IN AENEID 1-4 by Kevin Gaul Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2017 © Copyright by Kevin Gaul, 2017 To my patient parents and somewhat faithful dog. ii TABLE OF CONTENTS ABSTRACT ...................................................................................................................... iv LIST OF ABBREVIATIONS USED ............................................................................... v ACKNOWLEDGEMENTS ............................................................................................ vi CHAPTER 1. INTRODUCTION .................................................................................... 1 CHAPTER 2. LATE AEQUARA TUTA SILENT ........................................................... 6 CHAPTER 3. DOLUS AN VIRTUS, QUIS IN HOSTE REQUIRAT? ........................ 19 CHAPTER 4. POSTQUAM RES ASIAE PRIAMIQUE EVERTERE GENTEM ...... 33 CHAPTER 5. UNA DOLO DIVUM SI FEMINA VICTA DUORUM EST ................. 50 CHAPTER 6. CONCLUSION ....................................................................................... 61 REFERENCES ................................................................................................................ 68 iii ABSTRACT The theme of deception, or dolus, is undeniably central to the Aeneid, both as a frequent vehicle for the unfolding narrative and as a means by which the poet explores more complex themes. Ultimately, this thesis aims to shed light
    [Show full text]