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In his duels after the death of Pallas, Aeneas often addresses his dying or already dead adversaries with cruel, ironic words, in contrast to their pleas and appeals to his pietas. Sometimes, the dying enemies respond to these touches of sarcasm in a noble way that underscores their emotional superiority and psychological depth over the victor. In this way, the poet denounces the loss of humanity and mercy that every fighter meets in the furor of war. [ABSTRACT FROM AUTHOR]

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The two couplets of Prop. 2.34.91-92 and Ov. amor. 3.9.63-64 can be read as important testimonies in the complex debate on the Virgilian laudes Galli, at the end of the Georgics. Both are related to the death of Gallus and throw light on the reactions of the contemporaries to the suicide of the elegist and the emotional context of the moment. On this basis even the alleged elimination of the laudes Galli by Virgil can be explained in a new perspective. [ABSTRACT FROM AUTHOR]

The echo is a fundamental feature of Virgilian bucolic poetry, but its treatment in some passages of ecl. 6 and 10 is noteworthy: since in these eclogues a large space is given to the figure (and probably the poetry) of Cornelius Gallus, it is possible to argue that the echo was a theme in his poetry, and that Virgil is alluding to specific passages of it. A confirm seems to come from Prop. 1.18 and 1.20, in which the treatment of the theme has resemblances with Virgil’s eclogues. [ABSTRACT FROM AUTHOR]

In Virgil’s Aeneid, tears are always a manifestation of human weakness in the face of the inexorable path of destiny. Because of his fundamental pietas, which makes him a submissive instrument of Fate, even Aeneas, an ambiguous character, often weeps. His tears are the expression of his deep feelings. They have no power to change events, but they reveal his intimate human sensitivity. In the course of the epic, he becomes increasingly aware of his lofty mission and weeps no more. [ABSTRACT FROM AUTHOR]

In the Bucolics Virgil makes a sophisticated use of the aydnaton, in order to convey the feelings and moods of his characters, but also to establish a comparison with Theocritus. In ecl. 8, in particular, the use of this rhetorical figure highlights the poet's remarkable empathy with the psychology of his characters and the originality of his poetry through a constantliterary dialogue with his Theocritean models. [ABSTRACT FROM AUTHOR]

Copyright of Myrtia is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The figure and myth of Adonis were brought to Rome by poets, and for this reason their "existence" in Latin culture was exclusively literary. In particular, the pathos of this story of love and death aroused the interest of the Neoteric and elegiac poets, who used Adonis as an exemplum to illustrate certain τόποι of their genre and to emphasize the originality of their poetry. Through analysis of the treatment of this figure in Propertius, it is possible to reconstruct the interesting dialogue that he conducted with other poets and undertake a study of the learned use of the exemplum in his oeuvre. [ABSTRACT FROM AUTHOR]

In the two shepherds of ecl. 5, Mopsus and Menalcas, and in their songs Virgil compares his bucolic poetry to Theocritean tradition and affirms his own novelty in the character of Daphnis and in Menalcas' song. The theme is developed in the second half of the bucolicon liber, and especially in ecl. 10, in the figure of the "new Daphnis" Cornelius Gallus. [ABSTRACT FROM AUTHOR]

In Virg. ecl. 7, many clues can suggest the presence of Gallus' poetry as interlocutor andmodel for Virgil. Besides Theocritus, the author seems to refer to the Gallan poems in a complex dialogue about the originality of the new Latin poetic genres, Virgilian bucolic and Gallan elegy. [ABSTRACT FROM AUTHOR]

In Virgil's 10th eclogue the two occurrences of labor, a word unusual in the Bucolics, may be a hint at Gallus' love elegy, as Prop. 1.1.9-16 seems to confirm; as a consequence, they may suggest a relationship between this type of poetry and Theocritus' pastoral, i.e. between the two main models of the eclogue. [ABSTRACT FROM AUTHOR]