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This article puts the spotlight upon the neglected 1632 translation of the entire Aeneid by the poet, puritan, and parliamentarian John Vicars, which, as the first complete translation of the Aeneid by an Englishman, should be more prominent in literary history. The article's central argument is that the neglect of Vicars' translation was, both at the time and thereafter, a manifestation of the class warfare that has long pervaded English society. This argument complements the view expressed by other scholars that the dismissal of Vicars was grounded in his radical puritanism and anti-Catholicism. The article analyses the paratextual materials that introduce the translation, including the dedicatory epistle, the address to the reader, and the poems of endorsement, as well as the poem itself, for signs of class struggle. By offering a close textual analysis, it argues that it is far from obvious that the quality of Vicars' version is inferior. It concludes that the patent early hostility towards Vicars is more closely related to the person of the translator than the qualities of the translation; specifically, it attributes the failure of Vicars' translation to dislike for the translator's extremely humble origins, alongside his unfashionable religious and political views. [ABSTRACT FROM AUTHOR]

The author responds to A. M. Juster's review of his translation of Virgil's "Aeneid" in the summer 2018 issue of "Claremont Review of Books." He particularly responds to Juster's criticism of how he ends several lines with "and", which Juster claims is the weakest word possible. He also cites poet William Wordsworth's views about line endings.

Presents literary criticism which examines the Virgilian genres in the poem "Upon Appleton House" by Andrew Marvell. Discussion of the use of the name Thestylis; Epic elements of the poem; Resemblance between Marvell's Mary and Virgil's Venus in "Aenid."

The article presents a critical discussion on the literary inspiration of English author J.R.R. Tolkien from Roman poet Virgil. Topics discussed include Tolkien's overview of Virgil’s "Aeneid" as a source for lost Roman mythical tales, Virgil's protagonist Aeneas as a character in "Iliad" who fought in the war at Troy, the overlapping of the motif of the return with exile in Tolkien and Virgil, and Elves in Tolkien's "The Lord of the Rings."

The ecphrasis of Daedalus' temple which opens Aeneid 6 is an extremely complex poetic and metapoetic passage, foreshadowing themes of the book as a whole, intertextually recalling Vergil's models and commenting on the act of poetic creation. In Seamus Heaney's translation, Daedalus becomes Dedalus, invoking the presence of James Joyce as his own literary model. This article examines Heaney's translation of the Daedalus episode in the context of his other 'Vergilian' poetry and also considers the significance of Joyce's presence in this particular passage. [ABSTRACT FROM AUTHOR]

The author focuses on the approach of Harvard School's interpretation of the Virgil's literary work. The author argues the pessimism in the approach adopted by the school in Virgil's work entitled "Aeneid," and notes the accuracy of the Aeneid's interpretation from vernacular literature. Also stressed is the possibility of ambiguity in the literary interpretation.

The article presents the author's views on the concept of the Harvard School which focuses on Vergilian scholarship. He argues that the Harvard School was an overdue reaction to the belief that Vergil's poem "Aeneid" was a paean on the Augustan Golden Age. Topics include the efforts of the Harvard School to dispel previous beliefs about Vergil's poetry, criticisms against "Aeneid," and optimism versus pessimism in literary criticism.

The article offers information on the exegetical trends featured in the commentary edition of Virgil's poem "Aeneid" by Jacques Delille. The author mentions that the poem's commented edition successfully unites Delille's interpretive endeavour with his ambition in providing a paradigm to future poets and readers. He states that the commentary edition was considered as a subtle political reading of the poem that was situated in the early Napoleonic age.

This brief and somewhat anecdotal note analyzes five instances drawn from the Roman d' Enéas (a high medieval adaptation of Virgil's Aeneid) in relation to descriptions in Historia naturalis of Pliny the Elder. The examples illustrate the twelfth-century anonymous romancer's exploitation of: murex, the marvelous horses of Messapus, bitumen, chalcedony and scammony. [ABSTRACT FROM AUTHOR]

The article presents a literary criticism of the lines 4.82-85 in epic poem "Aeneid," by the Italian poet Virgil, in which inconsistencies between 84-85 and preceding lines, the intimacy between Queen Dido and Ascanius, and the erotic fantasies of Dido with Aeneas are discussed.

While the preeminence of Vergil's Aeneid in Renaissance humanist pedagogy has long been recognized, little consideration has been given to the visual Nachleben of the epic. This study, through an analysis of two painted cassone narratives executed in the Florentine workshop of Apollonio di Giovanni (ca. 1450), argues that painters, patrons, and their advisors shared with literary humanists an exegetical approach to the Aeneid that allegorized the conflicting forces of furor and pietas central to Vergil's text. The resulting didactic narratives support the quattrocento metanarrative that female participation in the political arena is inimical to the cultivation and maintenance of civilized societies. [ABSTRACT FROM AUTHOR]

The sense in which the verb recognoscere is used in Aeneid 8.721 is unparalleled in verse, but extremely common in prose as a technical term belonging to the specialized vocabulary of Roman government and law in particular. It is argued here that, in his treatment of the triple triumph of Augustus, Vergil briefly echoes the bureaucratic language in which the senatorial decree authorizing the triumph would have been cast. A similar analysis is applied to recensere, as that verb is used synonymously with recognoscere in Aeneid 6.682. [ABSTRACT FROM AUTHOR]

The first simile of the Aeneid introduces readers to ideas about allusion, theme, plot, and interpretation that map out for readers the contours of their roles as interpreters of the poem. In all of these areas, the simile calls to mind models whose implications extend in many different directions. The first simile's most important function in setting the stage for the Aeneid is to exemplify the challenges of Vergil's narrative techniques. [ABSTRACT FROM AUTHOR]

Intense scrutiny can raise chimaeras, and Virgil is the most scrutinized of Roman poets, but he may have engineered coincidences in line number (‘stichometric allusions’) between certain of his verses and their Greek models. A handful of potential examples have now accumulated. Scholars have detected Virgilian citations of Homer, Callimachus and Aratus in this manner, as well as intratextual allusions by both Virgil and Ovid, and references to Virgil's works by later Roman poets using the same technique. (For present purposes I disregard the separate, though related, phenomenon of corresponding numbers of lines in parallel passages: G. Knauer, Die Aeneis und Homer (Göttingen, 1964) suggests several examples of such correspondences between Homer and Virgil, especially in speeches. Another purely formal mode of allusion faintly present in Roman poetry is homophonic translation (the technique which Louis Zukofsky's 1969 translations of Catullus pursue in extenso); thus Virgil's fagus, beech, corresponds with Theocritus' phagos, oak.) If genuine, the phenomenon lacks any consistent method or regular pattern (and the degree of plausibility varies); if genuine, it is very rare, even if accidents in textual transmission could have obscured some examples; if genuine, it probably originated in the Hellenistic period, although such a case has yet to be made. Virgil presently seems the earliest and most copious practitioner of stichometric allusion. A previously undetected example in the Aeneid is proposed below. [ABSTRACT FROM PUBLISHER]

This note aims to explain the monosyllable sus in Aeneid 8.83, which had already attracted the attention of Marouzeau. His Traité de stylistique latine is completed by a perspective of immanent literary history, which puts Virgil into poetic dialogue with Lucretius and Horace. As a result of this approach, the appearance of sus in the clausula, rather than dramatic and unexpected, could be explained (figuratively speaking) as an anagnorisis. [ABSTRACT FROM AUTHOR]

A literary criticism of the fictional autobiography "Letters from an American Farmer," by J. Hector St. Jean de Crèvecoeur, is presented. It focuses on the extent to which Crèvecoeur's writings are influenced by the classical verse of the Roman poet Virgil, particularly the "Georgics" and the "Aeneid."

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 author focuses on a parody of the Roman poet Virgil's "Aeneid" in the 1812 version of "Knickerbocker History of New York," by Washington Irving. According to the author, Irving moved "Knickerbocker" from a historical framework to a more mythic framework from the 1809 version to the 1812 version, which aided Irving's satire of New York culture and commercialism. The author discusses such topics as the mock-epic foundation of the book, characters in the book, and similarities to the "Aeneid."

This article discusses Jean Hardouin's literary criticisms regarding Christian allegory within the poem "Aeneid." The article includes information regarding arguments between Hardouin and French scholar Jean Mabillon, "Aeneid's" background, and Hardouin's views on the authorship of the poem.

The article presents a literary criticism of the "Aeneid" of Virgil, focusing on the long-standing disagreement over the meaning of the Latin word 'rettulit' when Aeneas is visiting the future site of Rome. The controversy goes back as far as the late 4th century figure Servius Danielus, who offered two explanations.

After a brief critique, in a first part (pp. 507-510), of previous scholars' biographical approach to the politics of translating Virgil, this paper proceeds to offer an alternative approach by looking at the "linguistic ideology" underpinning translations (especially of the Aeneid) (parts II and III [pp. 510-512 and 512-517]). What emerges is a contradictory tension between the idea of a single, unifying national vernacular and competing varieties or kinds of English. Inherent to this tension is the question of whose English (and consequently who) was to be included in the constituency of the "our" in "our English tongue"-a recurring phrase in translators' comments on their work. In a fourth and final part (pp. 517-527), these linguistic--and political--stakes are shown to have accrued around a critique, by George Puttenham in The Arte of English Poesie (1589), of Richard Stanyhurst's translation of the opening lines of the Aeneid. Specifically, this critique is taken up in the following decade (the 1590s), and the politics of its hierarchical and exclusive linguistic ideology opposed, on the one hand, by Richard Carew, in an important essay on the English language, and, on the other, by William Shakespeare, in two of his early plays, most importantly, The Merry Wives of Windsor, a play unique in the Shakespearean canon for its focus on "our English tongue," a focus which is here precisely placed in its intertextual relation to contemporary debate surrounding Richard Stanyhurst's translation of Virgil's Aeneid. [ABSTRACT FROM AUTHOR]

Analyses whether or not Dido and Circe Dorées, the women characters mentioned in lines 1.698 and 7.190 of the classic poem "Aeneid" deserves to be called golden by poets. Concept of the word aurea as used in the poem; Application of the word aurea to a woman; Reasons for concluding that aurea in Aeneid 1.698 refers to the queen mentioned in the preceding line; Parallelism between the words composuit and locavit.

The article analyzes the book "Commentum super sex libros Aeneidos," or "Commentary on the First Six Books of Aeneid," by 12th-century Christian teachers Bernard Silvestris. The author uses the edition "Commentum Quod Dicitur Bernardi Silvestris Super Sex Libros Eneidos Virgilii," edited by J. W. Jones and E. F. Jones. The article looks at Sivestris's teaching of Virgil's epic poem "Aeneid" and a theological interpretation of Aeneas's descent into the underworld.

Comments on the connection between the "The Aeneid" and "The Tempest" in terms of banquet scenes. Indication that Fury who presides over the Virgilian punishment is Furiarum maxima; Details on the banquet scenes in "The Aeneid" and "The Tempest"; Virgilian presence in the "The Tempest"; References to Dido at the beginning of Act II of "The Tempest".