By Philip Hardie, Helen Moore
This can be a wide-ranging selection of essays on old Roman literary careers and their reception in later ecu literature, with contributions through major specialists. ranging from the 3 significant Roman types for developing a literary profession - Virgil (the rota Vergiliana), Horace, and Ovid - the amount then appears at substitute and counter-models in antiquity: Propertius, Juvenal, Cicero and Pliny. more than a few 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 continued relevance of old occupation versions as principles 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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Extra resources for Classical Literary Careers and Their Reception
The final rhyme aims our attention strictly at the dying Turnus. Repetition again plays a slowing role here as sub pectore (950) leads to sub umbras. 12 The impressive tightness of the epic’s conclusion helps form part of a larger unity. Resonances between the final lines as a whole and the epic’s opening segments have the effect of complementing the poem’s climactic linearity with an equally potent element of circularity. Such an act of enclosure forces the reader’s attention back to the poem’s start and into an act of rereading and of reprobing meaning.
J. ’ The language is suitably oracular, but commentators have shied away from the full sense of the final words. 15 But there is a before and after here that complicates these readings. 38–9), a foreign army poised for the attack. 16 If we follow out the implication of the omen for later events in the epic, we find ourselves watching Aeneas first prepare to destroy Latinus’ city, then actually in control of its core. 698):Â€ deserit et muros et summas deserit arces. ’ Though we hear eight lines later of battering rams at work on the city’s bastions, the suggestion of the phrase summas arces is that Aeneas is now in possession of the city.
61 in Tityrus’ list of adynata, as part of a series of analogies that, for him, will never occur. Already however at line 3 the reader knows that exile is in the process of becoming a central reality in Meliboeus’ life. 39 My insistence on certain ‘enclosing’, unifying, themes in Virgil’s poetry is meant in no way to extract Virgil’s work, especially the Aeneid, from its position in the larger sweep of Augustan culture, and from its important place in determining, as well as exposing, Rome’s complex reliance on power.