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An essay is presented on the poetic response of essayist and poet Joseph Addison to the poem "Paradise Lost" by John Milton in the poem "Milton's Stile Imitated, in a Translation of a Story out of the Third Aeneid." A full text of Addison's poem is given, along with collations of substantive variants and annotation documenting its verbal borrowing from Milton's epic. Addison's emergent attitude to Milton is considered.

This article takes as its focus a set of Latin verses (copied in a late sixteenth- or early seventeenth-century Scots hand) on fol. 1v of the so-called Ruthven manuscript (Edinburgh, University Library, MS Dc.1.43) of Gavin Douglas's Eneados. These were not recorded in the seminal Scottish Text Society edition of the poem by Coldwell and have not, to the best of my knowledge, been previously discussed elsewhere. They can, however, now be identified as extracts from Books 3 ('mane accinge') and 2 ('humiles nobilitat virtus' and 'te cura nunc') of Julius Caesar Scaliger's Epidorpides (first published posthumously in 1573 in Geneva as De sapientia et beatitudine libri octo, quos Epidorpides inscripsit and again in 1574 as part of Poemata in duos partes divisa (Heidelberg)). In this article, I transcribe and identify the verses, document those connections between the elder and younger Scaliger and three Scottish writers (Buchanan, Melville and Rollock) that might account for the appearance of the verses in the Ruthven manuscript, and consider what correspondences one might draw between the three extracts from Scaliger's Epidorpides on fol. 1v of the Ruthven manuscript and the subsequent translation of Virgil's Aeneid by Gavin Douglas. [ABSTRACT FROM AUTHOR]

In this article, we develop a framework for the analysis of 'movement' in literary texts. We focus on characters, translation and transmission, thereby going beyond, on the one hand, a stylistic analysis of individual passages, and, on the other hand, the linear enchainment of scenes and summaries underlying much of the narratological discussions around movement, speed and pace. We will develop this framework through a discussion of the character Camilla in Vergil's Aeneid: Book XI, Gavin Douglas's Eneados (1513) and John Dryden's Aeneis (1698). Both the version stylistically close to Vergil (Dryden) and the one that is stylistically looser (Douglas) allow for a discussion of movement that takes the principle beyond a primary concern with style. In a final step, we move to the contemporary example of Ursula Le Guin's Lavinia (2008) in order to investigate how 'movement' translates from the epic to the novel. Movement, as we shall show, can be analysed as movement of plot, movement of thought, and movement of figure in narrative. The framework that we propose allows for the principled discussion of transgeneric transfer of narratives, here between epic and novel, as well as the comparison of texts from different moments of literary history between the Middle Ages, the Early Modern period and the present day. [ABSTRACT FROM AUTHOR]

Pietro Aretino was a particularly frequent commentator on the catastrophic 1527 Sack of Rome by the Spanish, German and Italian troops of Charles V. This article examines one of his most extended, and curious, responses to the Sack: the explicit parody of Virgil's Books I‐IV of The Aeneid that opens Day Two of his Dialogo. The episode features a satirical Cinquecento take on the story of Aeneas and Dido: a despicable baron who escaped Rome and a ruling lady in whom his tale of the city's fall stoked a desire that ultimately resulted in her abandonment and suicide. Commentary on these pages has centred especially on the Didonian scenes of the lady's laments and Aretino's explicit acknowledgement of his having 'filched' them from Virgil's Book IV. The baron's account of the Sack, in contrast, often has been summarized as a mere attempt – largely ineffective – to offer readers a conveniently contemporary equivalent to Aeneas's narration of the fall of Troy in Books II and III. This article argues instead that the baron's description is pointedly unVirgilian and draws on another body of unheroic texts: publications, including Aretino's own, on the Sack that circulated in its aftermath. [ABSTRACT FROM AUTHOR]

This article explored the Aeneid, Virgil's foundation epic of the Latin canon, from a values-based leadership perspective, which is defined as the moral foundation underlying stewardship decisions and actions of leaders. Specifically, we juxtaposed the resonant leadership elements of vision, culture, and values-and their corresponding equivalent Roman themes of fatum, pietas, and virtus. Using a thematic analysis approach, we coded the following eight values: integrity, good judgment, leadership by example, decision making, trust, justice/fairness, humility, and sense of urgency. We found that while the Aeneid extols prototypical values, the epic instructs that truly effective leadership is not about being a monochromatic prototype. Rather, the epic reveals that the essence and privilege of effective leadership demands reflection on the dynamic relationship between the leader and the led toward a better, envisioned future. [ABSTRACT FROM AUTHOR]

In this second article about work at a refugee centre for unaccompanied minors in Berlin, the author discusses his encounter with Syrian and Afghani adolescents who were enrolled in the program. Issues around adaptation to a new culture are explored with attention to the dynamics of conformity and marginalization. The questions of what happens to adolescent refugees separated from their families, and how their identity formation is shaped by this burden is explored in relation to the author's meeting with a Syrian adolescent living in Berlin. To illustrate the long reach of a missing father who has been left behind, characters from Virgil's Aeneid are discussed to amplify heroic and spiritual aspects within father-son relationships. The interplay between needing help and allowing for resilience is explored as an important aspect of refugees' transitions, while also considering variables such as dependence and independence, foreign and familiar, being with or without family, and adjusting to the present and/whilst relating to the past; tensions between these alternatives can create various psychosocial challenges for adolescent refugees. [ABSTRACT FROM AUTHOR]

Towards the end of that section, Lev Kenaan makes some exciting comments, linking Freud's use of Sophocles to Augustine's allegorical exegesis of Genesis I, 1 (the reference is to the Confessions XII. It would, perhaps, be an understatement to say that the past, especially Graeco-Roman antiquity and archaeology (digging up the past), interested Freud. In fact, dreams (dreamers, dream-patterns, dream-thoughts, dream-work) are discussed throughout and the final section of the book is devoted to oedipal dreams, including Aeneas' dream in the first book of the I Aeneid i in which she tries to show a kind of reverse link in time between Artemidorus and Freud. In considerably more detail, she discusses the use of psychoanalytic ideas by classicists, taking as a case example E.R. Dodds' (1959) I Greeks and the Irrational i and its reception; and dreams, and more specifically to the use which Freud made, in his first major work ( I Die Traumdeutung i ), of Artemidorus. [Extracted from the article]