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La poesía épica y pintura paralelamente construyen la idea de naturaleza des¬de la pintura de paisaje simbólico medieval, según Kenneth Clark. Entonces Simone Martini pinta el códice Il Virgilio Ambrosiano (1300-1326) relativo a Eneida, por encargo de Petrarca. De manera semejante Aeneid Book VI (2016) aborda desde la poesía épica de Seamus Heaney y la imagen de Jan Hendrix, la construcción actual de la idea de paisaje, al elegir la obra virgiliana dos mil años a la vez antigua y vigente. Estudiamos aquí visualmente las imágenes del paisaje zapoteca de Hendrix, en el ámbito del proyecto paralelo de traducción de la poética latina según Virgilio, a la irlandesa según Seamus Heaney.

This chapter argues that the Aeneid unsettles the stable negative pride script by repeatedly staging confrontations between two different subtypes of pride. A narrative in which pride is ascribed to both victors and victims invites readers to take sides, creating an environment in which it is possible to see one of the two as positive: a situation familiar from both the ancient and the modern reception of the poem. The chapter presents a comprehensive reading of the poem through the prism of pride, discussing many well-known and controversial episodes, such as the death of Priam, the encounter of Dido and Aeneas, and the final duel between Aeneas and Turnus, as well as Anchises’ injunction to Aeneas to “battle the proud” and the depiction of Augustus’ doorposts as “proud.”

This chapter addresses the question of the emotional functions of metalepsis: does narrative complexity intensify emotional engagement or make it bearable through moments of withdrawal? 6 How does metalepsis contribute to the representation of grief? Is there something metaleptic about intense emotion, especially grief, which can create a numbness or shock that separates the sufferer from a sense of reality?\ud The chapter begins with an examination of narrators and narrating in Aeneid 2. Both Aeneas and Sinon are fascinatingly complex narrators, who use their grief to establish authority and create a positive reception. This complexity encourages constant interplay between narrative levels, which creates dissonances for readers, but ultimately intensifies the emotional response of the various levels of audience. If Dido models Virgil’s ideal response, he was not intending to turn us off. The narrator’s constant presence, in counterfactuals that remind us we are in the pre-determined world of myth, the operation of hindsight which activates lament, and the irony more often associated with tragedy, do not alienate but draw us in.\ud The second section tackles narrative transition: ends of scenes and sequences and changes of setting are often characterized by emotional intensity and lack of narrative realism. Metalepsis often occurs at the edges of narrative, including problematization of the narrator’s knowledge of events, anachronism and focus on the narrator’s physical location. The chapter then examines the epic voice of Aeneas, beginning with similes, which also often feature at the ends of sections both as emotional high points and moments of self-conscious reflection for narrator and narratees. In many ways, Aeneas as narrator takes on the epic voice of the primary narrator, and Aeneas’ narrative as well as that of the primary narrator shows through the other narrative\ud levels.7 When Polites dies ante ora parentum (‘before the face of his fathers’) he is an image of the universality of epic death, and connects to Aeneas’ own desire to die in the storm of book 1. This tendency of epic to speak across time and space as well as audience levels is reinforced by puns and intertextual references, which one would expect to create distance, but which can also serve to enhance immediacy. Most strikingly of all, when Priam is described as a headless body on the shore, the author intrudes with a reference to contemporary Rome and Pompey’s death in the civil wars. This too claims the universality and contemporary relevance of mythic storytelling and seems likely to intensify engagement. Finally, I look briefly at Genette's phrase ‘Virgil “has Dido die”’ and how the death of Dido fits into these ideas about grief and narrative.

Virgil employs the Muses (especially Calliope and Erato) as key figures in the divine appa­ratus of his epic Aeneid. Careful consideration of the references to the Muses in his poem illustrates his concern with exploring the relationship of Aeneas’ Troy and Lavinia’s Italy., Prometheus. Rivista di studi classici, Vol. 46 No. 1 (2020): XLVI - 2020

This article examines an anomaly in Virgil’s Aeneid, book 2, and offers a possible solution based on the method known as geomythology. In this section of the poem, the narrator depicts the fatal stabbing of King Priam in front of his own altar, within the citadel of Troy, as the city is being burned by the Greeks. Immediately following this passage is a curious ‘epitaph’ for Priam, which notes that his body is huge, decapitated, and lying on a beach. Scholars have provided various explanations for this apparent discrepancy, with varying degrees of success. This article explores how a geomythological approach, focusing on the misidentification of the remains of a woolly mammoth, may resolve the issue.

Book review of: Fratantuono, L. M., and Smith, R. (2018). Virgil, Aeneid 8, Leiden, The Netherlands: BRILL.

There has been a long discussion since antiquity about the abrupt ending of the Aeneid which leaves the readers with a very disturbing impression: at the decisive duel in the twelfth book Aeneas, after having hesitated for a moment and inclined to spare Turnus' life, kills him, suddenly driven by fury and anger. On this unusual last scene the ancient commentary of Servius has presented a typical "optimistic" view, attributing the glory of pietas both to the hero's hesitation and his killing for revenge. The present paper attempts to offer another interpretation, which will acknowledge his hesitation as showing a great desire to be relieved of the burden of sorrowful and useless war and his vengeance for the death of Pallas as revealing his deep sense of guilt and his innermost longing to punish himself. Thus the death of Turnus would be foreshadowing Aeneas' own dying in the near future which is predicted repeatedly in the epic. We shall arrive at this conclusion after the detailed consideration of how the hero reacts to the deaths of Dido, Pallas, Lausus and others.

In Aeneid 7, Latinus receives the Trojans in his curia, a building simultaneously described as tectum, regia, and templum in Vergil’s ekphrasis (7.170–91), which has complicated discussions concerning the building’s function and conception. Many studies have suggested that specific temples in Rome are the sole inspiration for Vergil. I argue, however, that the poet is more generally allusive, and I suggest below that the Roman curia, overlooked thus far in scholarship, also informs the poet’s ekphrasis, through an examination of the architectural and ideological features in Latinus’s curia. By projecting Roman architecture and monuments into the past, Vergil emphasizes that architecture comprises a significant part of the history and purpose of Rome.

The Hercules and Cacus episode in Book VIII highlights the problematic nature of Aeneas’ exploits throughout the Aeneid. Through the violence of Hercules, Vergil makes the reader question whether a story like the founding of Rome and its eventual imperial expansion can be as cut and dry as the story of a rugged hero slaughtering someone whose name literally means “evil one” might superficially seem. Calling into question Aeneas’ morality and his justification for settling in Italy in turn casts doubt on Augustus’ own means of attaining power. The Hercules and Cacus episode is fundamental to our understanding of the Aeneid as a whole inasmuch as it brings up the question of right. The question of the rightful owner of Geryon’s cattle finds its parallel in Aeneas and Turnus’ dispute over betrothal to Lavinia, as well as in Augustus’ contested claim to rule Rome. The Italy of Hercules’ day, in which violence determines right, must be compared with the universal empire Augustus will eventually establish. This paper explores to what extent the Hercules and Cacus episode can influence our understanding of Aeneas and Augustus and how Vergil might be reacting to the political climate of his day through his poetry. N.B. I give citations in Latin throughout the paper, with my own English translations in the footnotes.

I originally translated Book II of Vergil’s Aeneid for my advanced placement Latin course in high school; two years later, I returned to the translation of the Aeneid for Professor Carrie Mowbray’s Latin course, which focused on an in-depth, thorough examination of the Aeneid (more specifically, Books I-VI) in both Latin and English. This excerpt taken from Book II has remained a favorite of mine for years, as the vivid imagery and language utilized allow readers to envision the most detailed of scenes. Vergil’s personification of the Trojan Horse is the prime reason this excerpt has always appealed to me. Of course, Laocoon’s famous line, “quidquid id est, timeo Danaos dona ferentis,” is oft-cited throughout ancient literature, on account of its structure and importance to the Aeneid’s plot. My translation aims to highlight the vivacity of Vergil’s poetry, in order to allow the readers to conjure up uniquely graphic and evocative scenes.

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This thesis was scanned from the print manuscript for digital preservation and is copyright the author. Researchers can access this thesis by asking their local university, institution or public library to make a request on their behalf. Monash staff and postgraduate students can use the link in the Reference field.

Outside of hostia humana, a phrase Cicero (pro Fonteio, 31), Sallust (Hist. 1.55.14), and Livy (22.57.6, 38.47.12) unambiguously use to describe the ritual sacrifice of a human being, the evidence for human sacrifice in Rome is scant, negative, and largely literary. The nature of the evidence necessitates that one approaches Roman human sacrifice through literary representations. Roman authors utilized the ritual slaughter of a person to signal to the audience that the literary world the read...

In his reconstruction of daily life in Italy in the era of Aeneas’ arrival, Virgil offers us an inexact poetic image, based on the Homeric heroic world but, at the same time, on antiquarian Roman tradition. This paper offers a rereading of Virgil’s text in the hope of extracting various as yet unidentified remains of the indigenous erudite tradition on Italic constitutional antiquities.

Virgil’s own perception of the history and transmission of the story of Aeneas has been almost completely ignored. Given the general neglect of the question of Virgil’s prose sources, that becomes a little more easily understandable. This paper does not seek to weigh anew Virgil’s debts in detail to Cato, the annalists, and Varro, for example, but rather to explore how the development of the Aeneas-legend and the various strands and stages within that development are reflected within the epic. The development of the legend of Aeneas, so heavily politicized from a very early date, had left Virgil with prodigious problems of reorganization and justification.

Recensione del volume, Between, Vol 10, No 19 (2020): The Cultures of Dissent in Europe in the second half of the Twentieth Century

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 limits of human agency, the nature of group identity and musical performance, and the qualities of the Aeneid as an epic poem. The themes and modes of presentation in this simile are characteristic of the ‘song’ that Vergil has created with his own Aeneid.

Eneida de Virgilio construye un pasado legendario que le permite al romano comprender la composición multicultural de su propia sociedad, la pertenencia étnica de los diferentes grupos y su ascendencia y participación en la vida pública romana. A través de vectores etnográficos positivos y negativos se configura una memoria histórica que combina el pasado conocido con elementos legendarios. Virgilio determina el lugar de las etnias itálicas en el proceso histórico de conformación de Italia bajo el dominio de Roma y las reconoce en su presente; aquí subyace una mirada retrospectiva y un acto de memoria sobre el Bellum Sociale.Vergil's Aeneid built a legendary past that allows the Roman understanding of the multicultural composition of their own society, the ethnicity of the different groups and their ancestry and participation in public life in Rome. Through ethnographic positive and negative vectors set up a historical memory that combines the known past with legendary elements. Vergil determines the place of ethnic emphasis in the historical process of formation of Italy under Roman rule and recognized in the present, here lies a retrospect and an act of memory on the Bellum Sociale.

Virgil's Aeneid XI is an important, yet sometimes overlooked, book which covers the funerals following the fierce fighting in Book X and a council of the Latins before they and the Trojans resume battle after the end of the truce. This edition contains a thorough Introduction which provides context for Book XI both within and beyond the rest of the poem, explores key characters such as Aeneas and Camilla, and deals with issues of metre and textual transmission. The line-by-line Commentary will be indispensable for students and instructors wishing to enhance their understanding of the poem and especially of Virgil's language and syntax. Accessible and comprehensive, the volume will help readers to appreciate features of Virgilian style as well as deepening their engagement with the content and themes of the Aeneid as a whole.

Investigamos nesta Tese um elemento específico do mito de Enéias: a divinização heroica que aparece como promessa do fatum nas linhas da Eneida de Virgílio, poema épico composto entre os anos 29 e 19 a.C. Buscamos avaliar como as promessas de apoteose do herói e seus descendentes, Júlio César e Otávio, estão concatenadas na trama, conferindo à casa de governantes a qual se liga o Imperador Augusto, domus Iulia, ancestralidade divina e heroica. Capaz, portanto, de reforçar sua posição de prestígio social e político frente às outras famílias aristocráticas. O poeta reserva ao heroi, filho de Vênus, um tipo de elevação ad sidera, de forma a rememorar a consecratio/katasterismos de Júlio César cuja alma foi identificada ao astro – astrum/ sidus - que apareceu nos céus de Roma durante celebração dos Jogos à Vitória de César - Ludi Victoriae Caesaris (44 a.C). Otávio, por sua vez, é mencionado como um diuus em potência, com um lugar reservado no panteão romano. Mais do que uma determinação do fatum, Virgílio apresenta esta perspectiva de ascensão sideral fundamentada no mérito, representado tanto pela fama quanto pela uirtus que são construídas em vida pelo indivíduo. Concomitante à análise hermenêutica do épico, nosso esforço metodológico se desdobra em dois sentidos: primeiramente, recuamos ao passado republicano para rastrear na documentação textual e arqueológica o enraizamento de Enéias divinizado nas narrativas fundacionais e na topografia do Lácio. Ademais, a partir das fontes textuais e da evidência numismática, problematizamos a vinculação do heroi troiano à genealogia familiar dos Iulii. Em um segundo movimento, para além do período de composição da Eneida, buscamos avaliar o investimento na genealogia troiana e a reapropriação de temas épicos nos cerimoniais, monumentos e artefatos esculturais do século I d.C. Por conseguinte, nos debruçamos sobre as reapropriações do tema da divinização de Enéias pelos autores do Principado de Augusto, Tito Lívio, Dionísio de Halicarnasso e especialmente Ovídio nas Metamorfoses. Abbiamo studiato in questa Tesi di dottorato un aspetto del mito di Enea: la divinizzazione eroica che appare come una promessa dal fatum nei versi della Eneide di Virgilio, poema epico composto tra gli anni 29 e 19 aC. Tra le varie possibilità metodologiche ed ermeneutiche per lo studio di un poema epico, ci concentreremo qui sulla questione della storicità dell'opera, il suo momento di composizione e le risposte ai precedenti epici. Come una epopea eroico-storica, l'Eneide è intesa come documento di complessità inesauribile per studiare il tempo del poeta. Cerchiamo di valutare come le promesse di apoteosi dell'eroe e dei suoi discendenti, Giulio Cesare e Ottaviano, sono collegate nella trama, offrendo alla casa dei principi da cui deriva l'Imperatore Augusto, domus Iulia, ascendenza divina ed eroica. In grado, quindi, di rafforzare la sua posizione di prestigio sociale e politico, mettendo la famiglia imperiale di sopra delle altre famiglie aristocratiche. Il poeta fa Giove promettere all'eroe, figlio di Venere, un tipo di sollevamento ad sidera, allo scopo di ricordare la consecratio/katasterismos di Giulio Cesare la cui anima è stata identificata alla stella che è apparsa nei cieli di Roma alla celebrazione dei Giochi per la Vittoria di Cesare - Ludi Victoriae Caesaris (44 a.C). Ottaviano, a sua volta, è citato come un dio potenziale con un posto riservato nel pantheon romano. Più di una determinazione dello fatum, Virgilio presenta la prospettiva di sollevamento stellare basata sul merito rappresentato sia dalla reputazione e dalla uirtus che sono costruiti nella vita dell'individuo. In concomitanza con l'analisi ermeneutica dello epico, il nostro sforzo metodologico si sviluppa in due direzioni: in primo luogo, facciamo un passo indietro al periodo repubblicano per seguire le tracce dello radicamento di Enea divinizzato nelle leggende di fondazione e nella topografia del Lazio. Inoltre, dalle testimonianze testuali e dalle monete mettiamo in discussione il legame tra l'eroe troiano alla genealogia della famiglia degli Iulii. Nel secondo movimento, al di là del periodo di composizione dell'Eneide, abbiamo cercato di valutare l'investimento nella genealogia troiana e la riappropriazione di temi epici nelle cerimonie, monumenti e sculture del primo secolo. Quindi, abbiamo anche analizzato le appropriazioni dello tema della divinizzazione di Enea da altri autori come Livio, Dionigi di Alicarnasso e, soprattutto, Ovidio nelle Metamorfosi. We investigate in this Thesis a specific element of Aeneas’ myth: the heroic divinization that appears as a promise of fatum in the lines of the Aeneid, epic poem composed between the years 29 and 19 BC. Among the several methodological and hermeneutical possibilities for the study of an epic, we focus on the problem of the historicity of the work, its moment of composition and the responses to previous epic models. As a heroic-historical epic, the Aeneid is understood as an inexhaustible and complex document for studying the poet's time. We try to assess how the promises of apotheosis of this hero and his descendants, Julius Caesar and Octavian, are linked into the plot, providing to the rulers house, from which comes the Emperor Augustus, Domus Iulia, heroic and divine ancestry. Able, therefore, to strengthen its social and political prestige, putting the imperial family apart from the other aristocratic families. The poet reserves to this hero, son of Venus, one kind of upswing ad sidera in order to recall the consecratio/katasterismos of Julius Caesar whose soul has been identified to star – sidus/astrumv - that appeared in the skies of Rome during the celebration of the Games in Honor of Caesar's Victory - Ludi Victoriae Caesaris (44 a.C). More than a settlement of fatum, Virgil presents the prospect of stellar ascension based on merit represented by the fame and uirtus which are both constructed during the individual's life. Allong with the hermeneutic analysis, our methodological effort unfolds in two directions: firstly, we step back to the republican past to track the rooting of Aeneas deified in the foundation narratives and topography of Latium. Moreover, from textual sources and numismatic evidence, we bring the issue of the constructed link between the Trojan hero and the genealogy of the Iulii. In a second movement, we seek to evaluate the investment in Trojan genealogy and the reappropriation of epic themes by the ceremonies, monuments and sculptural artifacts from the first century AD. Therefore, we analyze the reappropriation of this theme of Aeneas' divinization by the augustan authors, Livy, Dionysius of Halicarnassus and especially Ovid in Metamorphoses.

The allegedly old-fashioned debate over the pro- or anti- Augustanism of Augustan texts was superseded in 1992 by Duncan Kennedy’s ‘reflections’ over these terms of reference. Since then, the old dichotomy has appeared to be useless in a dialectic which is always bound to hold Augustus as the unavoidable point of reference. And yet scholarship continues to be divided over the interpretation of Augustus’ rule and its visible or invisible effects on the poetry produced under his patronage. The present article revisits Kennedy’s influential essay and its reception, arguing that it offers further reflections on the workings of Augustan ideology than it has so far been assumed. Moreover, while the nature of Augustus’ rule is still a point of heated debate, the present article argues that a combined reading of Kennedy 1992 and Hannah Arendt’s writings over the ideological language of totalitarian systems may open new possibilities for our interpretation the Augustan regime and the anti-Augustanism of the Augustan texts.

Love and tragedy dominate book four of Virgil's most powerful work, building on the violent emotions invoked b the storms, battles, warring gods, and monster-plagued wanderings of the epic's opening. Destined to be the founder of Roman culture, Aeneas, nudged by the gods, decides to leave his beloved Dido, Queen of Carthage, causing her suicide in pursuit of his historical destiny. A dark plot, in which erotic passion culminates in sex, and sex leads to tragedy and death in the human realm, unfolds within the larger horizon of a supernatural sphere, dominated by power-conscious divinities. Dido is Aeneas' most significant other, and in their encounter Virgil explores timeless themes of love and loyalty, fare and fortune, the justice of the gods, imperialambition and its victims, and ethnic differences. This course book offers a portion of the original Latin text, study questions, a commentary, and interpretative essays. Designed to stretch and stimulate readers, Ingo Gildenhard's incisive commentary will be of particular interest to students of Latin at both A2 and undergraduate level, it extends beyond detailed linguistic analysis to encourage critical engagement with Virgil's poetry and discussion of the most recent scholarly thought. For Alessandro