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A list of articles to be published in the future issues of "Mnemosyne" is presented, including "Dawn, Mortals and Immortals in the Aeneid," "The Metapoetics of the Iudex in Peristephanon 10,11, and 14" and "Contextualising Aristides' Speech."

A literary criticism of the book "Solar Sons: Ovid, Phaethon and Memnon in Quintus of Smyrna's Posthomerica" by James K. Oakley is presented. It outlines the question of posthomerica whether Quintus incorporated Latin texts in his composition of the Posthomerica, particularly examining allusions to Latin literature such as Virgil's Aeneid and Ovid's Metamorphoses.

A list of articles to be published in future issues of "Mnemosyne" is presented, including "Dawn, Mortals and Immortals in the Aeneid," "Pliny the Elder's List of Egyptian Nomes" and "An Aristotelian Account of Religious Music in Strabo, X.3."

In this paper we begin with a brief survey of the presence of the mysteries in Greek and Latin epic poetry, before giving an overview of the mysteries in Vergil and attempting to identify the function of the references to mystery religion in Aeneid 6. Throughout, we consider the modality of how the poets allude to the mysteries in ways that allow mystery cults to take on a life of their own in imaginative literary representations, arriving at the conclusion that it is only by means of closer collaboration between literary critics and historians of religion that progress will be made in this complex field of study. [ABSTRACT FROM AUTHOR]

This article argues that Juno's speech in Horace's Odes 3.3 includes a short series of programmatic allusions to Virgil's Aeneid that assist Horace in promoting the distinct identity of his own lyric poetry. Juno's speech asserts that Rome's passage to greatness depends on not 'rebuilding Troy'. Horace's allusions identify the motif of Trojan restoration as a central theme in the Aeneid 's narrative, and, in a metapoetic sense, associate it pejoratively with the cultural performance of the epic itself in its canonical retelling of the Trojan story. In this way Horace uses Juno's speech strategically to characterise the Aeneid as decadent and regressive; by contrast Juno promotes moral restraint as a virtue that characterises Horatian lyric. [ABSTRACT FROM AUTHOR]

Venus and Vulcan, Venus and Aeneas, Pallas and Aeneas, Aeneas and Evander, Evander and Pallas: all of these pairs are seen embracing one another in Aeneid 8. Alongside these emotive scenes of embrace, the book is peppered with embrace-related vocabulary, imagery, and metaphor, often in surprising contexts. This article weaves together these embraces in Aeneid 8 in relation to the thematics of the book as a whole. It is proposed that, when read together, the embraces in Aeneid 8 tell a story about the possibilities of knowledge in relation to the senses. Vision is the supreme sense-modality of truth in epic, as embodied in the shield of Aeneas; and yet, in book 8, embrace emerges as a way of knowing that runs counter to optical discourses of knowledge. This leads to an exploratory reconsideration of hermeneutic principles in light of Aeneas' much-puzzled-over response to the shield. [ABSTRACT FROM AUTHOR]

Much has been written on the various aspects of casus belli in Aeneid 7, but the setting of the episode (in which Ascanius shoots a stag with great horns) remains unclear. This paper proposes a new reading of this crucial juncture by situating it on the river Tiber and contextualizing the fluvial setting within the wider structure of books 7-9. The role of the Tiber is significant because the Italian landscape is a major theme in the second half of the epic and the Tiber features in several key episodes, e.g. Tiberinus appears to Aeneas and directs him to the site of Rome. The history of the river is tied up with the larger history of early Latium. The river shares many affinities with the stag in terms of legal status, visual representation, and mythic significance. [ABSTRACT FROM AUTHOR]

This paper examines the interpretation of the canis catenarius in " Satyricon (or Satyrica)," a fable of ancient Rome by Gaius Petronius Arbiter about the adventures of Encolpius. Topics covered include analysis of a passage of "Satyrica" against the background of Vergil's "Aeneid 6," tendency of Encolpius to style himself as a mythical hero, pieces of evidence which suggest that the dog might not be a real live dog, and distinction between the narrator Encolpius and the protagonists.

A literary criticism of the book "Aeneid" by Vergil is presented. It focuses on an omen that appears in the sacred laurel of Apollo located within the palace of Latinus. It examines the behavior of bees and reveals that the prophet's interpretation recalls that of historical Roman haruspices who viewed the appearance of a swarm of bees in a military camp as a negative omen.

This study discusses the figure of the artist in classical ekphrases, in particular the pluperfects of verbs of making of the type έτέτνχτo, ήσχητO, έχεχóσμητo, έτετεíχıστo, caelaverat, fecerat, stru×erat which evoke that artist. After setting up a framework of the various other ways in which the artist can be represented in ekphrases, I zoom in on the pluperfects and show how they are used differently in Greek and Latin ekphrases: in Greek the mediopassive pluperfect describes a finished object while at the same time acknowledging the act of making and hence the maker; in Latin the active pluperfect occurs in analepses which evoke the act of making by a maker as an event of the past. I end with the remarkable use of the pluperfect by Vergil in the shield of Aeneas in Aeneid 8. He uniquely combines the Greek epic tradition of the refrain of verbs of making with the Latin analeptic force of the tense, in order to keep reminding the narratees of the maker of the shield, Vulcan, and his prophetic powers and of the earlier, crucial scene of the divine smith forging the shield. [ABSTRACT FROM AUTHOR]

The article focuses on the tenth book of Virgil's poem "Aeneid." Topics discussed include the punctuation in lines 148-152, some editions of the poem that do not print a comma after Etruscis, and four other places in the "Aeneid" where "est" or "sunt" have been added to a perfect participle in an ut-clause or ut primum-clause.

It is very likely that Vergil in Aeneid 8.727 refers to the Batavians, either on their own or as the leading tribe in the region This conclusion may be drawn from the poet's use of the word bicornis in line 727 and the manner in which he places the words Rhenus bicornis within the context of lines 722-728. [ABSTRACT FROM AUTHOR]

This paper investigates the influence of the Aeneid on the ninth poem of Prudentius' Peristephanon. In the poem, Prudentius is on his way to Rome when he discovers the tomb of St. Cassian, and an account of the saint's passion follows. The framing narrative employs some of the conventions of pilgrimage literature, while the poem as a whole contains allusions to Vergil's Aeneid, and I argue that through these allusions Prudentius models his journey to Rome on the travels of Aeneas. This can be seen as part of Prudentius' larger project to map Christian sites of interest onto the Roman empire. [ABSTRACT FROM AUTHOR]

In this paper I argue that the ecphrasis of Aeneid 8 contains an extensive pattern of allusion to the Ps.-Hesiodic Shield of Heracles. Other scholars have noted several of these references, but the frequency of such echoes and the scope of this subtext have, thus far, passed largely undetected. These recollections are not isolated nor are they merely learned allusions. Rather, they should be read in connection with the use of Herculean themes and imagery as a foil for Aeneas and, by extension, Augustus elsewhere in the Aeneid. As such, they are a vital complement to the lliadic motifs that are also present in Aeneid 8. The resulting synthesis captures the celebratory optimism of the early principate while simultaneously acknowledging the strife whence it was born. [ABSTRACT FROM AUTHOR]

The article describes the attitude of Arachne in "Metamorphoses 6.25." The author argues that Minerva's visitation of Arachne in "Metamorphoses 6" is nearly the same as Allecto's Turnus in "Aeneid 7." He notes that Minerva mimics the first half of Arachne's closing line. He adds that Arachne offers a grim example of the prizes won in competitions with jealous gods.

Abstract This paper reads out two very well-known moments in Books 3 and 1 of Virgil's epic poem in order to address a Virgilian tactic, a poetic strategy, that has not been fully requited in the criticism. These are moments in which the poet chooses to foreground absurd, excessive, epiphenomenal and short-lived things that time seems to bring about. Aeneas, Virgil's unlikely hero, struggles as much with such moments as he does with all the sworn enemies of the Trojans. He struggles especially with the temptation toward a poignant, nostalgic fixation on his tragic past. He is told that he must become devoted religiously to the greatest of Troy's enemies, the goddess Juno. It is inside a Carthaginian temple dedicated to Juno that the hero experiences the 'newness' that a great work of art is always able to proffer. But Virgil knows that Carthage and Juno's temple and the works of art themselves will all become follies of time, left in ruins by the romanitas that Aeneas has just been encouraged to prepare. [ABSTRACT FROM AUTHOR]

The article offers poetry criticisms of several poems which include "Catullus," by T.P. Wiseman, "Epode," by N. Horsfall and " Aeneid," by D. Mankin. It explores the use of metaphor, rhythm and aesthetics of stanzas. The author provides interpretation of the poems and offers different meanings behind several elements.

A defence of repertam as lectio difficilior on the basis of Virgil's linguistic usage and his literary and imitative models for this passage. [ABSTRACT FROM AUTHOR]

This article will show that Ovid's well-known innovations in the use of personification allegory combine closely with those of Virgil, to form a distinctive 'Augustan' phase in the development of allegory in classical literature. Both Ovid and Virgil make fictional abstractions concrete and ontologically ambiguous. Innovations common to both the Aeneid and Metamorphoses constitute an important stage in the emergence of 'compositional allegory', in the wake of the Roman adoption of Stoicising interpretative reading practices in the course of the first century BC. Both epics involve Furies as models for their major personified abstractions, both in narrative role and in concrete detail. Uniquely in and to Roman literature, Furies changed from supernatural beings into personified abstractions. This change, enabled by the semantic replacement of proper names such as Erinys or Eumenis with the word Furia ('frenzy'), produced new depth and complexity in the form and metaliterary function of personifications in Roman epic and later literary traditions. [ABSTRACT FROM AUTHOR]

The article discusses a reference to the Latin poem "Aeneid" by the poet Virgil in the historical work "Res Gestae" by the Roman historian Ammianus Marcellinus. The author states that the reference has not received any academic discussion and queries what the reference reveals about the historian's views and interpretations regarding the military campaign of the Roman emperor Julian into Persia in 363 AD.

Provides information on a brick found in Santiponce, Itaacute;lica with the first two lines of Virgil's "Aeneid" inscribed on it and preserved at the National Archaeological Museum in Madrid, Spain. Details of the first references to its discovery; Description of the appearance of the brick; Discussion of the function and significance of the inscribed brick.

Compares and contrasts the epics 'Thebaid,' by Homer and 'Aeneid,' by Vergil. Similarity of the overall structure of the epics; Unbalanced ratio between good and evil in the 'Thebaid.'

Examines resemblance between the figures of Gesander in Valerius Flaccus and the Etruscan king Mezentius in the Greek epic poem `Aeneid,' by Vergil. Relationship between Gesander scene and Mezentius episode; Association between Mezentius and Gesander passages; Similarities of the source texts used in Mezentius and Gesander narratives.

Focuses on the effects of using the present tense as the main narrative tense for past events based on the `Aeneid' of Virgil. Frequency of use of the present tense in the `Aeneid'; Consequences of the use of the present; Motivation for the adoption of the tense; Restrictions in using the present tense.

Studies various aspects related to the battle between Aeneas and Turnus in Book 12 of the classic novel `Aeneid'. Size of the rock thrown by Turnus at Aeneas; Land disputes resulting from agricultural boundary markers; Symbolism of the stone; Response of Turnus to taunts of Aeneas in the final battle scene.

Discusses Creusa's importance to the `Aeneid' in illuminating the character of Aeneas. Assertion that the appearance and loss of Creusa makes Aeneas more sympathetic; How Virgil's adaptation of Creusa should be read.

The article reports on the pun noticed in the poem "Aeneid." It states that the pun points back to Catullus' Greek original, Callimachus' Lock of Berenice. It adds that there are significant differences between how Dido uses the words of the lock and how Aeneas uses them. It also presents a well known oath which reworks Catullus 66.39-42 in some detail, with a near repetition of a whole line and a number of subtler echoes.

Analyzes the ironic allusion of the book 'Aeneid.' Context of the book; Discussion on its comic irony; Terminologies used in the text of the book.

The article cites Joshua Katz who reviews Aeneid 6.77-84, wherein he points to acrostical a-b-e-o-o-s-o-s, which he reads as abeo os os. He attempts three different translations, all of which fail to give a satisfactory sense. Perfect sense is however yielded if the acrostic is read instead as abeo oso(=u)s.

Suggests another way of reading a text in the book 'The Aeneid,' written by Virgil.