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At Virgil, Aeneid 1.574, the paradosis agetur has been the subject of critical and editorial commentary. The conjecture aletur is proposed, a reading that is both more meaningful in context, and also prone to correction to the deceptively simpler agetur. [ABSTRACT FROM AUTHOR]

The article examines the enduring influence of Virgil on French playwright Jean Racine, highlighting the literary kinship between the two. Topics include the comparison of Virgil and Racine's poetic styles, Racine's classical education and its impact on his works, and the use of Virgilian themes in Racine's early Latin poetry.

In the Aeneid, Ancient Rome’s seminal epic poem and Vergil’s greatest work, a queen falls in love and later commits suicide. This queen’s name is Dido, and her story contains some of Vergil’s best poetry, but it has also long been a source of interpretive debate by translators. This paper seeks to illuminate how popular, modern, English translations of the Aeneid have depicted this dynamic, tragic character. These translations (i.e. Ruben, Fitzgerald, Lewis, and others) are the ones read in classrooms and disseminated to the wider public. This paper will attempt to understand them by examining how a translator’s personality and philosophy affect their decisions about the translation’s fidelity, cadence, and expressiveness. It is a comprehensive outline of Dido’s journey through the modern age and how that journey may change as more translators come to the fore who have their own distinct, diverse stories. The Aeneid lives through its translators; it grows as the translators do, and it falters too when they do. Dido is the perfect case study for that.

In this article, I offer a new philosophical interpretation of Virgil's Aeneid, dually centered on the queens of Olympus and Carthage. More specifically, I show how the philosopher-poet Virgil deploys Dido's Junonian furor as the Aristotelian matter of the unjust Roman imperium, the feminist counterforce to the patriarchal force disguised as peaceful order. The first section explores Virgil's political and biographical background for the raw materials of a feminist, anti-imperial political philosophy. The second section, following Marilynn Desmond, situates the continuing misogynist condemnation of Virgil's two goddess-queens in the context of their honored centrality in Roman and Carthaginian culture. The third section reinterprets Virgil's goddess-queens as agents of furor as (apparently mad) feminist counterforce to the (actually mad) unjust force of the Roman empire via its agents Jupiter and Aeneas. The fourth section translates these poetic-philosophical interpretations into prose, arguing that Dido's Junonian furor is the Aristotelian matter constituting the unjust forms of Roman imperium. And the conclusion applies the latter analysis to Michael Hardt and Antonio Negri's Empire, suggesting Dido as a model for the "multitude" in the fight against the imperial injustice of today's globalized empire. [ABSTRACT FROM AUTHOR]

Virgil has Evander trace the origins of the name of the river Tiber back to the death of a giant, called 'Thybris' (Aen. 8.330–2). This article argues that the reference to the violent (asper) giant can be understood as etymological wordplay on the Greek word hubris and as a potential allusion to the grammatical debate on the nature of aspiration. Varro's De gente populi Romani is identified as an important source for the characterization of the Tiber as a giant in primeval times. The political implications of the word hubris are also briefly explored with reference to various identities to which Evander alludes. The final part of the article argues that Theocritus' Idyll 1 and the scholiast to Theocritus may have also inspired Virgil's description of the Tiber in this passage. [ABSTRACT FROM AUTHOR]

The aim of this short note is to highlight a possible, hitherto unnoticed, telestich in Verg. Aen. 8.246–9, which presents the Greek word sēma ('portent', 'wonder', 'prodigy', 'tomb'). To justify this identification, I will argue for its significance from its context in the poem (the battle between Hercules and Cacus), pointing out the insistence on the imagery of light and revelation, and the use of the phrase mirabile dictu , which appears in the same episode of the Aeneid , in the Latin poetic tradition. [ABSTRACT FROM AUTHOR]

This article argues that Virgil includes an allusion to the fourth-century censor Appius Claudius Caecus in Book 8 of the Aeneid. Three pieces of evidence point to this allusion: (1) wordplay, especially the near echo of 'Caecus' in 'Cacus'; (2) semantic associations between Cacus and darkness; and (3) repeated references to sight and Cacus' eyes. By invoking the memory of Appius, whose blinding in 312 b.c.e. allegedly came at the hands of Hercules as punishment for transferring control of the god's rites at the Ara Maxima to the state, Virgil underscores the importance of properly observing religious rituals. This aligns with Evander's original intent with the Hercules–Cacus story to prove to Aeneas and the Trojans that the Arcadians' religious practices are no uana superstitio (8.187). [ABSTRACT FROM AUTHOR]

Despite the modern association of ancient Amazons and Diana's huntresses with lesbianism, scholarly accounts of these groups as they appear in ancient Greek and Roman literature have rarely adverted to any hints of homoeroticism. This article re-examines several narratives concerning Amazons and huntresses in Latin literature (including Camilla in Vergil's Aeneid and Phaedra in Seneca's eponymous tragedy) from the perspective of queer kinship and female homosociality, demonstrating the ways in which these characters subvert traditional norms of kinship and femininity, replacing patriarchal control with female sodality, often imaged as a "sister" relationship. It suggests that, even if we do not interpret these intense homosocial bonds as erotic, we can nonetheless perceive a more radical rejection of social norms that transcends genital sexuality and merits the label of "queerness", insofar as queerness can be defined as a resistance to normativity. [ABSTRACT FROM AUTHOR]

The article delves into poet, William Wordsworth's deep engagement with the works of Virgil, particularly the Georgics, and how this influence is manifested in Wordsworth's poetry. It discusses Wordsworth's translations from the Georgics, especially the Orpheus epyllion in Georgic 4, and explores how themes of mourning and trauma in Wordsworth's work are informed by his understanding of Virgil's underworld themes in the Aeneid.

The manuscript tradition of pre-modern texts poses a specific problem for scholars in the field of Digital Humanities: before printing made the production of standardized editions of texts feasible, copying texts by hand (and often by different people) was inherently an error-prone process, which not only led to differences in wording but also in spelling—across multiple transmitted variants. This applies especially to ancient texts, where the temporal distances to the archetypes tend to be fairly large. In computerized research, especially in the case of text matching within the field of citation research and text mining, these differences in wording and spelling—however small they might be—may prevent a successful matching of texts. This case study presents a solution for the problem of textual differences arising from (non-)assimilated prefixes in Latin, a feature where modern editions mostly differ from author to author, but sometimes even between two editions of the same text. With regard to the letters of the church father Jerome as well as Virgil's Eclogues , Georgics , and Aeneid , two approaches are compared in terms of error rate and efficiency for a given set of prefixes: (1) performing and (2) reversing corpus-wide assimilation. Moreover, the broader implications of the (in-)accessibility of text-critical data in digital editions are discussed. Finally, general desiderata regarding text-critical data for computerized research on classical texts are elaborated. [ABSTRACT FROM AUTHOR]

This article explores the power of silence in the feminist recovery of classical texts to open up engaged spaces for women's creative reworkings, taking as a case study Lavinia and her reception in Ursula Le Guin's (2008) novel of the same name. By re-evaluating silence in dialogue with feminist and classical reception scholarship, I argue that Le Guin is able to bring a different angle to the reception of classical literary women, focusing on the gaps and spaces in Lavinia's character that provide a medium for engagement with the incomplete text of the Aeneid. Silence thus becomes a locus in which Le Guin can transform Vergil's silencing of Lavinia into a generative vision of the open space of interpretation available in classical literature and its reception. [ABSTRACT FROM AUTHOR]

The classical Athenian polymath Xenophon is an unappreciated source for certain passages of Virgil’s Aeneid. Close consideration of the parallels between texts from Xenophon’s Kynegeticus and Oeconomicus and scenes from Aeneid 1 in particular will reveal an intricate web of intertextual allusions and demonstrate that Xenophon is a key literary antecedent for the decisions of the epic poet both to highlight the deer-hunting prowess of his hero and to accord a prominent place to bees and apian lore in his portrait of Elissa’s nascent Carthage. [ABSTRACT FROM AUTHOR]

Copyright of Álabe is the property of Alabe 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.)

Copyright of Antike und Abendland is the property of De Gruyter 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.)

This article analyses the katabasis mytheme in Margaret Drabble's The Seven Sisters (2002), laying special emphasis on her contemporary revisionist reimagining of the Aeneid. A dialogue with Virgil's male-centred epic poem becomes both a starting point and a destination when death is just around the corner, intimated and sublimated as it is by London, a city that correlates to the Virgilian Underworld as a dark, damp topos, plagued by grotesque lost souls wandering about its liminal spaces. This close reading of the trope will not only provide a critical insight into Drabble's subversive reworking of Aeneas's descent to the Underworld from a female-centred perspective, but will also explore how the mythical resignification of the London urban landscape mediates an ongoing redefinition of women's old age and its tense power relations with the past, the present and the future. [ABSTRACT FROM AUTHOR]

This article examines ancient depictions of the death of Troilus in art and literature and challenges the widespread belief that the Iliad implies an alternative version of the myth in which Troilus dies in battle. In particular, it argues that the death-in-battle interpretation is both insufficiently supported by the internal evidence and incompatible with the external evidence. Given the evident popularity of the story of Achilles' ambush of Troilus in the Archaic period, it is hard to avoid the conclusion that the poet of the Iliad knew the story of Troilus' death by ambush. That the poem's only reference to Troilus does not contradict this story, and possibly even alludes to it, should persuade critics of the strong likelihood that the popular story of Troilus' ambush at the fountain was also the one in the poet's mind. [ABSTRACT FROM AUTHOR]

This paper deals with a case of Virgilian ambiguity, namely the famous hemistich at Aen. 4.298 omnia tuta timens. By highlighting a plausible reading with a causal force ('fearing everything too calm', 'because of the excessive calmness'), it seeks to demonstrate that this hemistich is an ambiguous passage. This view is confirmed through the imitation by Valerius Flaccus, who, in alluding to the Virgilian passage (Argonautica 8.408–12), highlights its ambiguity by including both of the most plausible readings. [ABSTRACT FROM AUTHOR]

This article explores the allusive strategy of the late second-century cento-tragedy Medea attributed to Hosidius Geta, which recounts Medea's revenge against Jason using verses from the works of Virgil. It argues that the text's author recognized a consistent strand of characterization in earlier treatments of the Medea myth, whereby the heroine's filicide is presented as a corrupted sacrifice. Geta selectively uses verses from thematically significant episodes in the Aeneid —the lying tale of Sinon and the death of Laocoön; the murder of Priam; the suicide of Dido—at key points to foreground the theme of pseudo-sacrificial violence. Geta's use of Virgil evinces a keen appreciation both of the symbolism of the broader mythic tradition in which his text is situated and of the original narrative contexts of the verses he recycles. The article's findings contribute to a growing recognition of the creative potential afforded by the cento technique. [ABSTRACT FROM AUTHOR]

This note examines the significance of Gylippus at Aen. 12.271–83 and argues that Virgil's narrative is an epitaphic gesture alluding to Nicander of Colophon, Anth. Pal. 7.435 and other epigrams from Anth. Pal. 7. Virgil's bilingual reader would participate in the Hellenistic Ergänzungsspiel and supplement further meaning to this otherwise generic scene. [ABSTRACT FROM AUTHOR]

This article argues that two words in line 8.612 of the Aeneid , promissa and perfecta , have been transposed since the poem's composition, and that the restoration of their correct order yields a preferable sense. This corruption would have happened at an early stage in the poem's transmission, but there is some reason to believe that Servius' comment on the verse reflects its original state. [ABSTRACT FROM AUTHOR]

Freud puts the verse of Virgil as an epigraph to his book on the interpretation of dreams. It is the exclamation of Juno who, after having tried in every way to defeat Aeneas, witnesses his landing on the coast of Lazio and the birth of Rome. She cannot give a reason for her defeat and then:she sought the earth: and summoned Allecto, the grief-bringer, from the house of the Fatal Furies, from the infernal shadows: in whose mind are sad wars, angers and deceits, and guilty crimes (VII, 323–325)(The Italian version of the Aeneid by Vittorio Sermonti, Rizzoli, 2007). In the transforming world of cyber space, we ask whether we can bring into interplay our conscious and unconscious parts to dream and interpret the world of digital sociality and of seemingly total knowledge. We further ask whether we can build upon our deeply rooted mechanisms of resistance and rebellion to cultivate the growth of social and individual awareness of the danger of social fragmentation arising from the utopian fantasies of individualism and mobility, and thus confront the dilemmas of surveillance capitalism and autocratic automaton. [ABSTRACT FROM AUTHOR]

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."

Dido's gifts to the shipwrecked Trojans in book 1 of the Aeneid resemble suitors' gifts (ἕδνα) recorded in the Hesiodic Catalogue of Women. Reading Dido against a Hesiodic rather than Homeric model casts her as a suitor of Aeneas, which in turn lends further coloring to the composition of Aeneas's reciprocating gifts of a palla ("dress"), uelamen ("veil"), corona ("crown"), and jewelry, gifts associated in Greek tragedy with the bridal trousseau (φερναί). The (imperfect) recasting of Dido and Aeneas as suitor and bride, respectively, only becomes legible when better attention is paid to the gendered dynamics of exchange and modes of female communication within the Aeneid. [ABSTRACT FROM AUTHOR]

Despite being one of the earliest Middle-earth texts and a central component of the legendarium, J.R.R. Tolkien's Fall of Gondolin has received far less attention than the tale deserves. Building upon the works of David Greenman, Bruce Alexander, and Austin Freeman and their studies comparing The Fall of Gondolin to Virgil's Aeneid as well as Tom Shippey's monograph, The Road to Middle-earth, this article seeks to expand current scholarship surrounding The Fall of Gondolin by the examination of Exodus, as both a Medieval and religious text, as a potential source for the narrative structure, characters, and themes found in Tolkien's Fall of Gondolin. [ABSTRACT FROM AUTHOR]

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.

Vergil's Aeneid contains more allusions to Augustus' wife than scholars have previously recognized; because Livia was connected with both the Drusi and Claudii, Vergil's references to those gentes and their ancestors allude to her (among other people). Vergil pays special attention to the Claudii, the gens of which Livia was a member, into which she had married, and to which her sons also belonged. These allusions fit both with Vergil's treatment of contemporary women and Livia's public presentation at the time. Like all references and allusions to Augustus' marriage, however, these can be read in a positive or negative light. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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 significance of G.Skovoroda for the formation of New Ukrainian literature was underestimated for a long time even by its leading figures (T.Shevchenko, P. Kulish). First of all, because of the “book language” of the writings of the wise man; the fact that most of them have not been published; and also active attempts by some Russian and pro-Russian figures (for example, A. Hashdeu) to appropriate it for Russian culture. The situation began to change after the publication of the full collection of G.Skovoroda's works, edited by D. Bagaliya (1894). A number of heuristic studies appeared (O. Rusov, S. Yefremov, M. Hrushevskyi, M. Plevako), but Stalin's repressions stopped further progress in this direction. Until it was restored by L. Ushkalov ("Baroque Sources of New Ukrainian Literature", "Skovoroda and Ukraine", etc.). The aim of the article is to develop the work of the predecessors, enriching it with new own observations, like relation Skovorodynstvo (Skovoroda's philosophy) and the author of Natalka Poltavka, which is a "variation on the theme of Skovoroda's 'Poor (Pious) Lark'" (according to L. Ushkalov). The burlesque-travesty style of "Aeneid", which is a "smart joke" about non-kinship (the leitmotif of "Fables of Kharkiv"), corresponds to Skovoroda's outlook. This includes not only the direct influence of Skovoroda on the representatives of New Ukrainian literature, but also the painting style as a marker of their Ukrainian worldview (the starting impulse of T. Shevchenko’s poetic work at the time of the redemption from serfdom, when the realization of the painterly — kindred — potential was under threat) and, accordingly, anti-kinship — as an indicator of anti-Ukrainianism. For example, in late, already in crisis, M. Gogol, renounced himself ("Selected places of correspondence with friends"). Skovorodynstvo sets the main development of the New Ukrainian literature, and therefore, the perspective of the study of the "literature-centric" Ukrainian national identity, the formation of which began with the "Key to Everything: Know Yourself" by the author of the book "The Key to Everything: discover Yourself".

The article examines Lucy Hutchinson's treatment of Cain and Abel in Canto Six of her biblical epic Order and Disorder. Hutchinson mobilises the classical tradition to elucidate the psychodrama of the fratricide Cain. Her imitation of four similes from Virgil's Aeneid and Georgics, and the allegorical figure of Envy from Ovid's Metamorphoses, helps to convey the dramatic shifts in Cain's psychological and spiritual state. Moreover, Hutchinson's evocation of the reprobate Cain's restlessness through intertextual engagement with Virgil supports the Calvinist doctrine of double predestination. In Order and Disorder , Virgil and Ovid's Roman poems are aids to embellishing and enhancing the narrative and theology of Hutchinson's biblical epic. [ABSTRACT FROM AUTHOR]

It is well-known to scholars that the simile of the wool spinner described in Verg. Aen. 8.407–413 reworks on a verbal level Ap. Rhod. Argon. 3.291–295. Comparing Verg. Aen. 8.410 and Ap. Rhod. Argon. 3.291, this paper aims to suggest that in Ap. Rhod. Argon. 3.291 Virgil read a different text from that generally accepted by modern editors. [ABSTRACT FROM AUTHOR]

In his second appearance to Aeneas in Aeneid 4 Mercury drives the hero to flee Carthage with a false allegation that Dido is planning an attack, capping his warning with an infamous sententia about the mutability of female emotion. Building on a previous suggestion that Mercury's first speech to Aeneas is modelled on Athena's admonishment of Telemachus at the opening of Odyssey 15, this article proposes that Mercury's second speech as well is modelled on Athena's warning, in which the goddess uses misdirection about Penelope's intentions and a misogynistic gnōmē about the changeability of women's affections to spur Telemachus' departure from Sparta. After setting out how Virgil divides his imitation of Athena's speech verbally and thematically between Mercury's two speeches, the discussion turns to why both Athena and Mercury adopt these deceptive tactics. The speeches are shown to be culminations of the poets' similar approaches to creating doubt and foreboding around the queens' famed capacities for using δόλος. Common features in the ensuing hasty departures of Telemachus and Aeneas further confirm Virgil's use of Odyssey 15 in devising Aeneas' escape from Carthage. [ABSTRACT FROM AUTHOR]

In the fourth line of her first speech in Book 1, to Ilioneus and the Trojan castaways, Dido quotes the first word of the first line of Lucretius' De rerum natura , and in the fourth line of her second speech, to Aeneas, she quotes the first words of the second line of the De rerum natura. This is not a coincidence but a signal of the importance of Lucretius and Epicureanism for the characterization of Dido in the Aeneid. [ABSTRACT FROM AUTHOR]

A previously unnoticed Virgilian construction consists of (1) the adjective melior and (2) a grammatically independent clause, introduced by sed , that supplies qualifying circumstances. At Aeneid 10.735, where this melior ... sed construction is cut off midstream, a loss of some lines is shown to be likely. Further evidence for this consists in the fact that the passage as it stands suffers from a gap in the battle-narrative. A future editor should print asterisks between lines 735 and 736. [ABSTRACT FROM AUTHOR]

John Dryden’s translations of Virgil’s Aeneid and Georgics engage with an early modern discourse of reproduction that encouraged maximizing production while warning against disorderly generativity. While Virgil and Dryden both had political reasons to be invested in patrilineage, their shared interest in Epicureanism, with its denial of life after death, may have driven these poets to search for an alternative form of immortality in reproduction. Dryden’s choices as a translator reveal cultural anxieties around women’s role in procreation and suggest a preference for adoption as a model for reproductive success because it allows women to be cut out of the process. Ultimately, Aeneas’ decision to identify with his deceased, adopted son rather than his living biological son in the poem’s final lines suggests a turning away from futurity and acceptance of death.

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."

This paper explores the poetic interplay between the poet and angry goddess Juno, the two metacharacters in the Aeneid , that is central to the composition of Vergil's epic poem. In addition to the conflicting characterization that links both figures with the epic as well as elegiac genres, their agonistic relationship evokes a typically elegiac discourse between the poet-lover and his dura puella that is known to play a role in his poetic language. The power dynamics of elegy that Vergil has reproduced in the subtext of the Aeneid closely associate Juno's metapoetic role with the process of creating a new Roman epic. In fact, Juno is unveiled as a dominant figure within the poetic discourse who not only animates the poet's talent but essentially shapes his poetic project and allies it with the masculine genre of the epic. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Clásica: Estudios Griegos e Indoeuropeos is the property of Universidad Complutense de Madrid 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.)

This article investigates William Strachey's use of Vergilian epic in his forthright, firsthand account of the Jamestown colony in 1610. By relying on the Aeneid as a classical colonial predecessor, Strachey justifies the difficulties occurring in the colony as a necessary component of colonial success, reflected by Aeneas's suffering prior to his divinely foretold foundation of Rome. In particular, Strachey utilizes the Aeneid 's split travel-foundation structure, its use of the Muse as a figure conferring divine authority, and its procolonial ideologies presented in the foundations of both Rome and Carthage. In doing so, Strachey both critiques the governance of Jamestown before the arrival of Lord de la Warre in 1610 and figures de la Warre's arrival as a moment of rebirth for the colony. Strachey's creation of the colony's rebirth allows him to highlight the assured successes of Jamestown while further urging his audience to participate in the colonial project. [ABSTRACT FROM AUTHOR]

The article examines the poems written by poet David Ferry. Topics discussed include the similarity of Ferry with poet Dante Alighieri, the origin of the title of "That Now Are Wild and Do Not Remember," the main sources for the Eurydice and Opheus myth, and the conclusion of Ferry's translation from Virgil's "Aeneid."

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]

This article critiques scholarly explanations of pius Aeneas, heros, and pietas in the Aeneid; ἁμαρτία in Aristotle's Poetics 1453a; and ἡ ἀληθεστάτη πρόφασις in Thucydides 1.23.6 and 6.6.1. It argues that the scholarly process - reading and writing articles and books, lecturing, and helping students translate - leads us to exaggerate the care that ancient Greek and Roman authors applied to the exact meanings of the terms they used. In the case of pius Aeneas, heros, pietas, and ἁμαρτία we seek greater precision and clarity than Vergil and Aristotle intended. In the case of ἡ ἀληθεστάτη πρόφασις the same process leads us to ignore the possibility that a brilliant historian could have carelessly misused a crucial phrase. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos para Investigacion de la Literatura Hispanica is the property of Fundacion Universitaria Espanola 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 third book of Virgil's contains the fewest similes in the epic. Close study of the language and imagery employed to describe the Cyclopes reveals a web of intratextual allusions to other passages both in Book 3 and elsewhere in the epic, in particular with respect to the Augustan victory at Actium, the war in Latium, and Aeneas' slaying of Turnus. [ABSTRACT FROM AUTHOR]

Analyses of female figures in the Aeneid rarely address the Cumaean Sibyl, despite her pivotal role in book 6. Some gender studies have considered Vergil's Sibyl, but they tend to focus on sexual oppression in her relationship with Apollo. Although these readings have provided essential insights on gender and sexuality within the Aeneid, the neglect of the Sibyl or an emphasis on her victimization undermine her powerful identity in the text as a leader, prophetess, and priestess. The reception of the Sibyl, particularly in the Romantic period, when women authors sought to break into the male-dominated literary tradition, reveals that the Sibyl served as a compelling symbol of feminine insight and poetic creativity. This essay argues that Vergil's depiction of the Sibyl created a reception tradition in which she became an embodied female voice that speaks with authority. [ABSTRACT FROM AUTHOR]

This paper identifies two allusions in Lucan to the conclusion and proem of Vergil's Aeneid. When the tribune Metellus attempts to block Caesar from plundering Rome's treasury of Saturn (BC 3), Caesar's wrath recalls that of Aeneas at the close of the Aeneid as he executes the suppliant Turnus. Such a comparison illuminates how Caesar's threatening, yet less violent exercise of power in this scene expands upon Aeneas's troubling behavior at the close of Vergil's epic, while shedding further light on Lucan and Vergil's differing concerns with how imperial force and anger work. In BC 7, Lucan opens his account of the aftermath of the Battle of Pharsalus with an address to Thessaly, citing its offense to the gods and its unforgettable guilt using phrasing that recalls the proem of the Aeneid. While Lucan shares Vergil's interest in the role that memories of offense to the divine realm play in motivating events that culminate in the contemporary political dispensation, his focus is trained on human offense rather than on any offended divinity. Further, by disinterring the Aeneid-proem's imagery of foundation, Lucan casts Pharsalus's legacy on the Thessalian landscape as a defoundation of the vitiated imperial political system that it precipitates. [ABSTRACT FROM AUTHOR]

Although Vergil's engagement with Catullus in Aeneid 4 has long drawn scholarly attention, studies on this topic primarily focus on the influence of Ariadne's soliloquy in Catullus 64 on Dido's monologues. The reference to Catullus 64 shows the reader Dido's perspective, as the queen presents herself as the new Ariadne, and Aeneas as the new Theseus. In this paper I argue that Vergil also evokes Catullus 11 to imply that the same story can be told from a different point of view. By means of this allusion, Aeneas justifies himself, and makes it clear that he must depart from Carthage because his affair with Dido is threatening the mission that fate has assigned to him. [ABSTRACT FROM AUTHOR]

The dialogue between Vergil's Aeneid and the first pentad of Livy's history can be partially understood through the conflict between Romulus and Aeneas, both within each individual text and in relation to one another. Vergil's attempt to replace Romulus as the most significant Roman founder with Aeneas (emblematic of the greater attempt to replace the pentad with the Aeneid as Rome's chief foundational text) requires the poet to distance himself from the historian and also to depend on ideas and associations found in Livy's work. Livy presents a disconnected and insignificant Aeneas, and bestows great foundational significance onto the Augustan figure of Romulus. Vergil appears to invert this dynamic through his protagonist Aeneas, in whom many Augustan associations are visible, and through a Romulus who is subordinated using many of the techniques that in Livy's text subordinated Aeneas instead. Vergil's Aeneas also uses Livy's Romulus as a model, particularly at the conclusion of the Aeneid, transferring Romulus's fratricidal deed into his own narrative, coloring our readings of the pentad while signaling Vergil's dependence on the earlier work. This model of distance and dependence helps us understand the understudied intertextual relationship between two key Augustan works. [ABSTRACT FROM AUTHOR]

This article considers how fate (fatum) is described in the Aeneid, with a particular emphasis on how spatial metaphors play a role in its conceptualization. All instances of the term fatum within the poem are considered. As a fictional phenomenon closely connected to time (whose link with space within language has long been noted), fate and its workings are frequently delineated via metaphors of movement and directionality. We first (1) consider basic and apparently nonmetaphorical expressions for fate; (2) illustrate how fate can be described as a cause by, for example, being placed in the ablative; and (3) survey various expressions of constraint; before (4) focusing on the ways that fate is spatially construed. This leads to (5) consideration of how the fates could be understood as agents. We then (6) discuss how these metaphors cohere with Homeric notions of fate and causality; and finally (7) survey the ways in which Vergil can construe fate without the term fatum. [ABSTRACT FROM AUTHOR]