Academic literature on the topic 'Virgil. Classical poetry'
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Journal articles on the topic "Virgil. Classical poetry"
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Impens, Florence. "‘Help me please my hedge-school master’: Virgilian Presences in the Work of Seamus Heaney." Irish University Review 47, no. 2 (November 2017): 251–65. http://dx.doi.org/10.3366/iur.2017.0279.
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This article traces Virgilian presences in Seamus Heaney's oeuvre, from Field Work (1979) to Human Chain (2010). Virgil appears under many guises in Heaney's poetry: in work published in the mid-1970s, he is a character from The Divine Comedy; by the turn of the millennium he had become the classical author of the Eclogues and certainly of the Aeneid. The article analyses this evolution, and suggests that, while Virgil remained a guide for the poet in troubled times, the transition from a Christian to a classical Virgil reflects a movement towards secularisation and globalisation in Heaney's oeuvre.
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Falconer, Rachel. "Wordsworth's Soundings in the Aeneid." Romanticism 26, no. 1 (April 2020): 23–37. http://dx.doi.org/10.3366/rom.2020.0445.
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Wordsworth's translation of Virgil's Aeneid I–III has been largely neglected by Romanticists and classical reception scholars, in part because it is considered to be an unfinished, failed artistic project. Amongst a handful of scholars, Bruce Graver has convincingly demonstrated the originality of Wordsworth's Latin translation. This article goes further to suggest the artistic coherence of Wordsworth's translation of Virgil . Aeneid I–III trace the arc of Aeneas's fall and exile from Troy and discovery of a new home. In translating Aeneas's journey, Wordsworth enacts a quest for a new poetic voice, at a time when his creative powers as an English poet were at a low ebb. His engagement with Virgil's Latin can be compared to his encounters with Nature and the River Derwent in earlier poetry; in both cases, the poet plays host to an alienatingly other, divine maternal presence which eventually rejuvenates and confirms the poet's voice in English.
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Putnam, Michael C. J. "Virgil and Sannazaro's Ekphrastic Vision." Ramus 40, no. 1 (2011): 73–86. http://dx.doi.org/10.1017/s0048671x00000205.
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If the Neapolitan humanist Jacopo Sannazaro (1458-1530) receives any recognition in scholarly circles these days, it is usually for his Arcadia, an elaborate pastoral in twelve books, each combining prose and verse, that forms one of the most important links between the work of Petrarch, its inspiration, and that of Sir Philip Sidney. The Arcadia, published first authoritatively in 1504, is written in Italian, as are the hundred or so surviving Rime (songs and sonnets), largely products of the last decade of the fifteenth century. But Sannazaro was also a prolific writer in Latin. It is a question worth asking why, after the success of his vernacular magnum opus, he opted to use primarily a classical language for the major poetry that occupied his attention for the opening decades of the subsequent century. Perhaps a confirmation of his allegiance to Christian humanism is one reason. Perhaps also it was his devotion to Virgil whose three great works provided him with the most telling impetus for his own achievements in the Augustan poet's tongue.
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O'Hogan, Cillian. "Thirty Years of the ‘Jeweled Style’." Journal of Roman Studies 109 (May 27, 2019): 305–14. http://dx.doi.org/10.1017/s0075435819000480.
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In seventh-century Wiltshire, a scholar-monk began to write classicising Latin poetry. In bold terms he describes himself as the first of the Germanic peoples to write Latin poetry (‘neminem nostrae stirpis prosapia genitum et Germanicae gentis cunabulis confotum in huiuscemodi negotio [i.e. poetry] ante nostram mediocritatem tantopere desudasse’). His programmatic statements cite Virgil explicitly, and allude to Prudentius and Sedulius. His is a poetry that sets out a stall for the beginning of something new, but does so by making clear his predecessors. For Aldhelm, as for much of the Middle Ages, the canonical models of Latin poetry included classical Latin authors as well as the Christian Latin poets of Late Antiquity.
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Gacia, Tadeusz. "Topos "locus amoenus" w łacińskiej poezji chrześcijańskiego antyku." Vox Patrum 52, no. 1 (June 15, 2008): 187–98. http://dx.doi.org/10.31743/vp.8051.
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This paper deals with the topos of locus amoenus in Latin poetry of Christian antiquity. Descriptions of idealized landscape can be found in whole literary tradition from Homer on. In Latin epic poetry Virgil used this device to describe Elysium, which Aeneas enters in the Aeneid. In Virgil’s eclogues locus amoenus is a place of refuge for shepherds from calamities of fate and an alien world. For the farmer in his Georgics it is a reward for honest agricultural work. For Horace it was an escape from the noise of the city. For Christian poets, Prudentius in Cathemerinon, Sedulius in Carmen paschale, Avitus of Vienne, Dracontius, Venantius Fortunatus and other, locus amoenus becomes the biblical paradise in the eschatological sense, or morę generally, salvation. Use of the topos of locus amoenus shows the cultural continuity of antiquity. In Christian poetry this theme is filled with a new content, but the process of thinking and artistic creation remains they share with classical authors.
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Roberts, Michael. "The Description of Landscape in the Poetry of Venantius Fortunatus: The Moselle Poems." Traditio 49 (1994): 1–22. http://dx.doi.org/10.1017/s0362152900012976.
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Venantius Fortunatus is the last major Latin poet of late antiquity. Born near Treviso in northern Italy, he studied grammar and rhetoric in the still thriving schools of Ravenna before moving in 566 to Gaul, where he sought to employ his literary education and talents in the service of Merovingian and Gallo-Roman patrons. Fortunatus's poetry gives ample evidence of his early studies: he shows familiarity with classical poetry, especially Virgil, Ovid, Lucan, and Statius, and with the main Christian poets of late antiquity. In a passage at the beginning of his verse Life of St. Martin, Fortunatus lists Juvencus, Sedulius, Orientius, Prudentius, Paulinus, Arator, and Alcimus Avitus as preeminent in Christian poetry, thereby naming all of his most important Christian Latin predecessors.
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Krynicka, Tatiana. "Starożytny łaciński centon: próba przybliżenia na przykładzie „Centonu weselnego” Auzoniusza." Vox Patrum 57 (June 15, 2012): 359–78. http://dx.doi.org/10.31743/vp.4137.
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The term „cento” comes from the Latin cento, which means „a cloak made of patches,” „patchwork,” as the Greek does. Poems of Homer and Vergil were favorite sources for the ancient cento poets, who rearranged their fragments into totally different stories. The oldest preserved Latin cento is the tragedy „Medea” composed by Hosidius Geta from the fragments of Vergilian poetry circa 200 AD. We know, however, about other centos having been written before that date. Altogether, sixteen Virgilian and one Ovidian cento have been preserved. Thirteen of them, including the earliest and the latest of all extant Latin centos, are contained in the Codex called Salmasianus. Since the terminus ante quem for this manuscript is 534 AD, we assume that all preserved centos have been written between 200 AD, the broadly acknowledge date for Medea, and 534 AD. Ancient Virgilian centos mainly deal with well-known classical myths (8 of 13). Four of them have Christian themes, two treat trivial matters of everyday life, two are wedding-poems. The involvement of Decimus Ausonius Magnus (ca 310-394), a renowned teacher, rhetorician and poet, with the cento is not limited to being the author of a Virgilian cento, which he composed as a response to a similar poem by the Emperor Valentinian I (321-375). Ausonius is the only ancient author we know to have described cento in more detail and to have laid down the rules of the genre. In the introductory letter to the Cento nuptialis, addressed to his friend Axius Paulus, Ausonius maintains that verses of an original text, taken over to the cento, may be divided at any of the caesurae which occur in hexameter. No section longer than one line and a half should be taken over. The quotation may not be changed, although its meaning may change according to the new context. Ausonius compares activity of the cento poets to playing the game of stomachion. Doing so he emphasizes unity within cento and its playfulness as the particularly important traits of the genre. Ancient authors usually followed the technical rules put forth by Ausonius, although not all of them would have agreed with him about the similarity between writing a cento and playing a game. While some twentieth century scholars had treated cento with undeserved contempt, the research of the last decades has given it its honour back. Centos still require our attention, especially that, through their analysis, we may try to obtain a more faithful portrait of the well educated ancient reader. This reader knew his Virgil by heart, worshipped Virgil as the divinely inspired prince of Latin poetry, and preferred Virgil’s words to his own when he ventured to describe his world.
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Heck, Joel D. "The Liberal Arts, Antidote for Atheism." Linguaculture 2014, no. 2 (December 1, 2014): 67–78. http://dx.doi.org/10.1515/lincu-2015-0025.
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Abstract C. S. Lewis once stated that the decline of classical learning was a contributory cause of atheism. This article explores why he made this very unusual statement, describing how Lewis saw the Classics as a literature full of gods and goddesses, providing hints of truth, giving us things to write about, and preparing for the Christian faith. Using some remarkable quotations from Virgil and Plato, Lewis demonstrated how those writers anticipated both the birth and the death of Christ. Lewis’s concept of myth, powerfully present in the Classics, shows how the Gospel story itself is a “true myth,” one with a pattern that is similar to many of the pagan myths. The personal story of Lewis himself demonstrates how the Classics, and, more broadly, the liberal arts were a testimony to the truth of God and how the Greek plays of Euripides, the philosophy of Samuel Alexander, the imagination of writer William Morris, the poetry of George Herbert, and the historical sensibility of G. K. Chesterton combined (with many other similar influences) to convince Lewis that the death and resurrection of Jesus Christ were especially a “true myth,” one that happened in history, demonstrating him to be the Son of God.
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Calvert, Ian. "Augustan Allusion: Quotation and Self-Quotation in Pope’s Odyssey." Review of English Studies 70, no. 297 (January 9, 2019): 869–89. http://dx.doi.org/10.1093/res/hgy120.
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Abstract The status of Pope’s Homer as a text which engages with numerous seventeenth-century poems and translations of classical epics is well established. Much of the criticism on this topic has so far focused on Pope’s use of Paradise Lost and Dryden’s Works of Virgil. This article contends that Pope’s use of other writers in the translation, including Denham and Waller, has been under-appreciated. I examine some previously unacknowledged borrowings from Denham and Waller in Pope’s Odyssey and relate them to Pope’s use of Milton and Dryden. I suggest that, within the context of direct quotation of whole verse-lines, Pope was himself responsible for privileging the presence of certain seventeenth-century authors in his Homer translations over others. The quotations of complete lines from Milton and Dryden are designed as ‘outward-looking’, but those from Denham and Waller are more ‘inward-looking’ and represent moments where he is reflecting privately on the main characteristics of their allusive strategies. Pope acknowledges that where Denham’s primary intertextual relationship was with Waller, the key source for Waller himself was his own early poetry. Waller’s early poems had, in turn, frequently drawn on works by other poets, and I outline how, in his Homer translations, Pope too repeats certain quotations frequently enough that they begin to function as self-quotations. I subsequently connect this technique to Pope’s readiness to repeat lines across his Iliad and Odyssey that are (largely) of his own invention to suggest that, in general, Pope’s allusive poetics follow Waller’s intertextual practice more closely than those of his other antecedents.
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La Bua, Giuseppe. "LATE CICERONIAN SCHOLARSHIP AND VIRGILIAN EXEGESIS: SERVIUS AND PS.-ASCONIUS." Classical Quarterly 68, no. 2 (December 2018): 667–80. http://dx.doi.org/10.1017/s0009838818000551.
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Late Antiquity witnessed intense scholarly activity on Virgil's poems. Aelius Donatus’ commentary, the twelve-bookInterpretationes Vergilianaecomposed by the fourth-century or fifth-century rhetorician Tiberius Claudius Donatus and other sets of scholia testify to the richness of late ‘Virgilian literature’. Servius’ full-scale commentary on Virgil's poetry (early fifth century) marked a watershed in the history of the reception of Virgil and in Latin criticism in general. Primarily ‘the instrument of a teacher’, Servius’ commentary was intended to teach students and readers to read and write good Latin through Virgil. Lauded by Macrobius for his ‘learning’ (doctrina) and ‘modesty’ (uerecundia), Servius attained supremacy as both a literary critic and an interpreter of Virgil, the master of Latin poetry. Hisauctoritashad a profound impact on later Virgilian erudition. As Cameron notes, Servius’ commentary ‘eclipsed all competition, even Donatus’. Significantly, it permeated non-Virgilian scholarship from the fifth century onwards. The earliest bodies of scholia on Lucan, the tenth-century or eleventh-centuryCommenta BernensiaandAdnotationes super Lucanumand thescholia uetustioraon Juvenal contain material that can be traced as far back as Servius’ scholarly masterpiece.
Dissertations / Theses on the topic "Virgil. Classical poetry"
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Platt, Mary Hartley. "Epic reduction : receptions of Homer and Virgil in modern American poetry." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9d1045f5-3134-432b-8654-868c3ef9b7de.
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The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.
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Vaananen, Katrina Victoria. "Renaissance Reception of Classical Poetry in Fracastoro’s Morbus Gallicus." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1506444910819066.
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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 TecnolÃgicoPara 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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Hampstead, John Paul. "Toward a Material History of Epic Poetry." 2010. http://trace.tennessee.edu/utk_gradthes/625.
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Literary histories of specific genres like tragedy or epic typically concern themselves with influence and deviation, tradition and innovation, the genealogical links between authors and the forms they make. Renaissance scholarship is particularly suited to these accounts of generic evolution; we read of the afterlife of Senecan tragedy in English drama, or of the respective influence of Virgil and Lucan on Renaissance epic. My study of epic poetry differs, though: by insisting on the primacy of material conditions, social organization and especially information technology to the production of literature, I present a discontinuous series of set pieces in which any given epic poem—the Iliad, the Aeneid, or The Faerie Queene—is structured more by local circumstances and methods than by authorial responses to distant epic predecessors. Ultimately I make arguments about how modes of literary production determine the forms of epic poems. Achilleus’ contradictory and anachronistic funerary practices in Iliad 23, for instance, are symptomatic of the accumulative transcription of disparate oral performances over time, which calls into question what, if any artistic ‘unity’ might guide scholarly readings of the Homeric texts. While classicists have conventionally opposed Virgil’s Aeneid to Lucan’s Bellum Civile on aesthetic and political grounds, I argue that both poets endorse the ethnographic-imperialist ideology ‘virtus at the frontier’ under the twin pressures of Julio-Claudian military expansion and the Principate’s instrumentalization of Roman intellectual life in its public library system. Finally, my chapter on Renaissance English epic demonstrates how Spenser and Milton grappled with humanist anxieties about the political utility of the classics and the unmanageable archive produced by print culture. It is my hope that this thesis coheres into a narrative of a particularly long-lived genre, the epic, and the mutations and adaptations it underwent in oral, manuscript, and print contexts.
Books on the topic "Virgil. Classical poetry"
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J, Harrison S., ed. Virgil: The Aeneid. 2nd ed. Cambridge: Cambridge University Press, 2004.
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Slavitt, David R. Eclogues and Georgics of Virgil. Baltimore: Johns Hopkins University Press, 1990.
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Ancient epic poetry: Homer, Apollonius, Virgil. Ithaca: Cornell University Press, 1993.
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Virgil. The eclogues of Virgil: A translation. New York: Farrar, Straus, and Giroux, 1999.
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Reading Virgil and his texts: Studies in intertextuality. Ann Arbor: University of Michigan Press, 1999.
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The Chaonian dove: Studies in the Eclogues, Georgics, and Aeneid of Virgil. Leiden: E.J. Brill, 1986.
Find full textBook chapters on the topic "Virgil. Classical poetry"
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Kirkpatrick, Robin. "Voicing Virgil." In Epic Performances from the Middle Ages into the Twenty-First Century, 209–27. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0015.
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In deciding to take the pagan poet gil as his guide in a Christian enterprise, Dante offers a sustained reperformance of Virgil’s poetry. His Commedia—which is, arguably, as dramatic in form as it is narrative or epic—represents in equal measure a celebration and a critique of classical culture. Dante’s own poetry distinguishes itself from Virgil’s in two particular ways, both of which demand attention to performative considerations. The first emphasizes the properties of vernacular speech in, significantly, the ‘mother tongue’ where a palpable physicality of voice and linguistic texture characterizes Dante’s Italian. The second—reflecting the theological action that impels the Commedia—requires that liturgical praxis, represented above all by the Psalms, be given a central position in this text.
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Van Anglen, K. P. "Thoreau’s Epic Ambitions: “A Walk To Wachusett” and the Persistence of the Classics in an Age of Science." In The Call of Classical Literature in the Romantic Age, 153–92. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474429641.003.0007.
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The piece is the earliest example in Thoreau of a prose genre now known as the excursion, which combines a brief autobiographical account of an experience of nature with broader philosophical meditations on the natural world. Moreover, in “A Walk to Wachusett,” Thoreau also uses quotations from and allusions to Virgil's own earliest extant poems (the eclogues) to recreate in prose the tension found throughout Virgil's poetry between the themes of the pastoral and those of epic. Thoreau also thereby allies his own literary career to the progression first followed by Virgil, from pastoral to georgic to epic, known as the cursus honorum. This renders problematic any simple notion that he became a scientist later in his career. Rather, his interests in natural science merged with his original goal of writing epic poetry, in his treatment of Pliny the Elder's Natural History.
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Harrison, Stephen, and Fiona Macintosh. "Introduction." In Seamus Heaney and the Classics, 1–13. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0001.
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The recent death of Seamus Heaney is an appropriate point to honour the great Irish poet’s major contribution to classical reception in modern poetry in English; this is the first volume to be dedicated to that subject, though occasional essays have appeared in the past. The volume comprises literary criticism by scholars of classical reception and literature in English, from both Classics and English, and has some input from critics who are also poets and from theatre practitioners on their interpretations and productions of Heaney’s versions of Greek drama; it combines well-known names with some early-career contributors, and friends and collaborators of Heaney with those who admired him from afar. The papers focus on two main areas: Heaney’s fascination with Greek drama and myth, shown primarily in his two Sophoclean versions but also in his engagement in other poems with Hesiod, with Aeschylus’ Agamemnon and with myths such as that of Antaeus, and his interest in Latin poetry, primarily in Virgil but also in Horace; a version of an Horatian ode was famously the vehicle of Heaney’s comment on 11 September 2001 in ‘Anything Can Happen’ (District and Circle, 2006).
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Pattison, George. "Poetic Vocation." In A Rhetorics of the Word, 217–58. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813514.003.0008.
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Like ethics, literature too is often envisaged as involving some kind of call or vocation. In lectures on Hölderlin, Heidegger provides a more positive account of calling than in Being and Time. Yet he remains unspecific as to what we are called to, and his account is therefore expanded with regard to its socio-political and theological dimensions, developed in the direct of a certain Messianism (Derrida, Caputo). This is further explored in terms of the relationship between prophecy and empire, focusing on the figure of Virgil, represented by Theodore Haecker as ‘father of the West’. In Hermann Broch’s novel The Death of Virgil, the poet epitomizes the transition from the classical world to Christianity and the relationship between poetry, empire, and messianism. This complex of ideas is seen as operative in the testimony of Ulrich Fentzloff, a parish priest whose blog gained national attention in Germany.
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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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Galligan, Francesca. "Poets and Heroes in Petrarch’s Africa: Classical and Medieval Sources." In Petrarch in Britain. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197264133.003.0006.
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This chapter examines the classical and medieval sources of Petrarch in writing his epic poem Africa. It brings to the fore the role of Dante's epic in Petrarch's poem and suggests that the prominence of poet characters such as Ennius and Homer, and the link between poet and hero parallel the role of poet characters such as Virgil and Statius in the Divina Commedia. It also provides evidence that Africa was influenced by Virgil's work.
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McDonald, Peter. "‘Weird Brightness’ and the Riverbank." In Seamus Heaney and the Classics, 160–79. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0011.
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This chapter begins with a reading from a Virgilian perspective of the third section of the title poem from Heaney’s Seeing Things (1991): here, the poet gives an account of his own early memory of his father after an accident, coming back ‘undrowned’ from the river into which he had toppled on a cart. The chapter will examine in more detail a relevant passage from Heaney’s late translation of Aeneid VI (Virgil’s encounter with Charon). Next, section XI of the ‘Route 110’ sequence (in Human Chain (2010)) will be read in relation to the river motif, and there will be a discussion of Heaney’s term ‘translation’ in that poem, with consideration of its purchase of some fundamental aspects of his poetic theory and practice. The chapter will continue to a reading of an uncollected late piece, ‘The City’, in which Heaney reflects on (amongst other things) the differences between Virgilian and Homeric angles on poetry and suffering, and it will finish with an analysis of the first section (‘Sidhe’) of the Human Chain poem ‘Wraiths’, in order to focus on the poet’s reconciliation of both Virgilian and Irish elements of a metaphysical poetic.
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Harrison, Stephen. "Heaney as Translator." In Seamus Heaney and the Classics, 244–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0015.
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This chapter looks in detail at Heaney’s considerable competence in Latin as shown in his translations of Virgil and Horace. It moves from some early Horatian versions through the versions of Virgilian pastoral in Electric Light (2001), exploring the full range of verbal engagement with a Latin text, through the Horace version of ‘Anything Can Happen’ in District and Circle (2006) to the posthumous version of the whole of Virgil’s Aeneid VI (2016). Where the evidence is available, it scrutinises the detailed choices made by Heaney in consecutive drafts, and assesses his considerable gifts in rendering formal and elevated Latin poetry readable for a modern audience in a form which is both dignified and natural.
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Falconer, Rachel. "Heaney and Virgil’s Underworld Journey." In Seamus Heaney and the Classics, 180–204. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0012.
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Tracing echoes, allusions to, and transformations of three motifs—the golden bough, Charon’s boat, and Aeneas’ three attempts to embrace his father—this chapter aims to assess the developing significance of Virgil’s presence in Heaney’s writing. Initially filtered through his response to Dante’s Commedia, Heaney’s early reading of the Virgilian underworld journey seems best encapsulated in the image of gravitas—the image of a man (both Aeneas, and Virgil the poet) who has shouldered the weight of his people’s history, and who bears a sense of irreparable loss into the future. By the time we reach his last volume, Human Chain, however, this image of Virgil has been astonishingly and lovingly transformed so that the poet of melancholy gravitas becomes the harbinger of a sense of a light-winged or delicately unfurling new life. The transformation of Virgil in Heaney, from Seeing Things (1991) and District and Circle (2006), to Human Chain (2010), is on one level also a story about the process of translation itself: how the very sense of losing the body of the original text gives birth to a new shape, a possible new world. The chapter concludes with consideration of Heaney’s posthumous translation of Aeneid VI (2016).
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Adams, Edward. "Gibbon, Virgil, and the Victorians: Appropriating the Matter of Rome and Renovating the Epic Career." In The Call of Classical Literature in the Romantic Age, 313–38. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474429641.003.0013.
Full textAbstract:
This chapter proposes that the critical and popular triumph of Edward Gibbon’s Decline and Fall of the Roman Empire (1776-88) displaced Virgil’s Aeneid as the primary influence upon subsequent imaginings of Rome. More broadly, it holds that Gibbon’s narrative of decline became the dominant paradigm for numerous historians, poets, and novelists who together formed an increasingly self-conscious tradition of Romantic, Victorian, and Modernist narratives of epic decline beyond Rome. The chapter traces Gibbon’s shaping of his history, from its overall narrative structure down to its balanced sentences, with Virgilian epic in mind, but also argues that he systematically rationalized Virgil—eschewing, for example, in medias res, episodic structure, verse, and, above all, the consoling myth of eternity. It concludes with case studies of subsequent writers looking critically to Gibbon as Gibbon had to Virgil—with emphasis upon representative figures from John Ruskin and Henry Adams to H. G. Wells and Isaac Asimov.