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Journal articles on the topic 'Aeneis (Vergilius)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Soerink, Jörn. "Vergilius’ Aeneis." Lampas 53, no. 1 (2020): 96–106. http://dx.doi.org/10.5117/lam2020.1.008.soer.

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2

János, Nagyillés. "Vergilius-allúziók Lucanusnál." Antik Tanulmányok 49, no. 1-2 (2005): 59–95. http://dx.doi.org/10.1556/092.2005.49.1.3.

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A Pharsalia szövegszerű utalásait a kutatás abból az előfeltevésből kiindulva értelmezi, hogy az eposz egyfelől Vergilius Aeneisét (esetenként Georgicáját és eclogáit is), másfelől Ovidiust (különösen Ovidius Metamorphosesét) akarja felülmúlni és átértelmezni (antivergiliánus és antiovidiánus). A költeményben utalások tárhatók fel a magasabb szerkezeti egységek és a szavak szintjén egyaránt. Az első csoport allúziói úgy is felhívhatják a figyelmet az Aeneis előszövegére, hogy ugyanabban a sorszámú Pharsalia-könyvben kerülnek elhelyezésre. Az előszövegek ugyanakkor maguk is utalhatnak más szöve

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3

Mankin, David. "P. Vergilius Maro Aeneis - Edited by G. B. Conte." Religious Studies Review 38, no. 2 (2012): 90. http://dx.doi.org/10.1111/j.1748-0922.2012.01600_1.x.

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4

Harrison, Stephen J. "P. Vergilius Maro, Aeneis. Recensuit atque apparatu critico instruxit Gian Biagio Conte." Gnomon 83, no. 4 (2011): 306–9. http://dx.doi.org/10.17104/0017-1417_2011_4_306.

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5

Ferenczi, Attila. "Az egységesség problémája a Nisus és Euryalus-epizódban (Vergilius, Aeneis 9, 176–502)." Antik Tanulmányok 53, no. 1 (2009): 45–59. http://dx.doi.org/10.1556/anttan.53.2009.1.2.

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A cikk azt a problémát vizsgálja konkrét szöveghely értelmezésével, hogyan teremthet lehetőséget gazdagító új olvasatok megfogalmazására régebbi irodalmi, esztétikai előfeltevéseink felülvizsgálata. Az Aeneis Nisus és Euryalus-epizódjában a szerző egy homérosi ihletésű katonai epizódban az epikus és heroikus világtól (a cikk szóhasználatában epikus kódtól) idegen elemekkel bővíti ki az elbeszélést. A szerelmi elégia nyelve és a görög fiúszerelem fogalma azonban feszültséget hoz a homérosi katonatörténetbe. Ennek eredményeképpen a részletet záró költői megszólalás és maga a történet között az i

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Uccellini, Renée. "Gerhard Binder: P. Vergilius Maro, Aeneis. Ein Kommentar. 3 Bde. Band 1: Einleitung, Zentrale Themen, Literatur, Indices. Band 2: Kommentar zu Aeneis 1–6. Band 3: Kommentar zu Aeneis 7–12." Gnomon 95, no. 1 (2023): 24–28. http://dx.doi.org/10.17104/0017-1417-2023-1-24.

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7

Somfai, Péter. "Fathers and Sons Catullan Echoes of Remembering and Forgetting in Vergil’s Aeneid." Acta Classica Universitatis Scientiarum Debreceniensis 56 (September 1, 2020): 247–58. http://dx.doi.org/10.22315/acd/2020/15.

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In Vergil’s Aeneid the problematics of remembering and forgetting emerge as an issue of essential importance: the Trojans – somewhat paradoxically – have to bring about both of them in order to be able to found a new native land in Italy. The matter in question emphatically occurs in two speeches of fathers given to their sons in the epic: in that of the shade of Anchises given to Aeneas in Book 5 and in that of Aeneas given to Ascanius in Book 12. These passages both recall the speech of Aegeus to Theseus in Catullus 64, in which the father aims to ‘program’ his son’s mind to remember his ins

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8

Harris, John R. "Aeneas's Treason and Narrative Consistency in the Mediaeval Irish Imtheachta Aeniasa." Florilegium 10, no. 1 (1991): 25–48. http://dx.doi.org/10.3138/flor.10.002.

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In 1907, the Irish Texts Society made generally available a late mediaeval “translation” of Vergil’s Aeneid, apparently the work of one Solomon O’Droma, an esteemed copyist of the fourteenth century. The manuscript was edited, and an accompanying English translation prepared, by George Calder, a Scots minister of considerable learning. The erudite Calder even provided his readers with a column of Vergilian references down the right margin of every page. This could not have been an easy task, for the notion of translation was quite liberal in the Middle Ages, embracing (along with some portion

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9

Burek, Jacqueline M. "(Not) Like Aeneas: Allusions to the Aeneid in Laʒamon’s Brut". Review of English Studies 71, № 299 (2019): 229–50. http://dx.doi.org/10.1093/res/hgz080.

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Abstract This article argues that the well-known extended similes in the Arthurian section of Laʒamon’s Brut allude to Vergil’s Aeneid. Most scholars agree that these similes were influenced by the extended similes of Latin epic, but few have claimed that these similes can be traced back to a definitive Latin source, or that this influence is anything other than stylistic in nature. In contrast, this article argues that Laʒamon’s similes allude to the Aeneid’s plot and characters as part of a broader commentary on Arthur’s kingship. Although Laʒamon does not quote specific words or phrases fro

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10

Panoussi, Vassiliki. "Vergil's Ajax: Allusion, Tragedy, and Heroic Identity in the Aeneid." Classical Antiquity 21, no. 1 (2002): 95–134. http://dx.doi.org/10.1525/ca.2002.21.1.95.

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This essay attempts a reevaluation of the use of Greek tragedy in Vergil's Aeneid, drawing on recent advances in the study of literary allusion and on current approaches to Greek drama which emphasize the importance of social context. I argue that extensive allusions to the figure of Ajax in the Aeneid serve as a subtext for the construction of the personae of Dido and Turnus. The allusive presence of Ajax attests to the existence of a tragic register in the epic, which intersects with and complicates the multiple allusive registers within the poem. Moreover, I propose that a detailed examinat

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11

Bleisch, Pamela. "The Empty Tomb at Rhoeteum: Deiphobus and the Problem of the Past in Aeneid 6.494-547." Classical Antiquity 18, no. 2 (1999): 187–226. http://dx.doi.org/10.2307/25011101.

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Aeneas' encounter with Deiphobus forms a critical juncture in Vergil's "Aeneid". In the underworld Aeneas retraces his past to its beginning; so too Vergil's audience returns to its starting point: the fall of Troy. Deiphobus himself is a metonym of Troy, embodying her guilt and punishment. But Aeneas is frustrated in his attempt to reconcile himself to this past. Aeneas attempts the Homeric rites of remembrance-heroic tumulus and epic fama-but these prove to be empty gestures. The aition of Deiphobus' tomb is revealed to have miscarried. Rhoeteum was known as the tomb and shrine of Telamonian

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12

Toll, Katharine. "Making Roman-Ness and the "Aeneid"." Classical Antiquity 16, no. 1 (1997): 34–56. http://dx.doi.org/10.2307/25011053.

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This essay attempts to develop some ideas about national identity as envisioned in the "Aeneid", with two foci: the lack of clarity concerning Aeneas' own nationality, and the inaccuracies in the descriptions of the foreigners portrayed on Aeneas' Vulcanian shield. I aim to undermine the notion that Vergil's own generation and Augustus' regime should be assumed to be the "climax," "culmination," or "fulfillment" of the historical process as the "Aeneid" imagines it, and to present reasons for thinking that Vergil's audience was being invited, instead, to imagine a very long-range future-to exp

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13

Young, Elizabeth. "Homer in a Nutshell: Vergilian Miniaturization and the Sublime." PMLA/Publications of the Modern Language Association of America 128, no. 1 (2013): 57–72. http://dx.doi.org/10.1632/pmla.2013.128.1.57.

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This paper explores the strange fascination with smallness that runs through Vergil's Aeneid, focusing on the bee simile in book 1, the poem's inaugural miniaturizing moment. Deviating from the standard paradigms of Vergilian criticism, I suggest we can learn a great deal about smallness in this poem by studying it through the lens of the sublime. My analysis bypasses the proliferation of Romantic sublimes to draw primarily on a model of sublimity derived from Neil Hertz's influential reading of Longinus. Read through the Hertzian sublime, miniaturization in the Aeneid is revealed as a subtle

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14

McCarthy, Michael C. "Augustine's Mixed Feelings: Vergil's Aeneid and the Psalms of David in the Confessions." Harvard Theological Review 102, no. 4 (2009): 453–79. http://dx.doi.org/10.1017/s0017816009000959.

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The Aeneid of Vergil and the Psalter traditionally attributed to David so influenced Augustine's writing that one scholar has called the Confessions “a recapitulation of Vergilian epic in a Christian universe,” and another has described it as an “amplified Psalter.”1 Since both works permeate Augustine's narrative, classicists and theologians have long studied the place of the Aeneid and the Psalms in the Confessions, but never in relation to each other.2 Consequently, the dialogical quality of Augustine's text, which includes these radically divergent voices, has largely gone without comment.

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15

Sitterson, Joseph C. "Allusive and Elusive Meanings: Reading Ariosto's Vergilian Ending." Renaissance Quarterly 45, no. 1 (1992): 1–19. http://dx.doi.org/10.2307/2862829.

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Whatever the poem's ambiguities, the Orlando Furioso's ending has always seemed allusively unproblematic: in the words of Ariosto's sixteenth-century English translator, Sir John Harington, “in the death of Rodomont, to shew himself a perfect imitator of Virgill, [Ariosto] endeth just as Virgil ends his Aeneads with the death of Turnus.”He sank his blade in fury in Turnus’ chest.Then all the body slackened in death's chill,And with a groan for that indignityHis spirit fled into the gloom below.(Aeneid 12. 950-52)

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16

van der Keur, Michiel. "Opbouw en vernietiging." Lampas 53, no. 1 (2020): 28–48. http://dx.doi.org/10.5117/lam2020.1.004.keur.

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Summary In the Aeneid, the recurrent themes of ‘construction’ and ‘destruction’ (the topic of the Latin final exam of 2020) can be connected to generic roles. Dido, founder of Carthage, is presented progressively in elegiac terms, as is suggested by a number of echoes of Sapphic love poetry; as a character, she is guided primarily by personal motives. Dido’s ‘elegiac role’ forebodes her own destruction and that of her city. Aeneas, on the other hand, needs to adhere to his epic role as founder of the new Trojan/Roman nation, in order to avert destruction and the repetition of Troy’s fate. When

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17

Lyne, R. O. A. M. "Vergil's Aeneid: Subversion by Intertextuality Catullus 66.39–40 and Other Examples." Greece and Rome 41, no. 2 (1994): 187–204. http://dx.doi.org/10.1017/s0017383500023408.

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I think we have to accept that the term intertextuality serves a purpose. One of the terms it allows us to dispense with, allusion, has its disadvantages.Up until recently I was happy with ‘allusion’: Vergil ‘alludes’ to Homer. The term was time-honoured, and, surely, unproblematical. Unproblematical, and not, so far as it went, and in the right hands, unsubtle. One meant that Vergil was not just using his source text (or his significant source text) as raw material. The source text became part of the new text, its characters and context were relevant to the new text. Thus, when in his opening

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18

Bettini, Maurizio. "Ghosts of Exile: Doubles and Nostalgia in Vergil's "Parva Troia" ("Aeneid" 3.294ff.)." Classical Antiquity 16, no. 1 (1997): 8–33. http://dx.doi.org/10.2307/25011052.

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This paper provides an analysis of Aeneas' visit to the "parva Troia" in Epirus (Vergil, "Aeneid" 3.294ff.), centered on the theme of "substitutes" and "doubles," and beginning with Andromache, the heroine of this encounter. With Helenus as a substitute for her deceased husband, Hector, Andromache is involved in a sort of levirate marriage. Moreover, she reacts to Aeneas and his companions as if they too were "substitutes," living persons who immediately evoke images of the dead, "doubles" for her lost loved ones (Hector first and foremost, and also Creusa and Astyanax). This makes Andromache

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19

Hardie, Philip. "Markus Schauer: Aeneas dux in Vergils Aeneis. Eine literarische Fiktion in augusteischer Zeit." Gnomon 81, no. 8 (2009): 700–703. http://dx.doi.org/10.17104/0017-1417_2009_8_700.

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20

Máté, Ágnes. "Aeneas Évát veszi el." Antikvitás & Reneszánsz, no. 5 (May 1, 2020): 151–66. http://dx.doi.org/10.14232/antikren.2020.5.151-166.

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Az Esterházy Pál nádor és második felesége esküvőjére készült epithalamium a klasszikus és a bibliai hagyomány két fontos alakját idézi fel. A férj Vergilius eposzának első félsorával Aeneas alakját veszi magára, míg a feleség a bibliai ősanya nevét viselve szerepében is Évához válik hasonlatossá a költeményben. A nászének kulcsmozzanata, hogy az archetipikus nőalak gránátalmát ad a férfinak, az epithalamium illusztrációján is megjelenik. A gránátalma klasszikus termékenységi szimbólum, amely Esterházy Pál és Thököly Éva esetében – úgy tűnik – nemcsak menyegzői jókívánságként funkcionál a vers

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21

Faber, Riemer. "Vergil's 'Sheild of Aeneas' (Aeneid 8. 617-731) and the Sheild of Heracles." Mnemosyne 53, no. 1 (2000): 49–57. http://dx.doi.org/10.1163/15685250052822027.

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22

Carter, Matthew A. S. "Vergilium Vestigare: Aeneid 12.587–8." Classical Quarterly 52, no. 2 (2002): 615–17. http://dx.doi.org/10.1093/cq/52.2.615.

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23

Schwameis, Christoph. "Reuocat tua forma parentem – Hasdrubals Fest, Scipios Besuch bei Syphax und ihre epischen Bezüge." Philologus 167, no. 2 (2023): 247–68. http://dx.doi.org/10.1515/phil-2022-0040.

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Abstract This paper considers two scenes in Books 15 and 16 of the Punica of Silius Italicus: Hasdrubal’s celebration of the founding of Carthage with the ecphrasis of the general’s cloak (Sil. 15,410–440) and Scipio’s visit to the court of King Syphax (16,170–276). For both passages there are important reference texts in scenes of Vergil’s Aeneid and Statius’ Thebaid that have until now received no, or not enough, attention: Aeneas’ visit to the future Rome (Aen. 8,102–553) and the sacrifice of Eteocles (Theb. 11,205–238). After a brief assessment of the historiographical basis, I set out the

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24

Liberman, Gauthier. "The New Teubner Aeneid - (G.B.) Conte (ed.) P. Vergilius Maro: Aeneis. (Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana 2005.) Pp. xliv + 429. Berlin and New York: Walter de Gruyter, 2011. Paper, €29.95, US$42 (Cased, €99.95, US$140). ISBN: 978-3-11-024716-9 (978-3-11-019607-8 hbk)." Classical Review 62, no. 1 (2012): 149–51. http://dx.doi.org/10.1017/s0009840x11003301.

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25

Wheeler, Stephen M. "Ovid's use of Lucretius in Metamorphoses 1.67–8." Classical Quarterly 45, no. 1 (1995): 200–203. http://dx.doi.org/10.1017/s0009838800041793.

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Here Ovid treats the demiurge's disposition of weightless aether over the other elements. This section of the cosmogony follows one that is devoted to the sphere of aer (52–66) where the creator settles the turbulent winds and other threatening meteorological phenomena. Recently Denis Feeney has suggested that Ovid's demiurge ‘does not act in a very epic manner’ by placing weightless aether on top of the winds. He argues: ‘The oddness of the control is caught in a moment of comparison with Vergil's universe: Vergil's Jupiter controls the winds by putting on top of them a mass of mountains(Aen.

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26

Feldherr, Andrew. "Ships of State: "Aeneid" 5 and Augustan Circus Spectacle." Classical Antiquity 14, no. 2 (1995): 245–65. http://dx.doi.org/10.2307/25011022.

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In his description of the boat race in the fifth book of the "Aeneid", Vergil's comparison of the ships to chariots can be read not only as an allusion to the Homeric model on which the scene is based but also as part of a larger attempt to recast the episode as a contemporary circus spectacle. Like the Augustan circus, Vergil's boat race offers an image of cosmic and political order. However, beyond its symbolic function the Roman circus also played an active role in realizing the hierarchies it depicted by incorporating its spectators into a unified vision of state and universe. So the boat

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27

RENGAKOS, ANTONIOS. "Zum Griechenbild in Vergils Aeneis." Antike und Abendland 39, no. 1 (1993): 112–24. http://dx.doi.org/10.1515/9783110241518.112.

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28

Nelis, Damien P. "Translating the emotions: some uses of animus in Vergil’s Aeneid." Social Science Information 48, no. 3 (2009): 487–99. http://dx.doi.org/10.1177/0539018409106202.

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In recent years, considerable scholarly attention has been devoted to investigating the influence of Lucretius’ De rerum natura on Vergil. At the same time, the Aeneid has become a central text for the study of the presentation of the emotions in Latin poetry. The author attempts to bring together these two trends in Vergilian scholarship by trying to see if the depiction of emotions in Vergilian epic owes anything to Lucretian precedent. He focuses on the term animus and its use in the opening scenes of the Aeneid . It is an important word in both epics, but it is also notoriously hard to tra

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29

Lavocat, Françoise. "Dido Meets Aeneas: Anachronism, Alternative History, Counterfactual Thinking and the Idea of Fiction." Journal of Literary Theory 14, no. 2 (2020): 194–214. http://dx.doi.org/10.1515/jlt-2020-2009.

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AbstractThe anachronistic character of the loving relationship between Dido and Aeneas was widely and commonly discussed among commentators, critics, and writers in the early modern period. From the 16th century onwards, when the word »anachronism« appeared in vernacular languages, its definition was even inseparable from the example borrowed from the Aeneid. The purpose of this article is to interrelate early modern debates on anachronism, reflections on the status of fiction and the history of fiction.Starting with the hypothesis that anachronism is a form of counterfactual, the questions po

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30

Monitto, Gary. "Vergil's Aeneid 4.169–72." Explicator 62, no. 1 (2003): 2. http://dx.doi.org/10.1080/00144940309597833.

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31

West, David. "The Aeneid and the Translator." Greece and Rome 37, no. 1 (1990): 52–64. http://dx.doi.org/10.1017/s0017383500029569.

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To every man his own Aeneid. Having spent the last six summers translating it as a Penguin Classic, I was delighted when the editors of Greece & Rome and Vergilius asked me to write a piece for them about this experience. The translator takes millions of decisions on points of detail. It must be useful, for him at least, to look back and ask what he has learned about the poem during this special relationship. I think of four points, the first of which I shall not discuss in this article:(i) the political purpose of the Aeneid;(ii) Virgil's gift for characterization, particularly of minor c

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32

Zieske, Lothar. "Fernando Pessoas Mensagem und Vergils Aeneis." Antike und Abendland 56, no. 1 (2010): 112–34. http://dx.doi.org/10.1515/9783110222685.112.

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Adema, Suzanne. "Voorgrond en Achtergrond in de Aeneïs van Vergilius." Toegepaste Taalwetenschap in Artikelen 67 (January 1, 2002): 59–66. http://dx.doi.org/10.1075/ttwia.67.06ade.

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Fletcher, K. F. B., and Sanjaya Thakur. "Allusions to Livia and Her Gentes in Vergil’s Aeneid." Classical World 116, no. 4 (2023): 381–98. http://dx.doi.org/10.1353/clw.2023.a905242.

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ABSTRACT: Vergil’s Aeneid contains more allusions to Augustus’ wife than scholars have previously recognized; because Livia was connected with both the Drusi and Claudii, Vergil’s references to those gentes and their ancestors allude to her (among other people). Vergil pays special attention to the Claudii, the gens of which Livia was a member, into which she had married, and to which her sons also belonged. These allusions fit both with Vergil’s treatment of contemporary women and Livia’s public presentation at the time. Like all references and allusions to Augustus’ marriage, however, these

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35

Walker, Andrew D. "Lucan's Legends of the Fall." Ramus 25, no. 1 (1996): 65–87. http://dx.doi.org/10.1017/s0048671x00002216.

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flectere si nequeo superos, Acheronta mouebo.(Aen. 7.312)If I cannot bend the gods above, it is Acheron I shall move.So Juno claims, famously, expressing her determination to thwart the newlyforged alliance between Aeneas and the Italians, and setting in motion (through the agency of Allecto) the violence and passion that fuels the ‘Iliadic’ Aeneid—the ‘Energy of Hell’, as Philip Hardie calls it—energy necessary to sustain the momentum of a long narrative poem, a demonic ‘burst of power’ imitated by Vergil's successors—Lucan, Silius, and especially Statius, who opens the Thebaid with an embitt

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36

Cabrillana, C. "Sermo deorum in Vergil's Aeneid: colloquial Latin?" Journal of Latin Linguistics 13, no. 1 (2014): 1–39. http://dx.doi.org/10.1515/joll-2014-0001.

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37

Quartarone, Lorina. "Teaching Vergil's "Aeneid" through Ecofeminism." Classical World 99, no. 2 (2006): 177. http://dx.doi.org/10.2307/4353036.

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38

HARRISON, E. L. "VERGIL'S AENEAS AND YEATS'S ANECDOTE." Classical Quarterly 56, no. 2 (2006): 630–31. http://dx.doi.org/10.1017/s0009838806000693.

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Quartarone, Lorina N. "Teaching Vergil's Aeneid through Ecofeminism." Classical World 99, no. 2 (2006): 177–82. http://dx.doi.org/10.1353/clw.2006.0046.

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40

Boldrer, Francesca. "Tra gli Inferi e le stelle: un problema testuale nel mito di Orfeo in Virgilio (georg. 4,509) e il Leitmotiv astronomico nelle catabasi da Omero a Dante (con echi di Apollonio Rodio)." Philologus 166, no. 1 (2022): 63–84. http://dx.doi.org/10.1515/phil-2022-0108.

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Abstract The article treats the presence of stars in terrestrial landscapes, in opposition to the Underworld and in connection to the topos of katabasis, above all in order to pursue in more depth a textual problem in the fabula Orphei of Vergil’s Georgics (4,509 astris / antris). The philological question is approached both on the basis of context and in relation to the descent into Hades of Aeneas, as well as in diachronic comparison with the earlier Homeric katabasis of Odysseus and the later otherworldly voyage of Dante in the Commedia. This internal and intertextual investigation reveals

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41

Adema, Suzanne. "Discourse Modes and Bases." New Approaches in Text Linguistics 23 (September 25, 2009): 133–46. http://dx.doi.org/10.1075/bjl.23.11ade.

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Abstract: This paper compares and contrasts the use of tenses in Vergil’s Aeneid and Ab Urbe Condita (AUC), Livy’s history of Rome. The tense usage in these works is analysed by means of two parameters: discourse mode and base. Discourse modes that occur in the Aeneid and AUC are the narrative mode, the reporting mode, the description mode and the registering mode. These modes are, both in the Aeneid and in AUC, used from a base in the time of narration, and from a shifted base, the reference time of the story. All interpretations of Latin (narrative) tenses found in this corpus are arranged a

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Boggio, Tiziano. "A New Emendation for matavitatau in Petronius’ Satyricon." Philologus 166, no. 1 (2022): 99–117. http://dx.doi.org/10.1515/phil-2022-0110.

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Abstract In this paper I propose an emendation for a long-standing textual problem in the Satyricon. In the Cena Trimalchionis one of the freedmen, Niceros, recounts a bizarre story, culminating in a frightening encounter between him and a werewolf. In a desperate attempt to escape peril, Niceros draws his sword to repel horrific shadows and utters a sequence of eleven letters which has puzzled scholars for more than a century: matavitatau (Petron. Sat. 62.2). I propose a correction which hypothesizes the presence of a verb and an interjection, namely gladium strinxi et matavi – tatae! – umbra

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Clark, Raymond J., and Susan Ford Wiltshire. "Public and Private in Vergil's Aeneid." Phoenix 43, no. 4 (1989): 378. http://dx.doi.org/10.2307/1088304.

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Anderson, William S., and Susan Ford Wiltshire. "Public and Private in Vergil's Aeneid." Classical World 83, no. 6 (1990): 545. http://dx.doi.org/10.2307/4350709.

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Mack, Sara, and Susan Ford Wiltshire. "Public and Private in Vergil's Aeneid." American Journal of Philology 111, no. 4 (1990): 570. http://dx.doi.org/10.2307/295249.

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Dobbin, Robert F. "Julius Caesar in Jupiter's Prophecy, "Aeneid", Book 1." Classical Antiquity 14, no. 1 (1995): 5–40. http://dx.doi.org/10.2307/25000141.

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The identity of the Caesar at "Aeneid", 1.286 is a long-standing problem. The prevailing opinion since Heyne favors Augustus, but a few scholars agree with Servius that the Dictator is meant. In recent years the suggestion that Vergil was being deliberately ambiguous has been advanced as a solution to the problem. I argue the case for Julius Caesar anew. The paper is in five sections. The first four deal respectively with (1) the question of nomenclature; (2) chronology; (3) the descriptive epithets applied to Caesar, especially spoliis Orientis onustum in 289; and (4) the rhetoric of the pass

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Pigoń, Jakub. "Trojański palimpsest. Odniesienia intertekstualne w zakończeniu III księgi „Dziejów” Tacyta." Symbolae Philologorum Posnaniensium Graecae et Latinae 33, no. 1 (2023): 297–312. http://dx.doi.org/10.14746/sppgl.2023.xxxiii.1.21.

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The Trojan War or, more precisely, the sacking of Troy, plays an important role in the Roman cultural imagination and the crucial text dealing with these events, Vergil’s Aeneid II, has been used by various authors in various literary genres in order to build associations between their own subject matter and the fates of Priam, Hecuba, Aeneas etc. Thus, for example, the death of Agamemnon in Seneca’s tragedy of the same title bears a similarity to the death of Priam in the Aeneid; the two narratives are examined in the first part of the paper. In the main part of the paper, we move from Seneca

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Papaioannou, Sophia. "FOUNDER, CIVILIZER AND LEADER: VERGIL'S EVANDER AND HIS ROLE IN THE ORIGINS OF ROME." Mnemosyne 56, no. 6 (2003): 680–702. http://dx.doi.org/10.1163/156852503772914131.

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AbstractContrary to the two other major Augustan writers who discussed the origins of Rome, Vergil's Roman prehistory centers on the presence of Evander. An involuntary exile from the East (Greek Arcadia) who settled in Latium and instilled civilization and laws among the Italians, Evander is a duplicate of Aeneas, a cultural ancestor and a model of leadership. Aeneas is instructed by the deities of Italy (Tiberinus) to pay a visit to Pallanteum, Evander's capital and the primordial site of Rome, in order to learn about the past and receive instructions about the future. His tour of proto-Rome

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Beck, Deborah. "Music, Craft, and Technology in the Similes in Vergil’s Aeneid." Greek and Roman Musical Studies 6, no. 1 (2018): 61–78. http://dx.doi.org/10.1163/22129758-12341312.

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Abstract Human beings in epic similes often rely on forms of specialized expertise to make new things and to create order in the world around them. The ways that the similes in a given epic poem represent craft and technology convey fundamental points about the larger world view of that poem in relation to human beings and the contours of epic poetry. A simile featuring a singer or poet in particular invites the audience of a poem to draw parallels between the musical simile and the epic poem in which it appears. The single musical simile in the Aeneid, 7.699-702, creates a portrait of the lim

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Bodniece, Līva. "Vergilija „Eneīdas” mēģinājumi latviešu heksametros." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 231–45. http://dx.doi.org/10.37384/aplkp.2021.26-2.231.

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This paper presents the compilation and analysis of the Latvian translations of the Aeneid, the Latin epic poem written by Virgil (Publius Vergilius Maro), from the first attempts in the late 19th century until the most recent publication in 1970. The materials analysed also include republications of translation excerpts. The source texts are arranged and revised chronologically, and the text analysis is achieved through the comparative method. Particular attention is paid to the translation issues of the dactylic hexameter, the ancient meter also known as “the meter of the epic”. There is no

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