By Philip Hardie, Helen Moore
This can be a wide-ranging choice of essays on historic Roman literary careers and their reception in later ecu literature, with contributions by means of major specialists. ranging from the 3 significant Roman versions for developing a literary occupation - Virgil (the rota Vergiliana), Horace, and Ovid - the amount then appears at substitute and counter-models in antiquity: Propertius, Juvenal, Cicero and Pliny. various post-antique responses to the traditional styles are then tested, from Dante to Wordsworth, and together with Petrarch, Shakespeare, Milton, Marvell, Dryden, and Goethe. those chapters pose the query of the ongoing relevance of historic profession types as rules of authorship swap over the centuries, resulting in various engagements and disengagements with classical literary careers. There also are chapters on alternative ways of concluding or extending a literary profession: bookburning and figurative metempsychosis.
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4 The implication of uicina is that arua and siluis are proximate, as aspects of the natural world and as emblems of types of poetry that tell of them. In adjacent lines at the opening of the first Eclogue Virgil has Meliboeus contrast the siluestrem Musam (2), that Tityrus can continue pondering, and the dulcia arua (3) that he himself must abandon. 25–6 (with the comments of Cheney 2002a:€9–10). 5 Such a cursus served as a model, with variations, for poets from Ovid, Virgil’s immediate successor, and Statius, in the subsequent century, to Dante and Petrarch, at the dawn and early morning of the Renaissance, to Spenser and above all Milton whose accomplishment might be considered its modern climax.
The hypothetical founder of Lavinium, and ancestor of Rome, can also behave in such a way that, at least in the medium of the metaphoric, he is, in the reality of his final deed, a city-destroyer as well. Dido, too, makes a figurative appearance here. In the extraordinary first simile of Book 12 Turnus is compared to a lion wounded by hunters, become a single robber, in Punic fields. 1–2). And the topographic placement at Carthage reconfirms the echo. Dido and her city become symbolically complementary at her death.
But Virgil’s re-employment of parallel language in the later ant simile tells another tale (402–5): For dolus in Book 2 alone, see 34, 44, 152, 196, and 264. 616. Cf. appearances of the noun insidiae at 36, 65, 195, 310 and 421. For use of the phrase cingere flamma in connection with the besieging of a city see Aen. 119. 20 Some Virgilian unities â•…â•…â•… â•…â•…â•… â•…â•…â•… â•…â•…â•… 27 ac uelut ingentem formicae farris aceruum cum populant hiemis memores tectoque reponunt, it nigrum campis agmen praedamque per herbas conuectant calle angusto.