Relevant bibliographies by topics / Virgil's Georgics

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Virgil's Georgics'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Virgil's Georgics"

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Cairns, Francis. "VIRGIL'S LIME-WOOD YOKE (GEORGICS 1.173–4)." Classical Quarterly 63, no. 1 (April 24, 2013): 434–38. http://dx.doi.org/10.1017/s0009838812000894.

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caeditur et tilia ante iugo leuis altaque fagusstiuaque, quae currus a tergo torqueat imosIn these two lines of his instructions for making a plough Virgil prescribes (173) the wood of the tilia (lime) as suitable for the iugum (yoke); he also (173–4) mentions the fagus (beech), seemingly in connection with the making of the stiua (stilt/handle). These recommendations are both problematic, and since the latter admits of no sure solution, treatment of it is relegated to a brief Appendix (below). The body of this paper has two aims: 1) to propose a new understanding of Virgil's prescription of the tilia for the iugum; and 2) to draw attention to Virgil's use of the Hesiod scholia in his plough instructions.
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Spurr, M. S. "Agriculture and the Georgics." Greece and Rome 33, no. 2 (October 1986): 164–87. http://dx.doi.org/10.1017/s0017383500030321.

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‘As writes our Virgil, concerned more with what made the best poetry than with complete accuracy, since his object was to delight his readers rather than to instruct farmers.’Seneca passed this judgement on the Georgics after witnessing certain agricultural practices where he was staying (at Liternum on the north-west coast of Campania), which appeared to disagree with a statement of Virgil's (G. 2.58). He then proceeded to mention another Virgilian agricultural error (G. 1.215–16), selected from ‘all the others’ (alia omnia) that he says he could have discussed, in order to drive his point home.
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MARTYN, J. R. C. "The Prooemium to Virgil's Georgics." Ancient Society 18 (January 1, 1987): 293–303. http://dx.doi.org/10.2143/as.18.0.2011368.

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ARMSTRONG, REBECCA. "VIRGIL'S CUCUMBER: GEORGICS 4.121–2." Classical Quarterly 58, no. 1 (April 18, 2008): 366–68. http://dx.doi.org/10.1017/s0009838808000402.

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Schoenberger, Melissa. "The Sword, the Scythe, and the ‘Arts of Peace’ in Dryden's Georgics." Translation and Literature 23, no. 1 (March 2014): 23–41. http://dx.doi.org/10.3366/tal.2014.0134.

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Dryden's translation of Virgil's Georgics amplifies Virgilian ideas of peace. Dryden is keenly attuned to the complex balance of conditions that Virgil's work proposes as the makings of a peaceful life: deep awareness of natural cycles, toilsome yet fulfilling labour, and distance from battle. The Georgics do not advise oblivion, nor do they place naive hope in a future without conflict. But they do propose a form of positively defined peace, which Dryden interrogates throughout the translation. Only one of the fifteen instances of the word ‘peace’ in the translation is a direct rendering of the Latin noun; the other fourteen appear in lines that Dryden has manipulated in order to make explicit the Georgics’ engagement with various forms of peace. This article discusses many of Dryden's interventions, and concludes that like their Latin counterparts, Dryden's Georgics offer no promise of total unity or stability. Questions of peace pervade Virgil's entire body of work; Dryden's translation reveals his awareness of these questions, while adding further uncertainties.
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O'Hogan, Cillian. "CLAUDIAN, DE RAPTU PROSERPINAE 1.82 AND GEORGICS 3.68." Classical Quarterly 64, no. 2 (November 20, 2014): 866–68. http://dx.doi.org/10.1017/s0009838814000330.

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That Claudian imitates Virgil's Georgics in the De raptu Proserpinae is well known. Most of his allusions are restricted to Golden Age or Underworld imagery, largely from Books 1, 2, and 4. However, one imitation of the third Georgic that appears not to have been noted previously occurs at De raptu Proserpinae 1.82. The context is Claudian's famous description of Pluto enthroned: ipse rudi fultus solio nigraque uerendusmaiestate sedet: squalent inmania foedosceptra situ; sublime caput maestissima nubesasperat et dirae riget inclementia formae;terrorem dolor augebat. (De raptu Proserpinae 1.79–83) I argue that this recalls the following passage in Virgil: optima quaeque dies miseris mortalibus aeuiprima fugit; subeunt morbi tristisque senectuset labor, et durae rapit inclementia mortis. (Georgics 3.66–8)Inclementia occurs some twenty times in extant classical and late antique Latin verse. Claudian himself uses it three other times. None the less, the construction of Claudian's line makes it clear that the line from the Georgics is being imitated here: the lines are metrically equivalent, and the sound-pattern and identical grammatical structure make the imitation unmistakable (¯˘˘ | et d¯rae r˘˘t inclementia ¯x).
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Daviault, Andre, Llewelyn Morgan, and Virgil. "Patterns of Redemption in Virgil's "Georgics"." Phoenix 56, no. 1/2 (2002): 168. http://dx.doi.org/10.2307/1192481.

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Pellicer, Juan Christian. "Virgil's Georgics II in Paradise Lost." Translation and Literature 14, no. 2 (September 2005): 129–47. http://dx.doi.org/10.3366/tal.2005.14.2.129.

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Heslin, Peter. "Virgil's Georgics and the Dating of Propertius’ First Book." Journal of Roman Studies 100 (July 19, 2010): 54–68. http://dx.doi.org/10.1017/s0075435810000055.

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ABSTRACTThis article re-examines a passage in the first book of Propertius which has generally been interpreted as establishing that the collection was published after Actium. In fact, these lines do not necessarily allude to Antony's defeat, but fit even better with the situation in the years leading up to the battle. Once that has been established, the balance of evidence supports a considerably earlier date for Propertius’ first book. This prompts a re-evaluation of the direction of influence between it and Virgil's Georgics. Contrary to traditional assumptions, Virgil can be seen to have reacted strongly to the elegist's brilliant debut.
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Thomas, Richard F. "Vestigia Ruris: Urbane Rusticity in Virgil's Georgics." Harvard Studies in Classical Philology 97 (1995): 197. http://dx.doi.org/10.2307/311306.

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Dissertations / Theses on the topic "Virgil's Georgics"

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Wood, Sandra Dawn. "Making a third place : the science and the poetry of husbandry." Thesis, Abertay University, 2008. https://rke.abertay.ac.uk/en/studentTheses/766e30a8-2e9b-480c-bfdd-349e50656d1d.

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It locally contains or heaven, or hell; There’s no third place in’t. (Webster 1993) Husbandry in its original sense is a ‘being together’, based on dwelling in a particular place. There is an intricate connection between modern science and industrialised agriculture, both of which developed on the basis of particular values associated with Good Husbandry – those which focused on individual innovation, profit-related productivity, quantitative measurement, objective, ‘puritan’ truth and control of nature. Ideals of the earth as a ‘commonwealth’, and of traditional stewardship, were down-played. The writings of Francis Bacon provide an example of a positivist, pioneering attitude which has continued to underpin modern science. In retrospect, however, these ideals sound rather one-sided. Nature herself is not well represented in the modern science relationship. In this thesis, Virgil’s Georgics and Lucretius’ de rerum natura are used to derive a poetics of Being and of Husbandry, which applies not only to the world of poetry, but to events which underlie scientific research. Virgil’s use of verbs verifies that life’s activities are shared by all living things. Lucretius asserts that even inanimate atoms both exist in themselves and are creative. ‘To be’ can be visualised as a dynamic, balancing act between striving to stay in being and longing to engage creatively with another. The basis of this thesis is that a shaping of research towards good husbandry involves a fair relationship with nature, which in turn involves the acknowledgement in writing that nature is active, dynamic and a good collaborator. Husbandry defined as a continually unfolding third place between extremes or between self and other – this holistic, concentric definition – applies at all scales, all levels of experience. This work was derived from practice-led research involving the writing of poetry and therefore the findings exist in parallel as a sequence of poems.
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Mullan, Anna. "Virgil and Numerical Symbolism." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/811.

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In the final book of the Georgics, Virgil digresses into a nostalgic and regretful explanation of his inability to include a proper discussion of gardening because he is spatiis exclusus iniquis (147). Often deemed “the skeleton of a fifth book of the Georgics” the exact meaning and intent behind this passage is still largely contested. In this paper I will attempt to de-strange this passage by examining it philosophically and allegorically, particularly by means of numerical symbolism.
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Quartarone, Lorina N. "Locus ambiguus : from otium to labor in Vergil's Eclogues and Georgics /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11478.

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Cramer, Robert. "Vergils Weltsicht : Optimismus und Pessimismus in Vergils Georgica /." Berlin ; New York : W. de Gruyter, 1998. http://catalogue.bnf.fr/ark:/12148/cb37087472n.

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Schott, C. Joseph. "Hesiod's 'Eris and Vergil's labor in the Georgics /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487854314870809.

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GRIMOLDI, MARIA. "Il Virgilio mansuetus di Salvatore Quasimodo, traduttore e interprete delle Georgiche." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1790.

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La scelta di studiare il Fiore delle Georgiche è motivata dallo spazio di approfondimento ancora aperto sull’attività di Quasimodo traduttore, soprattutto alla luce delle carte autografe custodite presso il Centro di ricerca sulla tradizione manoscritta di autori moderni e contemporanei dell’Università di Pavia. L’indagine rivela le motivazioni della decisione da parte del poeta siciliano di leggere il «Virgilio … mansuetus della Georgiche» e la presenza di cospicue affinità tematiche tra l’immaginario poetico quasimodiano e il poema latino, a partire dal grande tema della natura, cosmica e georgica insieme, e dalla presenza dei quattro elementi primordiali (aria, terra, fuoco, acqua) come parole-chiave dell’interpretazione del poeta. Altri motivi comuni sono: il mito dell’Eden, il binomio amore-morte e il mito di Orfeo. La versione di Quasimodo sul piano dei contenuti e dell’espressione rivela la tendenza ad attenuare i concetti maggiormente connotati dal punto di vista della cultura e del contesto storico augusteo. Il poeta traduttore crea un nuovo testo che, improntato ad accentuare la componente lirica rispetto a quella didascalica, trasmetta un messaggio universalmente valido e più vicino al lettore a lui contemporaneo. Lo studio delle carte autografe ha fugato qualunque dubbio sull’originalità dell’operazione quasimodiana e ha rivelato la serietà nell’approccio alla traduzione.
The decision to study the Fiore delle Georgiche derives from the research space still open over the activity of Quasimodo as a translator, above all in light of the autograph papers kept at the research center on manuscript tradition of modern and contemporary authors of Pavia’ University. The study reveals the reason for the decision of Quasimodo to read Virgilio as mansuetus poet of Georgics and the presence of many affinities of contents between the poetic imaginary of the Sicilian poet and the latin poem, starting from the great theme of nature, cosmic and georgic at the same time, and for the presence of the four primordial elements (air, earth, fire, water) as key words of the interpretation of the poet. Other common subjects are: the myth of Eden, the couple love-death and the myth of Orpheus. The version of Quasimodo from the point of view of contents and expression reveals the tendency to attenuate the concepts mainly characterized by culture and by the augusteus historical context. The translator poet creates a new text that, marked by a stronger lyrical component rather than didactic, sends a universally valid message and closer to his contemporary readers. The study of the autograph papers has dispelled any doubt over the novelty of the work by Quasimodo and has revealed the seriousness in the approach to the translation.
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Baker, Jennifer. "Like a Virgil: Georgic Ontologies of Agrarian Work in Canadian Literature." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39179.

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In this dissertation, I argue that two dominant perspectives on farming in Canada—the technoscientific capitalist perspective on modern industrial farming and the popular vision of hard-won survival on the family farm—both draw on narrative and aesthetic strategies that have deep roots in distinct, but related variations of the georgic tradition, which arrived in Canada in the eighteenth century and continues to shape literary representations and material practices today. Critics of Canadian literature have tended to subsume the georgic under the category of pastoral, but I argue that the georgic is a separate and more useful category for understanding the complex myths and realities of agricultural production in Canada precisely because it is a literary genre that focuses on the labour of farming and because it constitutes a complex and multi-generic discourse which both promotes and enables critique of dominant agricultural practices. I argue that, despite its sublimation beneath the pastoral, the georgic mode has also been an important cultural nexus in Canadian literature and culture, and that it constitutes a set of conventions that have become so commonplace in writing that deals with agricultural labour and its related issues in Canada that they have come to seem both inevitable and natural within the Canadian cultural tradition, even if they have not been explicitly named as georgic. By analyzing a variety of texts such as Oliver Goldmith’s The Rising Village, Isabella Valancy Crawford’s Malcolm’s Katie, Susanna Moodie’s Roughing It in the Bush, Frederick Philip Grove’s Settlers of the Marsh, Martha Ostenso’s Wild Geese, Al Purdy’s In Search of Owen Roblin, Robert Kroetsch’s “The Ledger,” Christian Bok’s Xenotext, Rita Wong’s Forage, and Phil Hall’s Amanuensis, I recontextualize Canadian writing that deals with agrarian work within two distinct but related georgic traditions. As Raymond Williams and others have shown, the georgic’s inclusion of both pastoralizing myths and material realities makes it useful for exploring ecological questions. The georgic is often understood in terms of what Karen O’Brien has called the imperial georgic mode, which involves a technocratic, imperialist, capitalist approach to agriculture, and which helped theorize and justify imperial expansion and the technological domination of nature. But as ecocritics like David Fairer, Margaret Ronda, and Kevin Goodman have argued, the georgic’s concern with the contingency and precariousness of human relationships with nonhuman systems also made it a productive site for imagining alternatives to imperial ways of organizing social and ecological relations. Ronda calls this more ecologically-focused and adaptable georgic the disenchanted georgic, but I call it the precarious georgic because of the way it enables engagement with what Anna Tsing calls precarity. Precarity, as Tsing explains, describes life without the promise of mastery or stability, which is a condition that leaves us in a state of being radically dependent on other beings for survival. “The challenge for thinking with precarity,” she writes, “is to understand the ways projects for making scalability have transformed landscape and society, while seeing also where scalability fails—and where nonscalable ecological and economic relations erupt” (42). By tracing the interplay between imperial and precarious georgic modes in Canadian texts that have mistakenly been read as pastoral—from Moodie’s settler georgic to the queer gothic georgic of Ostenso’s Wild Geese to the provisional and object-oriented georgics of Robert Kroetsch and Phil Hall—I argue that the precarious georgic strain has always engaged in this process of thinking with precarity, and that it holds the potential for providing space to re-imagine our ecological relations.
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Bunni, Adam. "Springtime for Caesar : Vergil's Georgics and the defence of Octavian." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/998.

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Vergil’s Georgics was published in 29 BCE, at a critical point in the political life of Octavian-Augustus. Although his position at the head of state had been confirmed by victory at Actium in 31, his longevity was threatened by his reputation for causing bloodshed during the civil wars. This thesis argues that Vergil, in the Georgics, presents a defence of Octavian against criticism of his past, in order to safeguard his future, and the future of Rome. Through a complex of metaphor and allusion, Vergil engages with the weaknesses in Octavian’s public image in order to diminish their damaging impact. Chapter One examines the way in which the poet invokes and complements the literary tradition of portraying young men as destructive, amorous creatures, through his depiction of iuvenes in the Georgics, in order to emphasise the inevitability of youthful misbehaviour. Since Octavian is still explicitly a iuvenis, he cannot be held accountable for his actions up to this point, including his role in the civil wars. The focus of Chapters Two and Three of this thesis is Vergil’s presentation of the spring season in the Georgics. Vergil’s preoccupation with spring is unorthodox in the context of agricultural didactic; under the influence of the Lucretian figure of Venus, Vergil moulds spring into a symbol of universal creation in nature, a metaphor for a projected revival of Roman affairs under Octavian’s leadership which would subsequently dominate the visual art of the Augustan period. Vergil’s spring is as concerned with the past as it is the future. Vergil stresses the fact that destructive activity can take place in spring, in the form of storms and animal violence; the farmer’s spring labor is characterised as a war against nature, which culminates in the horrific slaughter of oxen demanded by bugonia. In each case destruction is revealed as a necessary prerequisite for some form of creation: animal reproduction, increased crop yield, a renewed population of bees. Thus, the spring creation of a new Rome under Octavian will come as a direct result of the bloodshed of the civil wars, a cataclysm whose horrors are not denied, but whose outcome will ultimately be positive. Octavian is assimilated to Jupiter in his Stoic guise: a providential figure who sends fire and flood to Earth in order to improve mankind.
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Araujo, Renata Lopes. "Da Arcádia a Paris: leituras de estórias, estórias de leituras." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-23102013-105204/.

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No presente trabalho, estudamos as relações passíveis de ser estabelecidas entre três obras à primeira vista muito diferentes: as Bucólicasde Virgílio, Paludesde André Gide e Manderre, de Georges Perec. Nosso objetivo é mostrar uma espécie de percurso potencial de um personagem, Títiro, por meiodos textose as transformações por ele sofridas. Por meio de uma análise que leva em consideração o ponto de vista intertextual, tentamos compreender a apropriação feita por cada um dos autores, e as implicações causadas pelos diferentes contextos literários nos quais o personagem se insere.
In this research, we study the relations that can be established between three works at first sight very different: Virgils Eclogues, André Gides Paludesand Georges Perec Manderre. Our aim is to show some sort of potential path followed by acharacter, Tityrus, through the textsand the transformations undergone by him. Through an analysis that considers an intertextual point of view, we try to understand the appropriation made by each author, and the implications caused by different literary contexts in which the character is inserted.
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Muniz, Liebert de Abreu. "Estudo de gÃnero em As GeÃrgicas, de VirgÃlio." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=8206.

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FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico
Para a cultura clÃssica antiga, o gÃnero Ãpico parecia apresentar diferentes formas e possibilidades. à provÃvel que, para os antigos, o metro tenha sido o principal recurso para classificar os gÃneros literÃrios. Assim, um poema vertido em versos hexamÃtricos poderia ser de imediato identificado como um Ãpico. HÃ, contudo, diferenÃas entre os Ãpicos homÃricos e os hesiÃdicos, o que parece reforÃar a hipÃtese de o gÃnero Ãpico poder apresentar manifestaÃÃes distintas. Enquanto os Ãpicos homÃricos sÃo longos quanto à extensÃo e cantam feitos bÃlicos, os hesÃodicos sÃo breves e tÃm a preocupaÃÃo de transmitir um conhecimento. As GeÃrgicas, de VirgÃlio, filiam-se à composiÃÃo de tipo hesÃodico. Ainda que uma influÃncia helenÃstica seja percebida, o poema virgiliano segue caracterÃsticas de estrutura, forma e conteÃdo do Ãpico hesÃodico (que tambÃm pode ser chamado de Ãpos didÃtico); no entanto, em diversos passos parece exceder essas caracterÃsticas, deixando a impressÃo de que tambÃm manteria vÃnculos com a Ãpica homÃrica (ou com o chamado Ãpos heroico). Essa discussÃo sugere que a leitura do poema como didÃtico nÃo parece ser suficiente para sua classificaÃÃo de gÃnero, sugere tambÃm que o poema se insere numa espÃcie de progressÃo poÃtica que perfaz duas formas de Ãpos, o didÃtico e o heroico.
For the ancient classical culture, the epic genre seemed to have different shapes and possibilities. It is likely that, for the ancients, the meter has been the main resource for classifying literary genres. Thus, a poem composed into hexameter lines could be readily identified as an epic. However, there are differences between the Homeric and the Hesiodic epics which seem to reinforce the assumption that the epic genre could have different manifestations. While the Homeric epics are long as for the extent and sing the martial feats,the Hesiodic epics are brief and have the intent of transferring knowledge. The Virgilâs Georgics affiliated to the composition of Hesiodic type. Although a Hellenistic influence is perceived, the Virgilian poem follows characteristics of structure, shape and contents of the Hesiodic epic (which can also be called didactic epos). However, in several passages, the poem seems to exceed these characteristics, leaving the impression that also could maintain bonds to the Homeric epic (or the so-called heroic epos). This discussion suggests that the reading of the poem as didactic does not seem to be sufficient for the classification of genre, it also suggests that the poem is part of a kind of poetic progression that to goes through two forms of epos, heroic and didactic.
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Books on the topic "Virgil's Georgics"

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Virgil. Virgil's Georgics. Shanty Bay, Ont: Shanty Bay Press, 2007.

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Virgil. Virgil's Georgics: A new verse translation. New Haven, CT: Yale University Press, 2004.

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Patterns of redemption in Virgil's Georgics. Cambridge: Cambridge University Press, 1999.

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Virgil. Virgil's Georgics: A new verse translation. New Haven: Yale University Press, 2005.

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Virgil. Virgil's Georgics: A poem of the land. London: Penguin, 2009.

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Virgil's elements: Physics and poetry in the Georgics. Princeton, N.J: Princeton University Press, 1987.

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The poet's truth: A study of the poet in Virgil's Georgics. Berkeley: University of California Press, 1989.

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The Georgics of Virgil. Oldcastle: Gallery, 2004.

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Virgil. The Georgics of Virgil. Loughcrew, Oldcastle, Co. Meath, Ireland: Gallery Books, 2004.

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Slavitt, David R. Eclogues and Georgics of Virgil. Baltimore: Johns Hopkins University Press, 1990.

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Book chapters on the topic "Virgil's Georgics"

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"Virgil's Georgics." In Poems, 155–266. University of California Press, 1987. http://dx.doi.org/10.1525/9780520905252-013.

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Wallace, Andrew. "Placement and Pedagogy in the Georgics." In Virgil's Schoolboys, 123–77. Oxford University Press, 2010. http://dx.doi.org/10.1093/acprof:oso/9780199591244.003.0004.

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Haskell, Yasmin Annabel. "Gentle Labour: Jesuit Georgic in the Age of Louis XIV." In Loyola's Bees. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262849.003.0002.

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René Rapin, the father of Jesuit georgic poetry, manoeuvred his intellectual life between the ancients and the moderns with an instinct for conciliation and compromise that made him an effective apostle to the world. He is best remembered for his Horti, a classical-style didactic poem in four books that celebrated the victory of the moderns over the ancients in horticultural art. His poem, which is secular in appearance, is motivated by (mildly concealed) religion and Jesuito-political impulses, and cultural and literary impulses, particularly those of Virgil. This chapter discusses some of the developments in the Italian Renaissance georgic poetry to better understand Rapin's contribution to the early modern Latin georgic. It considers the latter Latin poems on horticulture and sericulture, which bear resemblance to the ancient model yet are considerably shorter than Virgil's. These latter georgic poems predicated on a Nature that is mild and marvellous, and centred on the artistic manipulation of Nature. In the Italian Renaissance, the ‘recreational georgics’ were dominated by pastoral ease, which is ironic, given the prominent thematic of labour in the original georgics. While the georgics were poems that celebrated nature and labour in gardens, by the turn of the eighteenth century, French Jesuits had identified the didactic genre of georgics as a flexible medium for exhibiting their modern Latinity and advertising their honnêteté.
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Nelis, Damien P. "Past, Present, and Future in Virgil's Georgics." In Augustan Poetry and the Roman Republic, 244–62. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199587223.003.0013.

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"Preface." In Patterns of Redemption in Virgil's Georgics, ix. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511549410.001.

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"Introduction." In Patterns of Redemption in Virgil's Georgics, 1–14. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511549410.002.

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"The old man of the sea." In Patterns of Redemption in Virgil's Georgics, 17–49. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511549410.003.

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"Mirabile dictu." In Patterns of Redemption in Virgil's Georgics, 103–4. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511549410.005.

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"Ox and paradox." In Patterns of Redemption in Virgil's Georgics, 105–49. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511549410.006.

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"Poeta creatus." In Patterns of Redemption in Virgil's Georgics, 150–212. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511549410.007.

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