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Date: Thu, 22 Feb 2001 15:43:29 -0600
From: Emilio Canales Mu�oz <[EMAIL PROTECTED]>
 (by way of David Wilson-Okamura <[EMAIL PROTECTED]>)
Subject: VIRGIL: Dudas sobre ediciones de Virgilio en el Renacimiento.
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<x-rich>Estimados se�ores: 

    Soy profesor de Lat�n y actualmente realizo mi tesis doctoral sobre
la obra <italic>Lusus </italic>J. B. Evangelisti (poeta italiano del
XVI). En ella aparecen referencias a ediciones de la
<italic>Eneida</italic> o comentarios de versos de Virgilio. No encuentro
demasiada informaci�n sobre las cuestiones que les remito a continuaci�n: 


    1) Habla de <bold><underline>Nicolaus Erythraeus</underline> como
editor de la <italic>Eneida</italic>, pero no logro localizar datos
biogr�ficos sobre el mismo. 


    2) Menciona un comentario de </bold><underline>Prisciano</underline>
al verso <italic>Bis patriae cecidere manus. quin protinus omnia</italic>
(6, 33), sin que hasta el momento haya localizado en la obra del
gram�tico referencia a este verso. 


    3) Refiere la lectura que <bold><underline>Poliziano y
Pontano</underline> realizan del verso 8, 402 de la <italic>Eneida: Quod
fieri ferro liquidove potest electro</italic>, pero no localizo ni en
bibliotecas ni en Internet ninguna menci�n a alguna edici�n de la
<italic>Eneida </italic>comentada por ellos. 


    &iquest;Podr�an ayudarme en alguna de estas cuestiones? Se lo
agradecer�a infinitamente.  Mi agradecimiento de antemano por su
colaboraci�n. </bold>
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</x-rich>
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Date: Thu, 22 Feb 2001 16:06:19 -0600
From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: VIRGIL: Re: Dudas sobre ediciones de Virgilio en el Renacimiento.
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At 09:04 PM 1/28/01 +0100, Emilio Canales Mu�oz wrote:
>    1) Habla de Nicolaus Erythraeus como editor de la Eneida, pero no logro 
>localizar datos biogr�ficos sobre el mismo. 

born 1577 (Rome)
died 1647 (Rome)

source: Mario Emilio Cosenza, Biographical and bibliographical dictionary
of the Italian humanists and of the world of classical scholarship in
Italy, 1300-1800, 2nd ed. (5 vols.; Boston, Hall, 1962).

Erythraeus was also the compiler of a popular index to Virgil's works.

>    2) Menciona un comentario de Prisciano al verso Bis patriae cecidere
manus. 
>quin protinus omnia (6, 33), sin que hasta el momento haya localizado en la 
>obra del gram�tico referencia a este verso. 

This I do not know. But please do not let my ignorance discourage others.

>    3) Refiere la lectura que Poliziano y Pontano realizan del verso 8,
402 de 
>la Eneida: Quod fieri ferro liquidove potest electro, pero no localizo ni en 
>bibliotecas ni en Internet ninguna menci�n a alguna edici�n de la Eneida 
>comentada por ellos. 

Poliziano wrote a commentary on the Georgics (which remained in manuscript
until very recently). To my knowledge, he did not write a commentary on the
Aeneid (though perhaps there were some lecture notes that will surface
someday). I am guessing, therefore, that this refers to a remark he made in
passing, in a book on another subject. 

As for Pontano: I am assuming that this refers to the poet, Giovanni P.
(1426�1503). To my knowledge, he did not write a commentary on the Aeneid,
either. 

Jacobus Pontanus (= Jakob Spanmueller) did publish a Virgil commentary in
1599: Symbolarum libri xvii Virgilii (Augsburg: J. Praetorius, 1599). A
facsimile reprint was published in the Renaissance and the Gods series (3
vols; New York: Garland Pub., 1976). I am guessing that this is not the
"Pontano" you mean. However, the Pontanus commentary is not a bad place to
look, since it very frequently collects the opinions of renaissance critics
whose remarks did _not_ appear in commentary format (or appeared in
commentaries on other authors, e.g., Lipsius on Tacitus).

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English Dept., Macalester College,  1600 Grand Ave., St. Paul, MN 55105
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Date: Fri, 23 Feb 2001 00:38:11 +0000
From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Re: Dudas sobre ediciones de Virgilio en el Renacimiento.
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In message <[EMAIL PROTECTED]>, David
Wilson-Okamura <[EMAIL PROTECTED]> writes
>>    2) Menciona un comentario de Prisciano al verso Bis patriae cecidere
>manus. 
>>quin protinus omnia (6, 33), sin que hasta el momento haya localizado en la 
>>obra del gram�tico referencia a este verso. 
>
>This I do not know. But please do not let my ignorance discourage others.
Geymonat ad loc. cites 'Prisc. II, 10', which from the form of other
references should mean book and chapter rather than volume and page of
Hertz's edition in Keil's Grammatici Latini. Sorry, at half-past
midnight I've no chance to check.
>
>>    3) Refiere la lectura que Poliziano y Pontano realizan del verso 8,
>402 de 
>>la Eneida: Quod fieri ferro liquidove potest electro, pero no localizo ni en 
>>bibliotecas ni en Internet ninguna menci�n a alguna edici�n de la Eneida 
>>comentada por ellos. 
>
>Poliziano wrote a commentary on the Georgics (which remained in manuscript
>until very recently). To my knowledge, he did not write a commentary on the
>Aeneid (though perhaps there were some lecture notes that will surface
>someday). I am guessing, therefore, that this refers to a remark he made in
>passing, in a book on another subject.

In an ancient grammarian, we should understand 'Politian quoted by
Pontanus' (cf. 'Probus et Sulpicius'); perhaps that's what is meant here
too.

Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
email: [EMAIL PROTECTED] (home)         [EMAIL PROTECTED] (work)

*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
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Subject: Re: VIRGIL: Re: Dudas sobre ediciones de Virgilio en el Renacimiento.
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At 04:06 PM 2/22/01 -0600, I wrote:
>As for Pontano: I am assuming that this refers to the poet, Giovanni P.
>(1426�1503). To my knowledge, he did not write a commentary on the Aeneid,
>either. 

A few more notes on G. G. Pontano and Virgil:

1. He _did_ edit the text of Macrobius; I don't know if he also annotated
it. If so, his comments on the _Saturnalia_ would be worth looking at.

2. According to the Columbia Concise Encyclopedia, Pontano also "discovered
Donatus' commentary on Vergil." This I have not been able to confirm, and
actually doubt. As best I can tell, the text of Tiberius Claudius Donatus
was first abridged and then edited by Cristoforo Landino -- who dedicated
his own Virgil commentary to Pietro de' Medici. The Medici connection is
probably important with regard to the Donatus commentary, because Pietro
acquired a Carolingian codex of the Donatus commentary -- apparently the
first to surface in Italy (see Reynolds, ed., Texts and Transmission
157-58). 

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Subject: Re: VIRGIL: Re: Dudas sobre ediciones de Virgilio en el Renacimiento.
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At 04:06 PM 2/22/01 -0600, I wrote:
>As for Pontano: I am assuming that this refers to the poet, Giovanni P.
>(1426�1503). To my knowledge, he did not write a commentary on the Aeneid,
>either. 

Sorry, one more thing about Pontano (I knew I was forgetting something):
Cosenza 4:2917 attributes to him some of the notes in _Vergilius opera
omnia, cum notis Servii, Donati, Pontani, Farnabii, etc_ (Leiden, 1652).
Considering the date, this is almost certainly Jacobus Pontanus (the German
Jesuit), _not_ G. G. Pontani (the Italian poet and essayist). Farnabius, by
the way, is Farnaby, the first author of a full-blown _commentary_ on
Virgil's opera to come from England!

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Macalester College      Virgil Tradition: discussion, bibliography, &c.
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In a message dated 2/22/01 2:42:09 PM Pacific Standard Time, [EMAIL PROTECTED] 
writes:

<< After about a month, we are back online. >>

Yay!

<< I think, but cannot guarantee, that we have seen the last of the phantom 
"remove" requests. If it proves otherwise, please hold your fire. >>

Will do...and in the meantime, thanks again for your hard work on this 
invaluable resource (Mantovano & virgil.org).  :)

Best, AJ
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Date: Fri, 23 Feb 2001 10:07:49 -0330 (NST)
From: James Butrica <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Dudas sobre ediciones de Virgilio en el Renacimiento.
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>Estimados se�ores:
>    Soy profesor de Lat�n y actualmente realizo mi tesis doctoral sobre la
>obra Lusus J. B. Evangelisti (poeta italiano del XVI). En ella aparecen
>referencias a ediciones de la Eneida o comentarios de versos de Virgilio.
>No encuentro demasiada informaci�n sobre las cuestiones que les remito a
>continuaci�n:
>
>    1) Habla de Nicolaus Erythraeus como editor de la Eneida, pero no
>logro localizar datos biogr�ficos sobre el mismo.
>
>    2) Menciona un comentario de Prisciano al verso Bis patriae cecidere
>manus. quin protinus omnia (6, 33), sin que hasta el momento haya
>localizado en la obra del gram�tico referencia a este verso.
>
>    3) Refiere la lectura que Poliziano y Pontano realizan del verso 8,
>402 de la Eneida: Quod fieri ferro liquidove potest electro, pero no
>localizo ni en bibliotecas ni en Internet ninguna menci�n a alguna edici�n
>de la Eneida comentada por ellos.

I wonder whether it would be worthwhile checking either Centuria of
Miscellanea by Politianus to see whether the line is discussed there (I
believe that the first was published during his lifetime, the second only
in the 1970s). Another possibility is that the reference is to one of the
numerous scholarly disputes in which Politianus was involved with his
contemporaries, in which case the evidence might still be unpublished,
though there might be some allusion to it in one of the early commentaries
(pre-1500).

As to Pontanus, if this is the 15th-century poet and not the later
commentator, his observations on the line might be in one of his published
scholarly works such as the "De aspiratione" (this one, for example, was
still being cited by scholars in the eighteenth century, and it certainly
contains emendations of Propertius), or it might be found in one of his
popular "Dialogues" such as the "Actius," which quotes extensively from
Virgil (I have a Latin/German edition of these here, but there is no index
locorum). If it's a matter of an emendation by Pontano, that would probably
have to await discovery of his own ms of Virgil (we have his copies of
Propertius, Tibullus, Ovid's Amores, and the minor works of Tacitus),
though it's equally possible for his conjectures to have circulated through
collations, as they did for Propertius, Tibullus, and Catullus.


>    &iquest;Podr�an ayudarme en alguna de estas cuestiones? Se lo
>agradecer�a infinitamente.  Mi agradecimiento de antemano por su
>colaboraci�n.
>----------------------------------------------------------------------- To
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>unsubscribe at http://virgil.org/mantovano/mantovano.htm#unsub


James Lawrence Peter Butrica
Department of Classics
Memorial University of Newfoundland
St. John's, Newfoundland  A1C 5S7
(709) 737-7914


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Date: Fri, 23 Feb 2001 10:01:13 -0500
From: Rodger Friedman <[EMAIL PROTECTED]>
Subject: VIRGIL: Pontano on Virgil
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Subscribers to this list would do well to read Giovanni Pontano's great
dialogue, ACTIUS, a long discussion of Virgil's poetics with particular
attention to questions of meter.  In the course of that discussion, he does
indeed mention the line singled out by Prof Mu�oz, but does not dilate much
upon it.  He uses it as an example of a rustling sound effect:

"Videtur res sane ridicula, rara tamen et affabrefacta; subblanditur enim
auribus quaedam quasi strepens litterarum inter se sive concursatio sive
conflictatio, ac nonnunquam etiam syllabarum; quae vis ipsis potius inest
consonantibus quam vocalibus quae syllabas eas ineunt; exemplum est: ...
'Quod fieri ferro..."

(I dialoghi.  A cura di carmelo Previtera.  Firenze: Sansoni, 1943, p. 184).

Cheers,

Rodger Friedman
Rare Book Studio, ABAA
One Mystic Circle
Tuxedo, NY� 10987

mailto:[EMAIL PROTECTED]
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845 351 5067



-----Original Message-----
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] Behalf Of James Butrica
Sent: Friday, February 23, 2001 8:38 AM
To: [EMAIL PROTECTED]
Subject: Re: VIRGIL: Dudas sobre ediciones de Virgilio en el
Renacimiento.


>Estimados se�ores:
>    Soy profesor de Lat�n y actualmente realizo mi tesis doctoral sobre la
>obra Lusus J. B. Evangelisti (poeta italiano del XVI). En ella aparecen
>referencias a ediciones de la Eneida o comentarios de versos de Virgilio.
>No encuentro demasiada informaci�n sobre las cuestiones que les remito a
>continuaci�n:
>
>    1) Habla de Nicolaus Erythraeus como editor de la Eneida, pero no
>logro localizar datos biogr�ficos sobre el mismo.
>
>    2) Menciona un comentario de Prisciano al verso Bis patriae cecidere
>manus. quin protinus omnia (6, 33), sin que hasta el momento haya
>localizado en la obra del gram�tico referencia a este verso.
>
>    3) Refiere la lectura que Poliziano y Pontano realizan del verso 8,
>402 de la Eneida: Quod fieri ferro liquidove potest electro, pero no
>localizo ni en bibliotecas ni en Internet ninguna menci�n a alguna edici�n
>de la Eneida comentada por ellos.

I wonder whether it would be worthwhile checking either Centuria of
Miscellanea by Politianus to see whether the line is discussed there (I
believe that the first was published during his lifetime, the second only
in the 1970s). Another possibility is that the reference is to one of the
numerous scholarly disputes in which Politianus was involved with his
contemporaries, in which case the evidence might still be unpublished,
though there might be some allusion to it in one of the early commentaries
(pre-1500).

As to Pontanus, if this is the 15th-century poet and not the later
commentator, his observations on the line might be in one of his published
scholarly works such as the "De aspiratione" (this one, for example, was
still being cited by scholars in the eighteenth century, and it certainly
contains emendations of Propertius), or it might be found in one of his
popular "Dialogues" such as the "Actius," which quotes extensively from
Virgil (I have a Latin/German edition of these here, but there is no index
locorum). If it's a matter of an emendation by Pontano, that would probably
have to await discovery of his own ms of Virgil (we have his copies of
Propertius, Tibullus, Ovid's Amores, and the minor works of Tacitus),
though it's equally possible for his conjectures to have circulated through
collations, as they did for Propertius, Tibullus, and Catullus.


>    &iquest;Podr�an ayudarme en alguna de estas cuestiones? Se lo
>agradecer�a infinitamente.  Mi agradecimiento de antemano por su
>colaboraci�n.
>----------------------------------------------------------------------- To
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James Lawrence Peter Butrica
Department of Classics
Memorial University of Newfoundland
St. John's, Newfoundland  A1C 5S7
(709) 737-7914


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From [EMAIL PROTECTED] Fri Feb 23 15:19:10 2001
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Date: Fri, 23 Feb 2001 21:05:29 +0100
From: Johan Hanselaer <[EMAIL PROTECTED]>
Subject: RE: VIRGIL: Dudas sobre ediciones de Virgilio en el Renacimiento.
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<x-html><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content="text/html; charset=iso-8859-1" http-equiv=Content-Type>
<META content="MSHTML 5.00.2314.1000" name=GENERATOR></HEAD>
<BODY>
<DIV><FONT color=#0000ff face=Arial size=2><SPAN 
class=930060115-23022001>Concerning N.Erythraeus you can find some biographical 
information in : Hoefer, Jean Chr�tien Ferdinand (ed.) Nouvelle biographie 
g�n�rale depuis les temps les plus recul�s jusqu'�<BR>nos jours, avec les 
renseignements bibliographiques etl'indication des sources � consulter; publi�e 
par MM Firmin Didot fr�res, sous la direction de M. Le Dr. Hoefer (Parijs, 
1852-1866), 46 vols. vol. XVI, 327. Not in Maillard, "L'Europe des 
humanistes".</SPAN></FONT></DIV>
<DIV><FONT color=#0000ff face=Arial size=2><SPAN 
class=930060115-23022001>Probably the first Vergil edition with his name: 
VERGILIUS MARO Publius, Opera omnia. - Parijs: Bret, Guillaume le, 1537 
&lt;008744-1537-FPAR-K-01/00&gt;. A copy of this edition in Paris BN 
Yc.5199(Catalogue s.v. Virgile n�s 111note &amp; 108). His work was certainly 
printed until 1746 Vergil-edition P. Burmannus (Amsterdam, J. Wetstenius) 
(copies in London BL, Paris BN, and more than 100 others). Between 1537 en 1746 
there are at least 40 editions with the work of Erythraeus.</SPAN></FONT></DIV>
<DIV><FONT color=#0000ff face=Arial size=2><SPAN 
class=930060115-23022001>Concerning the scholia of Erythraeus, Schweiger II, 
1160 writes the following: "Die Scholien of E. sind so zieml. werthlos; auch d. 
Ind. ist nicht sehr zu r�hmen."</SPAN></FONT></DIV>
<DIV><FONT color=#0000ff face=Arial size=2><SPAN 
class=930060115-23022001></SPAN></FONT>&nbsp;</DIV>
<DIV><FONT color=#0000ff face=Arial size=2><SPAN class=930060115-23022001>Johan 
Hanselaer<BR><BR></DIV></SPAN></FONT>
<BLOCKQUOTE>
  <DIV align=left class=OutlookMessageHeader dir=ltr><FONT face=Tahoma 
  size=2>-----Oorspronkelijk bericht-----<BR><B>Van:</B> 
  [EMAIL PROTECTED] 
  [mailto:[EMAIL PROTECTED]<B>Namens </B>Emilio Canales Mu�oz 
  (by way of David Wilson-Okamura &lt;[EMAIL 
PROTECTED]&gt;)<BR><B>Verzonden:</B> 
  donderdag 22 februari 2001 22:43<BR><B>Aan:</B> 
  [EMAIL PROTECTED]<BR><B>Onderwerp:</B> VIRGIL: Dudas sobre ediciones de 
  Virgilio en el Renacimiento.<BR><BR></DIV></FONT>Estimados se�ores: <BR>Soy 
  profesor de Lat�n y actualmente realizo mi tesis doctoral sobre la obra 
  <I>Lusus </I>J. B. Evangelisti (poeta italiano del XVI). En ella aparecen 
  referencias a ediciones de la <I>Eneida</I> o comentarios de versos de 
  Virgilio. No encuentro demasiada informaci�n sobre las cuestiones que les 
  remito a continuaci�n: <BR><BR>1) Habla de <B><U>Nicolaus Erythraeus</U> como 
  editor de la <I>Eneida</I>, pero no logro localizar datos biogr�ficos sobre 
el 
  mismo. <BR><BR>2) Menciona un comentario de </B><U>Prisciano</U> al verso 
  <I>Bis patriae cecidere manus. quin protinus omnia</I> (6, 33), sin que hasta 
  el momento haya localizado en la obra del gram�tico referencia a este verso. 
  <BR><BR>3) Refiere la lectura que <B><U>Poliziano y Pontano</U> realizan del 
  verso 8, 402 de la <I>Eneida: Quod fieri ferro liquidove potest electro</I>, 
  pero no localizo ni en bibliotecas ni en Internet ninguna menci�n a alguna 
  edici�n de la <I>Eneida </I>comentada por ellos. <BR><BR>&amp;iquest;Podr�an 
  ayudarme en alguna de estas cuestiones? Se lo agradecer�a infinitamente. Mi 
  agradecimiento de antemano por su colaboraci�n. 
  </B>----------------------------------------------------------------------- 
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</x-html>From [EMAIL PROTECTED] Sat Feb 24 13:57:20 2001
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Date: Sat, 24 Feb 2001 14:05:31 +0000
From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: VIRGIL: Priscian
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Sorry, it was late at night; the Priscianic reference was to perl-/vs.
pell- in verse 34. Priscian does not discuss Aen. 6. 33; but there is a
discussion found both in 'Victorinus', Grammatici Latini vi. 212-13
Keil, and in Audax's excerpts, vii. 339-340. Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
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Date: Sun, 25 Feb 2001 10:21:58 +0000
From: Helen Conrad <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Priscian
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The mention to Priscian leadsme to recall that I have not seen any mention
on Mantovano to Rijcklof Hofman's The Sankt Gall Priscian CommentaryVol. 1:
Introduction; Book1-5 and Vol. 2: Translation and Commentary; Indices.
(Nodus Publikationen: Munster, 1996)
Anyone interested in the early medieval reception of Vergil and the
grammatical tradition will spend many happy hours with it!
The Indices are quite wonderful.
Helen COB

> From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
> Reply-To: [EMAIL PROTECTED]
> Date: Sat, 24 Feb 2001 14:05:31 +0000
> To: [EMAIL PROTECTED]
> Subject: VIRGIL: Priscian
> 
> Sorry, it was late at night; the Priscianic reference was to perl-/vs.
> pell- in verse 34. Priscian does not discuss Aen. 6. 33; but there is a
> discussion found both in 'Victorinus', Grammatici Latini vi. 212-13
> Keil, and in Audax's excerpts, vii. 339-340. Leofranc Holford-Strevens
> *_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
> 
> Leofranc Holford-Strevens
> 67 St Bernard's Road                                         usque adeone
> Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
> OX2 6EJ
> 
> tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
> email: [EMAIL PROTECTED] (home)         [EMAIL PROTECTED] (work)
> 
> *_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
> -----------------------------------------------------------------------
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> 

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Date: Sat, 03 Mar 2001 15:13:27 +0000
From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Priscian
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Dear Helen,

How goes the book?

Best wishes

Leofranc

In message <[EMAIL PROTECTED]>, Helen Conrad <[EMAIL PROTECTED]>
writes
>The mention to Priscian leadsme to recall that I have not seen any mention
>on Mantovano to Rijcklof Hofman's The Sankt Gall Priscian CommentaryVol. 1:
>Introduction; Book1-5 and Vol. 2: Translation and Commentary; Indices.
>(Nodus Publikationen: Munster, 1996)
>Anyone interested in the early medieval reception of Vergil and the
>grammatical tradition will spend many happy hours with it!
>The Indices are quite wonderful.
>Helen COB
>
>>
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
email: [EMAIL PROTECTED] (home)         [EMAIL PROTECTED] (work)

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From: Helen Conrad <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Priscian
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Dear Leofranc,
Trying to bring bibliography upto date while beginning the editing process
for the Vulgate book - hope to spend a solid week on it over the vac coming
up this month.
Your quilt is progressing a good deal better.
Helen


> From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
> Reply-To: [EMAIL PROTECTED]
> Date: Sat, 3 Mar 2001 15:13:27 +0000
> To: [EMAIL PROTECTED]
> Subject: Re: VIRGIL: Priscian
> 
> Dear Helen,
> 
> How goes the book?
> 
> Best wishes
> 
> Leofranc
> 
> In message <[EMAIL PROTECTED]>, Helen Conrad <[EMAIL PROTECTED]>
> writes
>> The mention to Priscian leadsme to recall that I have not seen any mention
>> on Mantovano to Rijcklof Hofman's The Sankt Gall Priscian CommentaryVol. 1:
>> Introduction; Book1-5 and Vol. 2: Translation and Commentary; Indices.
>> (Nodus Publikationen: Munster, 1996)
>> Anyone interested in the early medieval reception of Vergil and the
>> grammatical tradition will spend many happy hours with it!
>> The Indices are quite wonderful.
>> Helen COB
>> 
>>> 
> *_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
> 
> Leofranc Holford-Strevens
> 67 St Bernard's Road                                         usque adeone
> Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
> OX2 6EJ
> 
> tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
> email: [EMAIL PROTECTED] (home)         [EMAIL PROTECTED] (work)
> 
> *_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
> -----------------------------------------------------------------------
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> can also unsubscribe at http://virgil.org/mantovano/mantovano.htm#unsub
> 
> 

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Subject: Re: VIRGIL: Priscian
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In message <[EMAIL PROTECTED]>, Helen Conrad <[EMAIL PROTECTED]>
writes
>Dear Leofranc,
>Trying to bring bibliography upto date while beginning the editing process
>for the Vulgate book - hope to spend a solid week on it over the vac coming
>up this month.

Good luck!

>Your quilt is progressing a good deal better.
Thank you very much!

Best wishes

Leofranc
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
email: [EMAIL PROTECTED] (home)         [EMAIL PROTECTED] (work)

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From: Helen Conrad <[EMAIL PROTECTED]>
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I hope you all will forgive me for accidently posting a private message on
the line.
Helen COB


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Date: Sun, 04 Mar 2001 12:51:05 -0600
From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: VIRGIL: Geo. illustrations in Codex Romanus (Vat. lat. 3867)
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<< message forwarded by listowner, David Wilson-Okamura >>

Date: Sun, 04 Mar 2001 00:35:46 +0000
From: Roza Passos <[EMAIL PROTECTED]>
Subject: new Virgil material

Dear David Wilson-Okamura

i am writing to ask if your mailing list is the appropriate forum for my 
enquiries.

i am writing a dissertation at the Australian National University about early 
illustrated books and their place in the history of art. one of the key 
works i examine is the fourth-fifth century Vergilius Romanus (Vat. lat. 
3867), in particular, the illustrations for Georgics III on folios 44v and 
45r. i am trying to source any references pertaining to these illustrations. 
i have found a few, but aside from the work of David H. Wright on the 
manuscript, they are quite old. i was hoping to ask your subscribers if they 
are aware of new material or current studies on the illustrations of this 
manuscript.

Roza Passos
School of Art History and Visual Studies
Australian National University
Canberra  ACT  0200
A U S T R A L I A

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Date: Wed, 07 Mar 2001 00:32:28 +0000
From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Geo. illustrations in Codex Romanus (Vat. lat. 3867)
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>Date: Tue, 06 Mar 2001 22:11:02 +0000
>From: Helen Conrad <[EMAIL PROTECTED]>
>
>Dear Mr. Passos,
>

>  For Vergilian material from Roman Britain,
>however, see Barrett (1978).  Barrett demolishes the association of an early
>coin issue of Carausius with A II. 282-3.


After demolition, reconstruction: I copy in a Mantovano item I had
stored.

>Subject: VIRGIL: THE ECLOGUES AND CARAUSIUS
>From: [EMAIL PROTECTED] (NCA SOUND BH)
>Date: 07 Jul 97 15:51:03 GMT

>Members of the Virgil disussion group may be interested to learn of the
>following discovery by myself which will appear in the British magazine
>Current Archaeology and subsequently the Numismatic Chronicle from the
>British Museum.

>The Romano-British rebel emperor Carausius (286-93) issued a series of
>silver coins bearing the cryptic exergue legend RSR. This has long
>thought, but with no evidence, to mean Rationalis Summae Rei, i.e.
>finance minister. This would have no precedent on Roman coinage.

>RSR appears also on a unique medallion of Carausius at the British
>Museum. A further medallion bears the exergue legend I.N.P.C.D.A.

>My observation, and I seem to be the first to make it, is that these
>letters represent Eclogues iv.6-7, redeunt Saturnia regna, Iam nova
>progenies caelo demitittur alto. It entirely fits the Carausian myth of
>a messianic rebirth of Roman virtues. He also issued a silver coin with
>Expectate. Veni in full on it (Aeneid II), but this has long been
>known.

>This seems to be a fascinating example of Virgilian texts being
>utilised by a rebellious British emperor to bolster his image of
>legitimacy at the beginning of late antiquity.

>For more information contact: G de la Bedoyere. UK 01144-181-850-9241
>or on this e-mail address

Dr de la Bedoyere has, I believe, published more on the topic.

Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

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Subject: Re: VIRGIL: Geo. illustrations in Codex Romanus (Vat. lat. 3867)
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<< message forwarded by listowner, David Wilson-Okamura >>

Date: Tue, 06 Mar 2001 22:11:02 +0000
From: Helen Conrad <[EMAIL PROTECTED]>

Dear Mr. Passos,
    Perhaps this may be some help:

    It has been suggested that this manuscript may have been written in
Britain, against this see, however, Rosenthal (1972).  Most of the
peculiarities of the script and punctuation can be paralleled in both Gaulic
and British epigraphy of the Late and sub-Roman period.  Dark (1984, 186-7),
summarising the material which might localise the manuscript in Roman or
sub-Roman Britain writes: 'The only possibly distinctive palaeographical
feature, for which a close analogy can be found, is the characteristic
upward flourish of the letters.  This is attested in Romano-British
inscriptions and in our earliest Insular manuscript, the Cathach of St.
Columba. ... one of the few substantial non-epigraphic bodies of late
Romano-British handwriting - the 12,000 'curse tablets' from Bath - contains
a script similar (although much more carelessly executed) to that of the
Vergilius Romanus.'  Dark may be overstating his case, see Tomlin (1988,
especially at page 87, tablets 8 and 9). It is, however, the illuminations
which are most suggestive of a British connection.  The strongly linear
drapery is paralleled in Romano-British mosaics and paintings.  There is
also a characteristic placement of the feet of seated figures which while
not paralleled in Gallo-Roman art is found in Insular manuscripts like the
Lindisfarne Gospels.  The manuscript's characteristic elongated faces with
almond eyes and slit-like mouths are also found in Insular art.  Henig
(1979, 1995) suggests that there was a fashion for Vergil based decorations
in Roman Britain generally unobservable in the rest of the north western
empire and or even Italy itself.  For Vergilian material from Roman Britain,
however, see Barrett (1978).  Barrett demolishes the association of an early
coin issue of Carausius with A II. 282-3.  He also catalogues and discusses
the frigidarium floor mosaic at Low Ham, Somerset which depict scenes from A
1 and 4.  It is possible that the pictorial programme of this mosaic may
have been part of a craftsman's pattern book and might have been chosen
purely for its visual effect rather than the literary allusion.  Otford,
Kent has produced fragments of a fourth century wall painting of the body
and arm of a man brandishing a spear.  Accompanying the scene are the words
'bina manu L ...' which Barrett believes to be the first part of 'bina manu
lato crispans hastalia ferro' (A  1.313 and XII.165).  A mosaic found at
Frampton, Dorset, but preserved only in a drawing, contained a scene
involving Aeneas and the Golden Bough from the A VI.  Perhaps the most
interesting example of art having reference to Vergil is a triclinium floor
from Lullingstone, Kent which Barrett suggests has significant implications
for the intellectual and cultural life of Roman Britain.  The floor depicts
Europa and the Bull with an inscription: INVIDA SI TA(URI) VIDISSET IUNO
NATATUS IUSTIUS AEOLIAS ISSET ADUSQUE DOMOS,  which is an apparent reference
to A I and Juno's visit to the home of the winds and demonstrates an
excellent knowledge of the Ovidian elegiac couplet.  Barrett (313) ends his
article with a balanced appraisal of the evidence:

allusions to Roman literature are not at all numerous in Roman Britain and
not all of them offer valid evidence of a general familiarity with the
classical writers.  However, the evidence of three of the sites, Frampton,
Otford and Lullingstone, suggests a fair acquaintance with the text of
Vergil, and indicates, in addition, a close familiar poems of Ovid.

Note Hofman (1988, 200, 203,  and also note 77) on a gloss in the St. Gaul
Priscian on A V. 136-7 containing an error 'confidunt rastris' (recte
'considunt transtris') which he suggests may be connected with the reading
'trastris' in Romanus.

If this is of any use to you, I can send you the expansions of the
bibliographical references.

Helen Conrad-O'Briain
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Date: Wed, 07 Mar 2001 18:54:24 -0800 (PST)
From: Chris Miller <[EMAIL PROTECTED]>
Subject: VIRGIL: Virgilian Tips for Italian Tour?
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As a long-time leader of Great Books discussions on
Virgil's Aeneid (in Mandelbaum's translation), I'd be
interested in hearing about Virgil-related sites (or
sights) to add to the itinerary of my first trip to
Italy (planned for late June and early July).  For
instance, I definitely want to visit Cumae, but it's
hard to find out much of literary interest from the
usual tourist guidebooks.  Any suggestions?

Chris Miller
Collegiate Seminar Program
Saint Mary's College of California

__________________________________________________
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Date: Thu, 08 Mar 2001 09:14:55 +0000
From: Helen Conrad <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Geo. illustrations in Codex Romanus (Vat. lat. 3867)
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Dear Leofranc,
    A useful item for more than just Mr. Passos!
Helen COB

> From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
> Reply-To: [EMAIL PROTECTED]
> Date: Wed, 7 Mar 2001 00:32:28 +0000
> To: [EMAIL PROTECTED]
> Subject: Re: VIRGIL: Geo. illustrations in Codex Romanus (Vat. lat. 3867)
> 
>> Date: Tue, 06 Mar 2001 22:11:02 +0000
>> From: Helen Conrad <[EMAIL PROTECTED]>
>> 
>> Dear Mr. Passos,
>> 
> 
>> For Vergilian material from Roman Britain,
>> however, see Barrett (1978).  Barrett demolishes the association of an early
>> coin issue of Carausius with A II. 282-3.
> 
> 
> After demolition, reconstruction: I copy in a Mantovano item I had
> stored.
> 
>> Subject: VIRGIL: THE ECLOGUES AND CARAUSIUS
>> From: [EMAIL PROTECTED] (NCA SOUND BH)
>> Date: 07 Jul 97 15:51:03 GMT
> 
>> Members of the Virgil disussion group may be interested to learn of the
>> following discovery by myself which will appear in the British magazine
>> Current Archaeology and subsequently the Numismatic Chronicle from the
>> British Museum.
> 
>> The Romano-British rebel emperor Carausius (286-93) issued a series of
>> silver coins bearing the cryptic exergue legend RSR. This has long
>> thought, but with no evidence, to mean Rationalis Summae Rei, i.e.
>> finance minister. This would have no precedent on Roman coinage.
> 
>> RSR appears also on a unique medallion of Carausius at the British
>> Museum. A further medallion bears the exergue legend I.N.P.C.D.A.
> 
>> My observation, and I seem to be the first to make it, is that these
>> letters represent Eclogues iv.6-7, redeunt Saturnia regna, Iam nova
>> progenies caelo demitittur alto. It entirely fits the Carausian myth of
>> a messianic rebirth of Roman virtues. He also issued a silver coin with
>> Expectate. Veni in full on it (Aeneid II), but this has long been
>> known.
> 
>> This seems to be a fascinating example of Virgilian texts being
>> utilised by a rebellious British emperor to bolster his image of
>> legitimacy at the beginning of late antiquity.
> 
>> For more information contact: G de la Bedoyere. UK 01144-181-850-9241
>> or on this e-mail address
> 
> Dr de la Bedoyere has, I believe, published more on the topic.
> 
> Leofranc Holford-Strevens
> *_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
> 
> Leofranc Holford-Strevens
> 67 St Bernard's Road                                         usque adeone
> Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
> OX2 6EJ
> 
> tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
> email: [EMAIL PROTECTED] (home)         [EMAIL PROTECTED] (work)
> 
> *_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
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> 

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Date: Thu, 08 Mar 2001 18:21:45 +0000
From: Helen Conrad <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Virgilian Tips for Italian Tour?
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'I have an admittedly old guidebook published by the Italian govenment,
'The Phlegraean Fields from Virgil's Tomb to the Grotto of the Cumaean
Sibyl' by Amedeo Maiuri, trans. V. Priestly which discusses the sites
connected with Vergil in the area in great detail.  You might also look at
Highet's Poet's in a Landscape for ideas.  You should contact the nearest
Italian consulate or the embassy in Washington.  The Italian tourist agency
produces a number of remarkably good specialist brochures, and I would be
very surprised if they do not have an updated version of the Phlegraean
Fields available, as well as literature on the area around Mantua etc.
.
Helen COB.

> From: Chris Miller <[EMAIL PROTECTED]>
> Reply-To: [EMAIL PROTECTED]
> Date: Wed, 7 Mar 2001 18:54:24 -0800 (PST)
> To: [EMAIL PROTECTED]
> Subject: VIRGIL: Virgilian Tips for Italian Tour?
> 
> As a long-time leader of Great Books discussions on
> Virgil's Aeneid (in Mandelbaum's translation), I'd be
> interested in hearing about Virgil-related sites (or
> sights) to add to the itinerary of my first trip to
> Italy (planned for late June and early July).  For
> instance, I definitely want to visit Cumae, but it's
> hard to find out much of literary interest from the
> usual tourist guidebooks.  Any suggestions?
> 
> Chris Miller
> Collegiate Seminar Program
> Saint Mary's College of California
> 
> __________________________________________________
> Do You Yahoo!?
> Get email at your own domain with Yahoo! Mail.
> http://personal.mail.yahoo.com/
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> 
> 

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Date: Thu, 08 Mar 2001 13:10:06 -0600 (CST)
From: Virgilio Cervantes Perez <[EMAIL PROTECTED]>
Subject: VIRGIL: Virgil What does mean?
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Hola! 
Espero que sea el lugar correcto, he buscado el
significado del nombre Virgilio, y no he
encontrado una respuesta correcta, en algunos
lugares note que mencionand, que el significado
del nombre se perdio a lo largo de la historia.
quien me puede decir cual es el significado
correo, y toda la etimologia si es que existe.
Gracias.

Virgilio Cervantes Perez
PD. El interes es obvio. =)
Saludos.


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At 01:10 PM 3/8/01 -0600, Virgilio Cervantes Perez wrote:
>Espero que sea el lugar correcto, he buscado el
>significado del nombre Virgilio, y no he
>encontrado una respuesta correcta, en algunos
>lugares note que mencionand, que el significado
>del nombre se perdio a lo largo de la historia.
>quien me puede decir cual es el significado
>correo, y toda la etimologia si es que existe.

According to the oldest biography of Virgil, the poet's mother gave birth
to a laurel branch in a dream; shortly thereafter, she gave birth to a son
in real life, and named him after the branch (Latin "virgula").

I suppose what we really want to know is "Who else was naming children
Virgil in this period?"

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At 01:10 PM 3/8/01 -0600, Virgilio Cervantes Perez wrote:
>Espero que sea el lugar correcto, he buscado el
>significado del nombre Virgilio, y no he
>encontrado una respuesta correcta, en algunos
>lugares note que mencionand, que el significado
>del nombre se perdio a lo largo de la historia.
>quien me puede decir cual es el significado
>correo, y toda la etimologia si es que existe.

According to the oldest biography of Virgil, the poet's mother gave birth
to a laurel branch in a dream; shortly thereafter, she gave birth to a son
in real life, and named him after the branch (Latin "virgula").

I suppose what we really want to know is "Who else was naming children
Virgil in this period?"

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Then.. my name means "after the branch"?
and why i found some referens to vergilius?
how can make a progresion of name

virgilula makes virgilio in spanish
virgilio makes virgil in english?
and vergilius? 

who else was naming chindren virgil? 
intesant point...
mantovano is first point i guess.
somebody have more ideas?

Tanks!!
David!
PD. Sorry for my languaje.
En realidad yo hablo espa�ol.


> According to the oldest biography of Virgil,
> the poet's mother gave birth
> to a laurel branch in a dream; shortly
> thereafter, she gave birth to a son
> in real life, and named him after the branch
> (Latin "virgula").
> 
> I suppose what we really want to know is "Who
> else was naming children
> Virgil in this period?"
> 
>
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> Dr. David Wilson-Okamura        (651) 696-6643 
>        [EMAIL PROTECTED]
> English Dept., Macalester College,  1600 Grand
> Ave., St. Paul, MN 55105
>
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>
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Date: Fri, 09 Mar 2001 13:17:32 -0330 (NST)
From: James Butrica <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Virgil What does mean?
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>At 01:10 PM 3/8/01 -0600, Virgilio Cervantes Perez wrote:
>>Espero que sea el lugar correcto, he buscado el
>>significado del nombre Virgilio, y no he
>>encontrado una respuesta correcta, en algunos
>>lugares note que mencionand, que el significado
>>del nombre se perdio a lo largo de la historia.
>>quien me puede decir cual es el significado
>>correo, y toda la etimologia si es que existe.
>
>According to the oldest biography of Virgil, the poet's mother gave birth
>to a laurel branch in a dream; shortly thereafter, she gave birth to a son
>in real life, and named him after the branch (Latin "virgula").
>
>I suppose what we really want to know is "Who else was naming children
>Virgil in this period?"
>
>-----------------------------------------------------------------------
>Dr. David Wilson-Okamura        (651) 696-6643         [EMAIL PROTECTED]
>English Dept., Macalester College,  1600 Grand Ave., St. Paul, MN 55105
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But if his name was P. Vergilius Maro, then his name was Vergilius whatever
his mother wanted to call him. To put it another way: if his mother came up
with the name "Vergilius," then what was his father's name?

James Lawrence Peter Butrica
Department of Classics
Memorial University of Newfoundland
St. John's, Newfoundland  A1C 5S7
(709) 737-7914


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<< message forwarded by listowner, David Wilson-Okamura >>

Date: Fri, 09 Mar 2001 14:10:07 +0100
From: Robert Dyer <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Virgil What does mean?

In France, my second son has two friends in his class, Virgile and 
Marc-Aur�le. But then his brother is called Claude. Virgile is a 
reasonably common name here and I have never thought to ask a parent if 
they were thinking of laurel trees. Of course, as Virgil's gentilicium 
it could under no circumstances have been given to him by his mother, 
except in the sense that she married a man of that name.

Rob Dyer
Paris, France
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Date: Sun, 11 Mar 2001 21:21:42 +0000 (GMT)
From: M W Hughes <[EMAIL PROTECTED]>
Subject: VIRGIL: Palinurus, Epicurus
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Palinurus' descent into the deep ocean seems to form an important parallel
to Aeneas' descent into the deep earth: both experiences feature a bough.
May I seek opinions about whether the Palinurus episode is open to a
naturalistic, Epicurean explanation and mention that my own preferred,
dithering answer is Yes and No.  The scattering from the bough of the
soporific drops on Palinurus' eyes seems to be an element of the dreams or
near-dreams which come to him in his weary state.  But the drug needs also
to be real for the narrative to make sense: Palinurus' strong mental
resolve could not be overcome otherwise. (Lucretius uses the evident power
of drugs over the mind as an argument for the mind's having a physical
nature, so a known Epicurean theme is in play.)  It seems to me that the
only way to reconcile the ideas a) that he dreams of being drugged and
b) that he is drugged is an Epicurean way: he has been taking drugs,
presumably in order to keep awake, and he is now experiencing (as
drug-takers do) a reversal of the desired effect, so that his professional
concentration vanishes into dreams.  It is also an Epicurean theme that
one thing dies so that another may live, and V uses this idea in the
conversation between Neptune and Venus, giving it non-Epicurean
significance.  (There is always something subversive to the philosophy
concerned about V's use of philosophical ideas, I think.)  The accident
which befalls Palinurus, striking Aeneas as an inexplicable lapse of
professional judgement, is really an act of divine providence, though why
divine providence takes this form is another, exceptionally disturbing,
question. I think V means to tell us that the Epicureans can show that
events are accidents, or have natural explanations, till they are blue in
the face and can even be convincing, but still can't give us the full
meaning of the events they describe.  The pattern of the Book VII dreams
and supernatural visitations, I'd like to argue, is that there is always
an Epicurean naturalistic explanation which both fits quite well and is
entirely inadequate.  (In Turnus' dream, Allecto impersonates Calybe:
but the real Calybe, doubtless an outspoken anti-Trojan and believer (from
her Mars-related name) in military solutions to political problems, must
influence the dream's content.) - Martin Hughes



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Date: Mon, 12 Mar 2001 00:55:30 +0000
From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Palinurus, Epicurus
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In message <Pine.GSO.3.95-960729.1010126151603.1542B-
[EMAIL PROTECTED]>, M W Hughes <[EMAIL PROTECTED]> writes
>Palinurus' descent into the deep ocean seems to form an important parallel
>to Aeneas' descent into the deep earth: both experiences feature a bough.
>May I seek opinions about whether the Palinurus episode is open to a
>naturalistic, Epicurean explanation and mention that my own preferred,
>dithering answer is Yes and No.
Do yourself justice. A dithering answer would be 'either yes or no, I
can't make up my mind';  your answer is dialectical.

Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
email: [EMAIL PROTECTED] (home)         [EMAIL PROTECTED] (work)

*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
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Date: Mon, 12 Mar 2001 18:23:54 +0000
From: Wolfi Kofler <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Palinurus, Epicurus
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>From: M W Hughes <[EMAIL PROTECTED]>
>Reply-To: [EMAIL PROTECTED]
>To: [EMAIL PROTECTED]
>Subject: VIRGIL: Palinurus, Epicurus
>Date: Sun, 11 Mar 2001 21:21:42 +0000 (GMT)
>
>Palinurus' descent into the deep ocean seems to form an important parallel
>to Aeneas' descent into the deep earth: both experiences feature a bough.
>May I seek opinions about whether the Palinurus episode is open to a
>naturalistic, Epicurean explanation and mention that my own preferred,
>dithering answer is Yes and No.  The scattering from the bough of the
>soporific drops on Palinurus' eyes seems to be an element of the dreams or
>near-dreams which come to him in his weary state.  But the drug needs also
>to be real for the narrative to make sense: Palinurus' strong mental
>resolve could not be overcome otherwise. (Lucretius uses the evident power
>of drugs over the mind as an argument for the mind's having a physical
>nature, so a known Epicurean theme is in play.)  It seems to me that the
>only way to reconcile the ideas a) that he dreams of being drugged and
>b) that he is drugged is an Epicurean way: he has been taking drugs,
>presumably in order to keep awake, and he is now experiencing (as
>drug-takers do) a reversal of the desired effect, so that his professional
>concentration vanishes into dreams.  It is also an Epicurean theme that
>one thing dies so that another may live, and V uses this idea in the
>conversation between Neptune and Venus, giving it non-Epicurean
>significance.  (There is always something subversive to the philosophy
>concerned about V's use of philosophical ideas, I think.)  The accident
>which befalls Palinurus, striking Aeneas as an inexplicable lapse of
>professional judgement, is really an act of divine providence, though why
>divine providence takes this form is another, exceptionally disturbing,
>question. I think V means to tell us that the Epicureans can show that
>events are accidents, or have natural explanations, till they are blue in
>the face and can even be convincing, but still can't give us the full
>meaning of the events they describe.  The pattern of the Book VII dreams
>and supernatural visitations, I'd like to argue, is that there is always
>an Epicurean naturalistic explanation which both fits quite well and is
>entirely inadequate.  (In Turnus' dream, Allecto impersonates Calybe:
>but the real Calybe, doubtless an outspoken anti-Trojan and believer (from
>her Mars-related name) in military solutions to political problems, must
>influence the dream's content.) - Martin Hughes
>


your reasoning does not seem to us clear in every respect, but there may be 
some truth in it. at any rate, palinurus has an antecedent, elpenor, who 
dies because of his abuse of a drug - alcohol. in fact, "palinurus" is 
nearly an anagramm of "elpenor". with kind regards, wolfi kofler and martin 
korenjak
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.

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At 09:21 PM 3/11/01 +0000, M W Hughes writes:
>>Palinurus' descent into the deep ocean seems to form an important parallel
>>to Aeneas' descent into the deep earth: both experiences feature a bough.
>>May I seek opinions about whether the Palinurus episode is open to a
>>naturalistic, Epicurean explanation and mention that my own preferred,
>>dithering answer is Yes and No.

At 12:55 AM 3/12/01 +0000, Leofranc Holford-Strevens replies:
>Do yourself justice. A dithering answer would be 'either yes or no, I
>can't make up my mind';  your answer is dialectical.

-- and hits, as usual, the nail on the head. 

May I follow up on the suggested parallel with the katabasis in book 6? We
have talked, in the past, about the gates of ivory, and in the past I have
defended the philosophical/allegorical interpretation of Servius: i.e., the
ivory gate exit is a way of denying the literal truth of the underworld
descent. I still find this explanation attractive. However, Servius also
offers a second reading of the gate, one that is not at all inimical to the
anti-Augustan reading favored by most of my compatriots:

        Ea vero quae supra fortunam sunt et habent nimium ornatum vanamque 
        iactantiam dicunt falsa esse: unde eburnea, quasi ornatior porta, 
        fingitur falsa.

According to this second reading, Virgil sends Aeneas out through the horn
gate because horn is a glamorous material and this is a glamorous dream:
flashy, boastful, but basically unrealistic; these are dreams in which
expectations exceed possibilities. 

Note that this is not the same thing as saying that the dream of Empire is
really a nightmare (which is how some people want to read
"falsa...insomina"). It might mean that Aeneas is getting delusions of
grandeur at this point, although I don't think that this is really
consistent with the way that Virgil presents us to him over the course of
the poem. It's more likely, I think, to mean that the reality of Rome will
always be messier than the dream of Rome. (I realize that Feeney -- and
probably others, as well -- think the dream is pretty messy, too.) Of
course, this revelation needn't damn the whole enterprise. The Aeneid, as I
told a group of my students last week, is a poem for grown-ups. "No man who
has once read it with full perception remains an adolescent." That the poem
ends as it does is hardly unexpected; the challenge, rather, was to make
the conclusion astonishing -- and in that, of course, Virgil has succeeded.
Not that is very hard to shock a modern audience -- where rules multiply,
so do the opportunities for transgression.

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Macalester College      Virgil Tradition: discussion, bibliography, &c.
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At 09:21 PM 3/11/01 +0000, M W Hughes writes:
>>Palinurus' descent into the deep ocean seems to form an important parallel
>>to Aeneas' descent into the deep earth: both experiences feature a bough.
>>May I seek opinions about whether the Palinurus episode is open to a
>>naturalistic, Epicurean explanation and mention that my own preferred,
>>dithering answer is Yes and No.

At 12:55 AM 3/12/01 +0000, Leofranc Holford-Strevens replies:
>Do yourself justice. A dithering answer would be 'either yes or no, I
>can't make up my mind';  your answer is dialectical.

-- and hits, as usual, the nail on the head. 

May I follow up on the suggested parallel with the katabasis in book 6? We
have talked, in the past, about the gates of ivory, and in the past I have
defended the philosophical/allegorical interpretation of Servius: i.e., the
ivory gate exit is a way of denying the literal truth of the underworld
descent. I still find this explanation attractive. However, Servius also
offers a second reading of the gate, one that is not at all inimical to the
anti-Augustan reading favored by most of my compatriots:

        Ea vero quae supra fortunam sunt et habent nimium ornatum vanamque 
        iactantiam dicunt falsa esse: unde eburnea, quasi ornatior porta, 
        fingitur falsa.

According to this second reading, Virgil sends Aeneas out through the horn
gate because horn is a glamorous material and this is a glamorous dream:
flashy, boastful, but basically unrealistic; these are dreams in which
expectations exceed possibilities. 

Note that this is not the same thing as saying that the dream of Empire is
really a nightmare (which is how some people want to read
"falsa...insomina"). It might mean that Aeneas is getting delusions of
grandeur at this point, although I don't think that this is really
consistent with the way that Virgil presents us to him over the course of
the poem. It's more likely, I think, to mean that the reality of Rome will
always be messier than the dream of Rome. (I realize that Feeney -- and
probably others, as well -- think the dream is pretty messy, too.) Of
course, this revelation needn't damn the whole enterprise. The Aeneid, as I
told a group of my students last week, is a poem for grown-ups. "No man who
has once read it with full perception remains an adolescent." That the poem
ends as it does is hardly unexpected; the challenge, rather, was to make
the conclusion astonishing -- and in that, of course, Virgil has succeeded.
Not that is very hard to shock a modern audience -- where rules multiply,
so do the opportunities for transgression.

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David Wilson-Okamura    http://virgil.org              [EMAIL PROTECTED]
Macalester College      Virgil Tradition: discussion, bibliography, &c.
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Date: Mon, 12 Mar 2001 21:23:24 +0000
From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Virgil What does mean?
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In message <[EMAIL PROTECTED]>,
Virgilio Cervantes Perez <[EMAIL PROTECTED]> writes
>Hola! 
>Espero que sea el lugar correcto, he buscado el
>significado del nombre Virgilio, y no he
>encontrado una respuesta correcta, en algunos
>lugares note que mencionand, que el significado
>del nombre se perdio a lo largo de la historia.
>quien me puede decir cual es el significado
>correo, y toda la etimologia si es que existe.
The correct form of the name is not Virgilius but Vergilius; however,
the etymology is unknown. Some have argued for a Gaulish origin, but
Wilhelm Schulze, _Zur Geschichte lateinischer Eigennamen_ (Abhandlungen
der k�niglichen Gesellschaft der Wissenschaften zu G�ttingen,
philologisch-historische Klasse, Neue Folge V, Nr. 5; Berlin, 1904,
repr. 1933), pp. 100-101, citing it from various inscriptions in
Etruria, relates it to the Etruscan gentilician name vercna, also
Latinized as Verginna and Verginius. However, he does not suggest a
meaning.

Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
email: [EMAIL PROTECTED] (home)         [EMAIL PROTECTED] (work)

*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
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Date: Thu, 15 Mar 2001 02:48:42 -0800
From: anXiety forever <[EMAIL PROTECTED]>
Subject: VIRGIL: Focalization in the Eneid
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Have some thoughts about the "focalization" (a better word for 'point of view') 
in the Eneid. Does anyone know where I can find what other people think about 
this? Any books about Virgil who concider this? The only book I know is Brooks 
Otis "Virgil: a study in civilized poetry" from the 60's who talk about 
"extern" and "intern" focalization.

/Andreas


"there are no enemies 
only dangerous friends" 

B Corgan

------------------------------------------------------------
Kent Mail rockar!                         http://www.kent.nu
------------------------------------------------------------


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Date: Fri, 16 Mar 2001 01:52:12 +1000
From: roche73 <[EMAIL PROTECTED]>
Subject: VIRGIL: Silius Italicus
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<DIV><FONT face="Times New Roman">Hello </FONT></DIV>
<DIV><FONT face="Times New Roman">&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; - Do 
list members know of any commentaries on&nbsp;the Punica published in 
English?</FONT></DIV>
<DIV><FONT face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; - 
What's the best introduction to Silius' work (aside from Hardie 
1993)?</FONT></DIV>
<DIV><FONT face="Times New Roman">Any other help/advice to do with this work 
would be appreciated.</FONT></DIV>
<DIV><FONT face="Times New Roman">P. A. Roche</FONT></DIV></BODY></HTML>
</x-html>From [EMAIL PROTECTED] Fri Mar 16 13:23:36 2001
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Date: Fri, 16 Mar 2001 11:13:20 -0600
From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Focalization in the Aeneid
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At 02:48 AM 3/15/01 -0800, Andreas wrote:
>Have some thoughts about the "focalization" (a better word for 'point of
view') 
>in the Aeneid. Does anyone know where I can find what other people think
about 
>this? Any books about Virgil who concider this? The only book I know is
Brooks 
>Otis "Virgil: a study in civilized poetry" from the 60's who talk about 
>"extern" and "intern" focalization.

Have a look at:

Fowler, Don. "Deviant Focalisation in Virgil's Aeneid." Proceedings of the
Cambridge Philological Society n.s. 36 (1990): 42-63.

-----. "Narrate and Describe: The Problem of Ekphrasis." Journal of Roman
Studies 81 (1991): 25-35.


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Date: Fri, 16 Mar 2001 18:02:26 +0000 (GMT)
From: M W Hughes <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Palinurus, Epicurus
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Thanks for anagram and reference to alcohol!  Have you time to tell me
where my reasoning needs to be clarified? - Martin

On Mon, 12 Mar 2001, Wolfi Kofler wrote:

> 
> 
> 
> >From: M W Hughes <[EMAIL PROTECTED]>
> >Reply-To: [EMAIL PROTECTED]
> >To: [EMAIL PROTECTED]
> >Subject: VIRGIL: Palinurus, Epicurus
> >Date: Sun, 11 Mar 2001 21:21:42 +0000 (GMT)
> >
> >Palinurus' descent into the deep ocean seems to form an important parallel
> >to Aeneas' descent into the deep earth: both experiences feature a bough.
> >May I seek opinions about whether the Palinurus episode is open to a
> >naturalistic, Epicurean explanation and mention that my own preferred,
> >dithering answer is Yes and No.  The scattering from the bough of the
> >soporific drops on Palinurus' eyes seems to be an element of the dreams or
> >near-dreams which come to him in his weary state.  But the drug needs also
> >to be real for the narrative to make sense: Palinurus' strong mental
> >resolve could not be overcome otherwise. (Lucretius uses the evident power
> >of drugs over the mind as an argument for the mind's having a physical
> >nature, so a known Epicurean theme is in play.)  It seems to me that the
> >only way to reconcile the ideas a) that he dreams of being drugged and
> >b) that he is drugged is an Epicurean way: he has been taking drugs,
> >presumably in order to keep awake, and he is now experiencing (as
> >drug-takers do) a reversal of the desired effect, so that his professional
> >concentration vanishes into dreams.  It is also an Epicurean theme that
> >one thing dies so that another may live, and V uses this idea in the
> >conversation between Neptune and Venus, giving it non-Epicurean
> >significance.  (There is always something subversive to the philosophy
> >concerned about V's use of philosophical ideas, I think.)  The accident
> >which befalls Palinurus, striking Aeneas as an inexplicable lapse of
> >professional judgement, is really an act of divine providence, though why
> >divine providence takes this form is another, exceptionally disturbing,
> >question. I think V means to tell us that the Epicureans can show that
> >events are accidents, or have natural explanations, till they are blue in
> >the face and can even be convincing, but still can't give us the full
> >meaning of the events they describe.  The pattern of the Book VII dreams
> >and supernatural visitations, I'd like to argue, is that there is always
> >an Epicurean naturalistic explanation which both fits quite well and is
> >entirely inadequate.  (In Turnus' dream, Allecto impersonates Calybe:
> >but the real Calybe, doubtless an outspoken anti-Trojan and believer (from
> >her Mars-related name) in military solutions to political problems, must
> >influence the dream's content.) - Martin Hughes
> >
> 
> 
> your reasoning does not seem to us clear in every respect, but there may be 
> some truth in it. at any rate, palinurus has an antecedent, elpenor, who 
> dies because of his abuse of a drug - alcohol. in fact, "palinurus" is 
> nearly an anagramm of "elpenor". with kind regards, wolfi kofler and martin 
> korenjak
> _________________________________________________________________________
> Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
> 
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From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Focalization in the Aeneid
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In message <[EMAIL PROTECTED]>, David
Wilson-Okamura <[EMAIL PROTECTED]> writes
>At 02:48 AM 3/15/01 -0800, Andreas wrote:
>>Have some thoughts about the "focalization" (a better word for 'point of
>view') 
>>in the Aeneid. Does anyone know where I can find what other people think
>about 
>>this? Any books about Virgil who concider this? The only book I know is
>Brooks 
>>Otis "Virgil: a study in civilized poetry" from the 60's who talk about 
>>"extern" and "intern" focalization.
>
>Have a look at:
>
>Fowler, Don. "Deviant Focalisation in Virgil's Aeneid." Proceedings of the
>Cambridge Philological Society n.s. 36 (1990): 42-63.
>
>-----. "Narrate and Describe: The Problem of Ekphrasis." Journal of Roman
>Studies 81 (1991): 25-35.
>
>
Both now in his posthumous _Roman Constructions_ (Oxford, 2000), 40-63
and 64-85 respectively.

Leofranc Holford-Strevens
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Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

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From: "Heslin, Dr. Tom" <[EMAIL PROTECTED]>
Subject: RE: VIRGIL: Virgil What does mean?
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It has alsways been my impression that the spelling "Virgil" was a medieval
corruption of the more historically correct spelling "Vergil."  The "i" was
introduced to make the name more like the latin word "virga," in response to
the use of a wand that would point out a personally significant passage from
a randomly opened page of the Aeneid.  The story about vergil's being named
after a laurel branch (we would name a child Lawrence for the same reason, I
guess) sounds like the kind of spurious etymology that abounds in the
classical world (cf. the Byrsa - Bosra etymology in Aeneid 1. 367  or the
Avernus  - aornos  etymology in Book 6).

-----Original Message-----
From: David Wilson-Okamura [mailto:[EMAIL PROTECTED]
Sent: Friday, March 09, 2001 10:39 AM
To: [EMAIL PROTECTED]
Subject: Re: VIRGIL: Virgil What does mean?


At 01:10 PM 3/8/01 -0600, Virgilio Cervantes Perez wrote:
>Espero que sea el lugar correcto, he buscado el
>significado del nombre Virgilio, y no he
>encontrado una respuesta correcta, en algunos
>lugares note que mencionand, que el significado
>del nombre se perdio a lo largo de la historia.
>quien me puede decir cual es el significado
>correo, y toda la etimologia si es que existe.

According to the oldest biography of Virgil, the poet's mother gave birth
to a laurel branch in a dream; shortly thereafter, she gave birth to a son
in real life, and named him after the branch (Latin "virgula").

I suppose what we really want to know is "Who else was naming children
Virgil in this period?"

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Date: Wed, 21 Mar 2001 10:45:10 +0000
From: Bob Cowan <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Silius Italicus
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I am unaware of any English commentaries on the Punica apart from
Denis Feeney's unpublished Oxford DPhil commentary on book one, but
there _is_ Francois Spaltenstein's two volume commentary on the whole
poem in French.

The classic book on Silius remains Michael von Albrecht's 1965 'Silius
Italicus' (in German) but there is an excellent 1986 study of the poem in 
English by Ahl, Davis and Pomeroy in ANRW II.32.4 2492-2561. Good
recent work on the poem has appeared in Feeney's Gods in Epic (though
with a negative verdict on the much-maligned poet), Boyle's collection
Roman Epic and Donald McGuire's Acts of Silence. Also useful are
series of articles in various journals published by DWTC Vessey in the
70s and K.O. Matier from the 80s to the present.

I hope this is of some help.

Bob Cowan

Keble College
Oxford
OX1 3PG

>From: "roche73" <[EMAIL PROTECTED]>
>Reply-To: [EMAIL PROTECTED]
>To: <[EMAIL PROTECTED]>
>Subject: VIRGIL: Silius Italicus
>Date: Fri, 16 Mar 2001 01:52:12 +1000
>
>Hello
>         - Do list members know of any commentaries on the Punica published 
>in English?
>         - What's the best introduction to Silius' work (aside from Hardie 
>1993)?
>Any other help/advice to do with this work would be appreciated.
>P. A. Roche

_________________________________________________________________________
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From: "Heslin, Dr. Tom" <[EMAIL PROTECTED]>
Subject: RE: VIRGIL: Palinurus, Epicurus
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Wasn't Vergil following an established legend for the naming of the Capus
Palinurus  (Modern Capo Palinuro) when he wrote the Aeneid.  This is one of
the many historical/legendary allusions that vergil uses.  
It would be interesting to know if the cape got its name first, then had a
Palinurus legend attached to it.  The name Palinurus, also found as a
slave's name in Plautus's Curculio means, I believe "urine in all
directions."  Have we gone from latrine to legend?

-----Original Message-----
From: David Wilson-Okamura [mailto:[EMAIL PROTECTED]
Sent: Monday, March 12, 2001 2:11 PM
To: [EMAIL PROTECTED]
Subject: Re: VIRGIL: Palinurus, Epicurus


At 09:21 PM 3/11/01 +0000, M W Hughes writes:
>>Palinurus' descent into the deep ocean seems to form an important parallel
>>to Aeneas' descent into the deep earth: both experiences feature a bough.
>>May I seek opinions about whether the Palinurus episode is open to a
>>naturalistic, Epicurean explanation and mention that my own preferred,
>>dithering answer is Yes and No.

At 12:55 AM 3/12/01 +0000, Leofranc Holford-Strevens replies:
>Do yourself justice. A dithering answer would be 'either yes or no, I
>can't make up my mind';  your answer is dialectical.

-- and hits, as usual, the nail on the head. 

May I follow up on the suggested parallel with the katabasis in book 6? We
have talked, in the past, about the gates of ivory, and in the past I have
defended the philosophical/allegorical interpretation of Servius: i.e., the
ivory gate exit is a way of denying the literal truth of the underworld
descent. I still find this explanation attractive. However, Servius also
offers a second reading of the gate, one that is not at all inimical to the
anti-Augustan reading favored by most of my compatriots:

        Ea vero quae supra fortunam sunt et habent nimium ornatum vanamque 
        iactantiam dicunt falsa esse: unde eburnea, quasi ornatior porta, 
        fingitur falsa.

According to this second reading, Virgil sends Aeneas out through the horn
gate because horn is a glamorous material and this is a glamorous dream:
flashy, boastful, but basically unrealistic; these are dreams in which
expectations exceed possibilities. 

Note that this is not the same thing as saying that the dream of Empire is
really a nightmare (which is how some people want to read
"falsa...insomina"). It might mean that Aeneas is getting delusions of
grandeur at this point, although I don't think that this is really
consistent with the way that Virgil presents us to him over the course of
the poem. It's more likely, I think, to mean that the reality of Rome will
always be messier than the dream of Rome. (I realize that Feeney -- and
probably others, as well -- think the dream is pretty messy, too.) Of
course, this revelation needn't damn the whole enterprise. The Aeneid, as I
told a group of my students last week, is a poem for grown-ups. "No man who
has once read it with full perception remains an adolescent." That the poem
ends as it does is hardly unexpected; the challenge, rather, was to make
the conclusion astonishing -- and in that, of course, Virgil has succeeded.
Not that is very hard to shock a modern audience -- where rules multiply,
so do the opportunities for transgression.

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Horace also mentions Palinurus in his Book of Odes.... Book 3, Ode 4, the
7th stanza. Horace is speaking of his own brushes with death and mentions
Palinurus along with Sicilian waves. It was mentioned in class that this was
a reference to some stormy area of the Med. Sea. I'm not clear on all the
details though. It may be Horace reinforcing the legend of the Cape
mentioned by Dr. Heslin.

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Date: Sat, 24 Mar 2001 19:54:21 -0500
From: "thomas p. armstrong" <[EMAIL PROTECTED]>
Subject: VIRGIL: Carmen II.14 - link to Virgil
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In Carmen II.14, Horace uses, maybe intentionally, the words "pietas" and 
"frustra".  
Both of these words are linked to crucial concepts in the Aenied.  Is it 
possible that 
Horace uses these words purposely or is just mere coincidence?  Any information 
or 
opinion would be helpful.  Thank you in advance.

                             XIV     

               Eheu fugaces, Postume, Postume, 
               labuntur anni nec pietas moram 
                    rugis et instanti senectae 
                    adferet indomitaeque morti, 

          5    non, si trecenis quotquot eunt dies, 
               amice, places inlacrimabilem 
                    Plutona tauris, qui ter amplum 
                    Geryonen Tityonque tristi 

               compescit unda, scilicet omnibus 
          10   quicumque terrae munere uescimur 
                    enauiganda, siue reges 
                    siue inopes erimus coloni. 

               Frustra cruento Marte carebimus 
               fractisque rauci fluctibus Hadriae, 
          15        frustra per autumnos nocentem 
                    corporibus metuemus Austrum: 

               uisendus ater flumine languido 
               Cocytos errans et Danai genus 
                    infame damnatusque longi 
          20        Sisyphus Aeolides laboris. 

               Linquenda tellus et domus et placens 
               uxor, neque harum quas colis arborum 
                    te praeter inuisas cupressos 
                    ulla breuem dominum sequetur; 

          25   absumet heres Caecuba dignior 
               seruata centum clauibus et mero 
                    tinguet pauimentum superbo, 
                    pontificum potiore cenis.
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Date: Sun, 25 Mar 2001 11:49:09 +0100
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Subject: Re: VIRGIL: Carmen II.14 - link to Virgil
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In message <[EMAIL PROTECTED]>, thomas p. armstrong
<[EMAIL PROTECTED]> writes
>In Carmen II.14, Horace uses, maybe intentionally, the words "pietas" and 
>"frustra".  
>Both of these words are linked to crucial concepts in the Aenied.  Is it 
>possible that 
>Horace uses these words purposely or is just mere coincidence? 

They are both normal and frequent words, not new with Vergil, nor is
there anything peculiarly Aeneidic here. (See Nisbet-Hubbard for the
literary antecedents; and a pessimistic view of ageing is an ancient
commonplace.) Nor do we even know when the ode was written, save that
Books 1-3 were presented to Augustus in 23 BC, and hence whether Vergil
had yet started work on the Aeneid. However, there is a general question
of how much Horace knew about his friend's work in progress, and an even
more general question of the circulation of ancient works of literature
while they were still being composed. (Not only ancient: there are
passages in _Tamburlaine_ that are quite unlike Marlowe and echo _The
Faerie Queene_, yet that was not printed till some years later.)

Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

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<x-html><!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
&iquest;Sabr&iacute;a alguien decirme a qu&eacute; autor pertenece esta
afirmaci&oacute;n que he le&iacute;do en un texto del siglo XVI relativa
a la utilizaci&oacute;n del lenguaje de Enio por parte de Virgilio?
<p>&nbsp;&nbsp;&nbsp; "...<i>cum (Vergilius) de stercore Ennii aurum colligeret,
legit e spinis rosas..."</i><i></i>
<p>Probablemente pertenezca a alg&uacute;n gram&aacute;tico o comentarista
del poeta.
<p>Gracias de antemano por vuestra colaboraci&oacute;n</html>
</x-html>From [EMAIL PROTECTED] Sun Mar 25 15:00:54 2001
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Dear List Members,

I read *Aeneid* 9 recently with some students, and discussion turned
to the significance of the Nisus and Euryalus episode, especially in
connection with the homoerotic theme many readers have noted. After
class I felt dissatisfied with our discussion, particularly with my
contribution to it. Perhaps some on this list could help me out.

Some critics have noted that this episode is significant as a depiction
of sexual possessiveness and its consequences and that readers should
see here another of Vergil's re-examinations of the nature of heroic
action in the long series of his redefinitions of the hero. But what is
it essentially that the Nisus-Euryalus episode signifies in the context
of the *Aeneid*? Is it that these two young men heed an improper
motivation, i.e. they follow a *dira cupido* in their nocturnal venture
and that their gratuitous killings are further manifestations of this?
Some of my students had trouble seeing how a homoerotic bond between
these two was necessary to the episode.

To understand the point(s) of the Nisus-Euryalus episode, must one go
further into the poem and seek parallels in the relationship between
Aeneas and Pallas and between Aeneas and Turnus, as some critics have
suggested?

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Date: Sun, 25 Mar 2001 14:23:08 -0600
From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: VIRGIL: Aeneid 9
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<< message forwarded by listowner, David Wilson-Okamura >>

Date: Sun, 25 Mar 2001 13:59:12 -0600 (CST)
From: Stephen Clark <[EMAIL PROTECTED]>

Dear List Members,

I read *Aeneid* 9 recently with some students, and discussion turned
to the significance of the Nisus and Euryalus episode, especially in
connection with the homoerotic theme many readers have noted. After
class I felt dissatisfied with our discussion, particularly with my
contribution to it. Perhaps some on this list could help me out.

Some critics have noted that this episode is significant as a depiction
of sexual possessiveness and its consequences and that readers should
see here another of Vergil's re-examinations of the nature of heroic
action in the long series of his redefinitions of the hero. But what is
it essentially that the Nisus-Euryalus episode signifies in the context
of the *Aeneid*? Is it that these two young men heed an improper
motivation, i.e. they follow a *dira cupido* in their nocturnal venture
and that their gratuitous killings are further manifestations of this?
Some of my students had trouble seeing how a homoerotic bond between
these two was necessary to the episode.

To understand the point(s) of the Nisus-Euryalus episode, must one go
further into the poem and seek parallels in the relationship between
Aeneas and Pallas and between Aeneas and Turnus, as some critics have
suggested?
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Date: Mon, 26 Mar 2001 00:48:11 +0100
From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Virgil
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In message <[EMAIL PROTECTED]>, Emilio Canales Mu�oz
<[EMAIL PROTECTED]> writes
>    �Sabr�a alguien decirme a qu� autor pertenece esta afirmaci�n que 
>    he le�do en un texto del siglo XVI relativa a la utilizaci�n del 
>    lenguaje de Enio por parte de Virgilio? 
>
>    ��� "...cum (Vergilius) de stercore Ennii aurum colligeret, legit 
>    e spinis rosas..." 
>
The long interpolation in Donatus' life of Servius presented by MS
Oxford, Bodleian Library, Canonici latinus 61 reports: 'quom Ennium in
manu haberet rogareturque quidnam faciet, respondit se aurum colligere
de stercore Ennii'. Similarly Cassiodorus in his Institutiones alleges
(1. 1. 1): 'Vergilius dum Ennium legeret a quodam quid faceret
inquisitus respondit: aurum in stercore quaero', whence John of
Salisbury, _Policraticus_ 5 prol. 1 can write 'si enim Virgilio licit
aurum sapientiae in luto Ennii quaerere'.

See A. Otto, _Die Sprichw�rter und sprichw�rtlichen Redensarten der
R�mer_ (Leipzig, 1890 and reprints), 202, who cites two examples from St
Jerome of 'aurum quaerere in luto' (add Aponius, In Canticum IX 3,
Corpus Christianorum, Series Latina 19. 216 'aurum de luto collectum'),
and Otto Skutsch in his edition of _The_ Annals_ of Quintus Ennius_
(Oxford, 1985), 13-14, who associates the anecdote with various Greek
polemics about Homer and also comments soundly: 'What we know about the
personality of Virgil makes it very unlikely that the story is true; his
obvious indebtedness to the older poet will have caused it to be
invented in the Neronian period, when Virgil was admired and Ennius
despised.'

An example is Seneca's comment (cited by Gellius 12. 2. 10) 'Vergilius
quoque noster non ex alia causa duros quosdam uersus et enormes et
aliquid supra mensuram trahentis interposuit, quam ut Ennianus populus
adgnosceret in nouo carmine aliquid antiquitatis'. His coeval Persius 1.
92-7 represents a modernist as contrasting the old-fashioned 'Arma
uirum' with the smoothness achieved by the contemporary poets; to such a
man (not a man, to believe Persius) Ennius would indeed be mere dung.

Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
email: [EMAIL PROTECTED] (home)         [EMAIL PROTECTED] (work)

*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
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<x-html><HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Dear List Members,
<BR>
<BR>&lt;&lt;I read *Aeneid* 9 recently with some students, and discussion turned
<BR>to the significance of the Nisus and Euryalus episode, especially in
<BR>connection with the homoerotic theme many readers have noted. After
<BR>class I felt dissatisfied with our discussion, particularly with my
<BR>contribution to it. Perhaps some on this list could help me out.
<BR>
<BR>&lt;&lt;Some critics have noted that this episode is significant as a 
depiction
<BR>of sexual possessiveness and its consequences and that readers should
<BR>see here another of Vergil's re-examinations of the nature of heroic
<BR>action in the long series of his redefinitions of the hero. But what is
<BR>it essentially that the Nisus-Euryalus episode signifies in the context
<BR>of the *Aeneid*? Is it that these two young men heed an improper
<BR>motivation, i.e. they follow a *dira cupido* in their nocturnal venture
<BR>and that their gratuitous killings are further manifestations of this?
<BR>Some of my students had trouble seeing how a homoerotic bond between
<BR>these two was necessary to the episode.
<BR>
<BR>&lt;&lt;To understand the point(s) of the Nisus-Euryalus episode, must one 
go
<BR>further into the poem and seek parallels in the relationship between
<BR>Aeneas and Pallas and between Aeneas and Turnus, as some critics have
<BR>suggested?&gt;&gt;
<BR>
<BR>I guess I read the episode as an example of Vergil's ability to show an 
issue 
<BR>from multiple aspects simultaneously, so that he leaves the thoughtful 
reader 
<BR>as ambivalent as Vergil was himself. &nbsp;&nbsp;The effusive praise of the 
author and 
<BR>of the Trojans for the boys' foolhardy acts prompts us to question our own 
<BR>assumptions about the nature of glory and heroism.
<BR>Have your students taken a look at Iliad 10.314 ff., commonly called the 
<BR>Doloneia, one of Vergil's sources for the Nisus-Euryalus episode? &nbsp;An 
<BR>awareness of the ways that Vergil develops and transforms the Doloneia, 
which 
<BR>would have been familiar to his contemporaries, may help us understand what 
<BR>he meant to convey. &nbsp;Homer views Dolon (a cowardly and fatuous young 
man) and 
<BR>his nighttime foray very unsympathetically (as I recall, some think the 
<BR>Doloneia is intended to be comic); &nbsp;while Vergil, on similar facts, 
leads us 
<BR>to sympathize with their boyish folly.
<BR>I'm not sure what "Some of my students had trouble seeing how a homoerotic 
<BR>bond between these two was necessary to the episode" meant. &nbsp;I would 
suggest 
<BR>that the love of Achilles and Patroclus for each other in the Iliad 
probably 
<BR>helped inspire Vergil in his Nisus and Euryalus episode. &nbsp;Vergil 
understood 
<BR>that soldiers fight not only for their country but even more for each other.
<BR>
<BR>Ed Weston</FONT></HTML>
</x-html>From [EMAIL PROTECTED] Mon Apr 02 11:01:32 2001
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Date: Thu, 29 Mar 2001 21:33:52 -0500
From: OLIVER P METZGER <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Aeneid 9
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<DIV><FONT face=Arial size=2>Doesn't Plato say that the best army would be one 
in which each soldier had a lover who was also in the army, so that every time 
a 
soldier was killed there would be another passionate for revenge?&nbsp; It may 
be in the Symposium.&nbsp; Not that Vergil's episode can be reduced to some 
sort 
of case study of this view -- I agree with the view expressed below that the 
episode is a good example of how Vergil shows an issue from multiple aspects 
simultaneously.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Another thing that always impresses me about this 
episode is the question "does each of us make a god of our own dire 
desire?"&nbsp; I have seen&nbsp;some quite interesting debate on this list 
about 
the degree to which the viewpoints of twentieth (and now twenty-first) century 
readers of&nbsp;the&nbsp;Aeneid can color an interpretation of the text.&nbsp; 
This question seems to me so very very modern, and so surprising to find in a 
classical text.&nbsp;&nbsp;This is one of those places where it seems hard to 
make sense of the statement in any way other than a very modern way.&nbsp; Also 
noteworthy is that "dira" resurfaces later, in&nbsp;reference to the monsters 
that sit next to a "real"&nbsp;God, Jove -- so maybe Jove is a construction of 
a 
(collective) dira cupido as well?&nbsp;&nbsp;That of course would be a very 
twentieth (and maybe not twenty-first?) century thing to say, and maybe doesn't 
follow from the Nisus episode at all.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>By the way,&nbsp;is there any&nbsp;evidence on the 
degree to which Vergil was familiar with Plato?</FONT></DIV>
<BLOCKQUOTE 
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: 
#000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV 
  style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B> 
  <A [EMAIL PROTECTED] href="mailto:[EMAIL PROTECTED]">david connor</A> 
  </DIV>
  <DIV style="FONT: 10pt arial"><B>To:</B> <A [EMAIL PROTECTED] 
  href="mailto:[EMAIL PROTECTED]";>[EMAIL PROTECTED]</A> </DIV>
  <DIV style="FONT: 10pt arial"><B>Sent:</B> Wednesday, March 28, 2001 9:22 
  PM</DIV>
  <DIV style="FONT: 10pt arial"><B>Subject:</B> Re: VIRGIL: Aeneid 9</DIV>
  <DIV><BR></DIV>When I read the Iliad 10 and the Aeneid 9 I think of the poem 
  "Dulce et Decorum est pro patria mori" and recall the great lines: 
  <BR>&nbsp;&nbsp; ... You would not tell with such high zest <BR>To children 
  ardent for some desperate glory <BR>The old lie:&nbsp; Dulce et decorum est 
  pro patria mori <BR>The connection may not be apparent, but I believe that 
  because Vergil and Homer wrote works of such depth and power, the words they 
  chose could either inflame insane, reckless patriotism in an impressionable 
  young person, or they could assert a repudiation of&nbsp; death in war in a 
  mature hearer.&nbsp; If the paths of glory lead but to the grave, nobody ever 
  said it better than these two poets.&nbsp; Sometimes it's a suicidal mission, 
  sometimes a coward's ignoble retreat, but the deeper moral vision remains the 
  same -- war is a waste.&nbsp; If this isn't the essence of Homer and Vergil 
  then we might as well be watching a B-movie full of guts and glory. 
  <P>[EMAIL PROTECTED] wrote: 
  <BLOCKQUOTE TYPE="CITE"><FONT face=arial,helvetica><FONT size=-1>Dear List 
    Members,</FONT></FONT> 
    <P><FONT face=arial,helvetica><FONT size=-1>&lt;&lt;I read *Aeneid* 9 
    recently with some students, and discussion turned</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>to the significance of the Nisus and 
    Euryalus episode, especially in</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>connection with the homoerotic theme 
many 
    readers have noted. After</FONT></FONT> <BR><FONT 
face=arial,helvetica><FONT 
    size=-1>class I felt dissatisfied with our discussion, particularly with 
    my</FONT></FONT> <BR><FONT face=arial,helvetica><FONT size=-1>contribution 
    to it. Perhaps some on this list could help me out.</FONT></FONT> 
    <P><FONT face=arial,helvetica><FONT size=-1>&lt;&lt;Some critics have noted 
    that this episode is significant as a depiction</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>of sexual possessiveness and its 
    consequences and that readers should</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>see here another of Vergil's 
    re-examinations of the nature of heroic</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>action in the long series of his 
    redefinitions of the hero. But what is</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>it essentially that the Nisus-Euryalus 
    episode signifies in the context</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>of the *Aeneid*? Is it that these two 
    young men heed an improper</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>motivation, i.e. they follow a *dira 
    cupido* in their nocturnal venture</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>and that their gratuitous killings are 
    further manifestations of this?</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>Some of my students had trouble seeing 
    how a homoerotic bond between</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>these two was necessary to the 
    episode.</FONT></FONT> 
    <P><FONT face=arial,helvetica><FONT size=-1>&lt;&lt;To understand the 
    point(s) of the Nisus-Euryalus episode, must one go</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>further into the poem and seek parallels 
    in the relationship between</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>Aeneas and Pallas and between Aeneas and 
    Turnus, as some critics have</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>suggested?&gt;&gt;</FONT></FONT> 
    <P><FONT face=arial,helvetica><FONT size=-1>I guess I read the episode as 
an 
    example of Vergil's ability to show an issue</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>from multiple aspects simultaneously, so 
    that he leaves the thoughtful reader</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>as ambivalent as Vergil was 
    himself.&nbsp;&nbsp; The effusive praise of the author and</FONT></FONT> 
    <BR><FONT face=arial,helvetica><FONT size=-1>of the Trojans for the boys' 
    foolhardy acts prompts us to question our own</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>assumptions about the nature of glory 
and 
    heroism.</FONT></FONT> <BR><FONT face=arial,helvetica><FONT size=-1>Have 
    your students taken a look at Iliad 10.314 ff., commonly called 
    the</FONT></FONT> <BR><FONT face=arial,helvetica><FONT size=-1>Doloneia, 
one 
    of Vergil's sources for the Nisus-Euryalus episode?&nbsp; An</FONT></FONT> 
    <BR><FONT face=arial,helvetica><FONT size=-1>awareness of the ways that 
    Vergil develops and transforms the Doloneia, which</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>would have been familiar to his 
    contemporaries, may help us understand what</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>he meant to convey.&nbsp; Homer views 
    Dolon (a cowardly and fatuous young man) and</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>his nighttime foray very 
    unsympathetically (as I recall, some think the</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>Doloneia is intended to be comic);&nbsp; 
    while Vergil, on similar facts, leads us</FONT></FONT> <BR><FONT 
    face=arial,helvetica><FONT size=-1>to sympathize with their boyish 
    folly.</FONT></FONT> <BR><FONT face=arial,helvetica><FONT size=-1>I'm not 
    sure what "Some of my students had trouble seeing how a 
    homoerotic</FONT></FONT> <BR><FONT face=arial,helvetica><FONT size=-1>bond 
    between these two was necessary to the episode" meant.&nbsp; I would 
    suggest</FONT></FONT> <BR><FONT face=arial,helvetica><FONT size=-1>that the 
    love of Achilles and Patroclus for each other in the Iliad 
    probably</FONT></FONT> <BR><FONT face=arial,helvetica><FONT size=-1>helped 
    inspire Vergil in his Nisus and Euryalus episode.&nbsp; Vergil 
    understood</FONT></FONT> <BR><FONT face=arial,helvetica><FONT size=-1>that 
    soldiers fight not only for their country but even more for each 
    other.</FONT></FONT> 
    <P><FONT face=arial,helvetica><FONT size=-1>Ed 
  Weston</FONT></FONT></P></BLOCKQUOTE>&nbsp; </BLOCKQUOTE></BODY></HTML>
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<x-html><HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Aen. 6 has extensive 
references to Plato (e.g. Aen. 6. 743 ff.) &nbsp;&nbsp;That being 
<BR>said, I think it is impossible to identify Vergil with any particular 
<BR>philosophical persuasion, since he alludes to all the dominant philosophies 
<BR>of his time.
<BR>
<BR>Ed Weston</FONT></HTML>
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Hello Russell,
Sparrow's "Half-Lines and Repetitions in Virgil" (Oxford 1931) would be a
good place to start - sorry if it's a bit old - other list members might
know of more recent work in this area.
P.A.Roche

----- Original Message -----
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Subject: VIRGIL: Unfinished Lines of The Aeneid


> I am looking for a complete listing of the unfinished lines of Virgil's
> Aeneid.  If anyone has an idea where I may be able to reference the line
and
> book numbers without going through the entire corpus, could you please
pass
> that along.
>
> Best,
>
> Russell Beneke
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From: anXiety forever <[EMAIL PROTECTED]>
Subject: VIRGIL: The past tense in the Aeneid
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I would like to know what you think about the fact that some events in the 
Aeneid is written in the past tense, while almost everything else is written in 
the present tense.
One example is when Aeneas and Achates meet Venus in Book 1 (318-401). Another 
is when Aeneas meets Venus (again!) in Book 2 (588-624).

I know that this might be something that only appears in my translated text, 
but I hope that is not the case!

/Andreas Andersson



------------------------------------------------------------
Kent Mail rockar!                         http://www.kent.nu
------------------------------------------------------------


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Subject: Re: VIRGIL: Aeneid 9
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References to the horror and insanity of war are certainly an integral
element of V's writing.  The connection between the war spirit, the
desire to impress sexual partners and sheer bloodlust is examined, and
gives force and precision to the idea that there is an element of
imbalance, even insanity, present.  (I don't share the disparaging view of
the Nisus episode expressed by Jenkyns in 'V's Experience'.)  This theme
is linked to the theme of the value of Hellenistic culture, where gay
militarism was so highly valued - Epaminondas, the Theban victor over
Sparta in 371, had exploited this idea to great effect, perhaps in his
real military work, certainly in his propaganda.  V certainly acknowledges
that there are dangerous elements both in the Love-Death-Glory psychology
and in the culture where that turn of mind had found a home.  Yet he
also seems to tell us that there is something indispensable about both of 
them. The Trojan leaders find that they cannot refuse Nisus' offer:
perhaps there is some feeling that Nisus' raid will at least
create a diversion and that this pair, whose mannners recall the Greeks,
the national enemy, are a little expendable.  Aeneas finds that he must
accept and sincerely welcome Pallas, who expects, given his background, to
form an Epaminondas-style relationship with Aeneas himself.  No wonder his
feelings about Pallas' death are so disturbing and guilt-ridden.  More
generally, it is obvious that the Aeneid and the whole Augustan
achievement are products of Hellenism as well as of Rome.  Nisus' famous
remark connecting divine providence with 'dira cupido' is often (I think
rightly) used to indicate that V thinks that there is always some kind of
naturalistic explanation for supernatural events.  I agree with Ed W
that it also indicates an element of improper motivation.  But the
connection goes both ways: to understand some natural forces we have to
think in terms which go beyond the natural; moreover, a motivation which
is improper, disturbing (even slightly sordid?), can sometimes acquire
some kind of moral and divine tincture.  The motivation of N and E is not
beyond criticism but we can't ignore the fact that they acted, at least in
part, for the salvation of their people.  Hence the final - still deeply
disturbing - association of their deaths with religious ritual.  The
problem of N and E should contribute to the bigger problem of Turnus, who
has a heterosexual form of their motivation: Cairns in 'V's Augustan Epic'
says that he is an amator, fighting for Lavinia.  I think he has a more
improper motivation, based on feelings for the popular and patriotic 
Amata, which she reciprocates: a more credible version of Hippolytus
responding to a more lovable version of Phaedra. - Martin Hughes 

On Wed, 28 Mar 2001, david connor wrote:

> When I read the Iliad 10 and the Aeneid 9 I think of the poem "Dulce et
> Decorum est pro patria mori" and recall the great lines:
>    ... You would not tell with such high zest
> To children ardent for some desperate glory
> The old lie:  Dulce et decorum est pro patria mori
> The connection may not be apparent, but I believe that because Vergil
> and Homer wrote works of such depth and power, the words they chose
> could either inflame insane, reckless patriotism in an impressionable
> young person, or they could assert a repudiation of  death in war in a
> mature hearer.  If the paths of glory lead but to the grave, nobody ever
> said it better than these two poets.  Sometimes it's a suicidal mission,
> sometimes a coward's ignoble retreat, but the deeper moral vision
> remains the same -- war is a waste.  If this isn't the essence of Homer
> and Vergil then we might as well be watching a B-movie full of guts and
> glory.
> 
> [EMAIL PROTECTED] wrote:
> 
> > Dear List Members,
> >
> > <<I read *Aeneid* 9 recently with some students, and discussion turned
> >
> > to the significance of the Nisus and Euryalus episode, especially in
> > connection with the homoerotic theme many readers have noted. After
> > class I felt dissatisfied with our discussion, particularly with my
> > contribution to it. Perhaps some on this list could help me out.
> >
> > <<Some critics have noted that this episode is significant as a
> > depiction
> > of sexual possessiveness and its consequences and that readers should
> > see here another of Vergil's re-examinations of the nature of heroic
> > action in the long series of his redefinitions of the hero. But what
> > is
> > it essentially that the Nisus-Euryalus episode signifies in the
> > context
> > of the *Aeneid*? Is it that these two young men heed an improper
> > motivation, i.e. they follow a *dira cupido* in their nocturnal
> > venture
> > and that their gratuitous killings are further manifestations of this?
> >
> > Some of my students had trouble seeing how a homoerotic bond between
> > these two was necessary to the episode.
> >
> > <<To understand the point(s) of the Nisus-Euryalus episode, must one
> > go
> > further into the poem and seek parallels in the relationship between
> > Aeneas and Pallas and between Aeneas and Turnus, as some critics have
> > suggested?>>
> >
> > I guess I read the episode as an example of Vergil's ability to show
> > an issue
> > from multiple aspects simultaneously, so that he leaves the thoughtful
> > reader
> > as ambivalent as Vergil was himself.   The effusive praise of the
> > author and
> > of the Trojans for the boys' foolhardy acts prompts us to question our
> > own
> > assumptions about the nature of glory and heroism.
> > Have your students taken a look at Iliad 10.314 ff., commonly called
> > the
> > Doloneia, one of Vergil's sources for the Nisus-Euryalus episode?  An
> > awareness of the ways that Vergil develops and transforms the
> > Doloneia, which
> > would have been familiar to his contemporaries, may help us understand
> > what
> > he meant to convey.  Homer views Dolon (a cowardly and fatuous young
> > man) and
> > his nighttime foray very unsympathetically (as I recall, some think
> > the
> > Doloneia is intended to be comic);  while Vergil, on similar facts,
> > leads us
> > to sympathize with their boyish folly.
> > I'm not sure what "Some of my students had trouble seeing how a
> > homoerotic
> > bond between these two was necessary to the episode" meant.  I would
> > suggest
> > that the love of Achilles and Patroclus for each other in the Iliad
> > probably
> > helped inspire Vergil in his Nisus and Euryalus episode.  Vergil
> > understood
> > that soldiers fight not only for their country but even more for each
> > other.
> >
> > Ed Weston
> 
> 
> 

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I am looking for a complete listing of the unfinished lines of Virgil's 
Aeneid.  If anyone has an idea where I may be able to reference the line and 
book numbers without going through the entire corpus, could you please pass 
that along.  

Best,

Russell Beneke
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Subject: VIRGIL: Aeneid 9 and Sacred Band
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<< message forwarded by listowner, David Wilson-Okamura >>

From: "Jesse Kercheval" <[EMAIL PROTECTED]>
Date: Fri, 30 Mar 2001 09:15:36 -0500

Just for the records of anyone writing on this subject:

Plato says in the Symposium -
"If a state or an army could be formed only of lovers and their beloved, how 
could any company hope for greater things than these, despising infamy and 
rivaling each other in honor? Even a few of them, fighting side by side, 
might well conquer the world."

and

Plutarch, in his "Life of Pelopidas" talks about the 'Sacred Band' of Thebes 
that Gorgidas composed of lovers.  But I am unsure of his sources.

How this relates to V's Nisus/Euryalus episode I'm also not positive.  
Certainly both are proof that passion in love may be valuable as well in 
war...

-Jesse Kercheval
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Subject: Re: VIRGIL: Aeneid 9 and Sacred Band
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In message <[EMAIL PROTECTED]>, Christine Perkell
<[EMAIL PROTECTED]> writes
>I must insist that "Plato" does not say this, but rather the speaker Phaedrus
>says it.  There is no particular reason to think that the view is Plato's own.
>Indeed, as the first speaker in the dialogue, Phaedrus is likely the one with
>the least access to truth in Plato's view.
>
>Christine Perkell
>
>
Which raises the question whether anyone in a Platonic dialogue has
access to the truth. In the third and second centuries BC, the
prevailing view was that there is no right answer, but that one should
learn how to argue both sides of the case; that went out of fashion in
Cicero's day, since when it has been the norm to suppose that Plato had
a teaching to impart, though with rather less agreement on what that
teaching is. When I was at school I used books that said that whatever
remained unrefuted was intended to be true; nowadays undergraduates are
specifically warned against thinking so. Indeed, the point is well
taken: we should no more say 'Plato says this' than 'Euripides says
that' or 'Shakespeare says the other' (though the tradition of doing so
is not of recent vintage).

Leofranc Holford-Strevens  
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

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Date: Mon, 02 Apr 2001 13:27:37 -0500
From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: VIRGIL: Trevet's Eclogues commentary
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This morning I was reading John Fleming's introduction to the fraternal
orders in England and came across a reference to a commentary on the
Eclogues by Nicholas Trevet (fl. 1300). Does anyone know if this has been
edited?

Yours faithfully,
David

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Date: Mon, 02 Apr 2001 21:33:42 -0500
From: david connor <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Aeneid 9 and Sacred Band
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Thanks to Christine Perkell for making such an important observation about what
"Plato" says.  It's a point that Bloom makes quite strongly in his commentaries,
and it's easily overlooked.

Christine Perkell wrote:

> I must insist that "Plato" does not say this, but rather the speaker Phaedrus
> says it.  There is no particular reason to think that the view is Plato's own.
> Indeed, as the first speaker in the dialogue, Phaedrus is likely the one with
> the least access to truth in Plato's view.
>
> Christine Perkell
>
> David Wilson-Okamura wrote:
>
> > << message forwarded by listowner, David Wilson-Okamura >>
> >
> > From: "Jesse Kercheval" <[EMAIL PROTECTED]>
> > Date: Fri, 30 Mar 2001 09:15:36 -0500
> >
> > Just for the records of anyone writing on this subject:
> >
> > Plato says in the Symposium -
> > "If a state or an army could be formed only of lovers and their beloved, how
> > could any company hope for greater things than these, despising infamy and
> > rivaling each other in honor? Even a few of them, fighting side by side,
> > might well conquer the world."
> >
> > and
> >
> > Plutarch, in his "Life of Pelopidas" talks about the 'Sacred Band' of Thebes
> > that Gorgidas composed of lovers.  But I am unsure of his sources.
> >
> > How this relates to V's Nisus/Euryalus episode I'm also not positive.
> > Certainly both are proof that passion in love may be valuable as well in
> > war...
> >
> > -Jesse Kercheval
> > -----------------------------------------------------------------------
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Thanks to Christine Perkell for making such an important observation about what
"Plato" says.  It's a point that Bloom makes quite strongly in his commentaries,
and it's easily overlooked.

Christine Perkell wrote:

> I must insist that "Plato" does not say this, but rather the speaker Phaedrus
> says it.  There is no particular reason to think that the view is Plato's own.
> Indeed, as the first speaker in the dialogue, Phaedrus is likely the one with
> the least access to truth in Plato's view.
>
> Christine Perkell
>
> David Wilson-Okamura wrote:
>
> > << message forwarded by listowner, David Wilson-Okamura >>
> >
> > From: "Jesse Kercheval" <[EMAIL PROTECTED]>
> > Date: Fri, 30 Mar 2001 09:15:36 -0500
> >
> > Just for the records of anyone writing on this subject:
> >
> > Plato says in the Symposium -
> > "If a state or an army could be formed only of lovers and their beloved, how
> > could any company hope for greater things than these, despising infamy and
> > rivaling each other in honor? Even a few of them, fighting side by side,
> > might well conquer the world."
> >
> > and
> >
> > Plutarch, in his "Life of Pelopidas" talks about the 'Sacred Band' of Thebes
> > that Gorgidas composed of lovers.  But I am unsure of his sources.
> >
> > How this relates to V's Nisus/Euryalus episode I'm also not positive.
> > Certainly both are proof that passion in love may be valuable as well in
> > war...
> >
> > -Jesse Kercheval
> > -----------------------------------------------------------------------
> > To leave the Mantovano mailing list at any time, do NOT hit reply.
> > Instead, send email to [EMAIL PROTECTED] with the message
> > "unsubscribe mantovano" in the body (omitting the quotation marks). You
> > can also unsubscribe at http://virgil.org/mantovano/mantovano.htm#unsub
>
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Date: Fri, 06 Apr 2001 00:18:26 +0100
From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: VIRGIL: Aeneid 9
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On the issue of this episode, I have just received the latest issue of
Mnemosyne, 4th ser., 54, fasc. 1 (February, 2001), which contains an
article by K. F. L. Pollmann, 'Statius _Thebaid_ and the Legacy of
Vergil's _Aeneid_' (pp. 10-30), which is mainly given to a comparison
between the Nisus-Euryalus episode in _Aeneid_ 9, a somewhat
questionable enterprise within an essentially just war, and the Hopleus-
Dymas episode in _Thebaid_ 10, an honourable but still unsuccessful
enterprise within an amoral war, also comparing by way of summary the
Doloneia (_Iliad_ 10, already recognized in antiquity as an
interpolation), a heroic exploit within a just (or at any rate not
unjust) war. There is much food for thought here.

Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_
*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque
adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat
alter?
OX2 6EJ

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Fifteen years after teaching me Virgil, Professor Perkel is still keeping me
in line!  I apologize for what might be called a Deasy-ism, after the
schoolmaster in James Joyces's Ulysses:

Mr. Deasy: ... But what does Shakespeare say?  Put but money in thy purse.
-- Iago, Stephen murmured.

(II.238-40)

----- Original Message -----
From: "Christine Perkell" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Monday, April 02, 2001 1:19 PM
Subject: Re: VIRGIL: Aeneid 9 and Sacred Band


> I must insist that "Plato" does not say this, but rather the speaker
Phaedrus
> says it.  There is no particular reason to think that the view is Plato's
own.
> Indeed, as the first speaker in the dialogue, Phaedrus is likely the one
with
> the least access to truth in Plato's view.
>
> Christine Perkell
>
> David Wilson-Okamura wrote:
>
> > << message forwarded by listowner, David Wilson-Okamura >>
> >
> > From: "Jesse Kercheval" <[EMAIL PROTECTED]>
> > Date: Fri, 30 Mar 2001 09:15:36 -0500
> >
> > Just for the records of anyone writing on this subject:
> >
> > Plato says in the Symposium -
> > "If a state or an army could be formed only of lovers and their beloved,
how
> > could any company hope for greater things than these, despising infamy
and
> > rivaling each other in honor? Even a few of them, fighting side by side,
> > might well conquer the world."
> >
> > and
> >
> > Plutarch, in his "Life of Pelopidas" talks about the 'Sacred Band' of
Thebes
> > that Gorgidas composed of lovers.  But I am unsure of his sources.
> >
> > How this relates to V's Nisus/Euryalus episode I'm also not positive.
> > Certainly both are proof that passion in love may be valuable as well in
> > war...
> >
> > -Jesse Kercheval
> > -----------------------------------------------------------------------
> > To leave the Mantovano mailing list at any time, do NOT hit reply.
> > Instead, send email to [EMAIL PROTECTED] with the message
> > "unsubscribe mantovano" in the body (omitting the quotation marks). You
> > can also unsubscribe at http://virgil.org/mantovano/mantovano.htm#unsub
>
> -----------------------------------------------------------------------
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Is there scholarship on the issue of Virgil's awareness of Plato? (or other
philosophers, for that matter?)  Epicurus has been discussed on this list in
the past, I believe.


----- Original Message -----
From: "Leofranc Holford-Strevens" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Monday, April 02, 2001 2:06 PM
Subject: Re: VIRGIL: Aeneid 9 and Sacred Band


> In message <[EMAIL PROTECTED]>, Christine Perkell
> <[EMAIL PROTECTED]> writes
> >I must insist that "Plato" does not say this, but rather the speaker
Phaedrus
> >says it.  There is no particular reason to think that the view is Plato's
own.
> >Indeed, as the first speaker in the dialogue, Phaedrus is likely the one
with
> >the least access to truth in Plato's view.
> >
> >Christine Perkell
> >
> >
> Which raises the question whether anyone in a Platonic dialogue has
> access to the truth. In the third and second centuries BC, the
> prevailing view was that there is no right answer, but that one should
> learn how to argue both sides of the case; that went out of fashion in
> Cicero's day, since when it has been the norm to suppose that Plato had
> a teaching to impart, though with rather less agreement on what that
> teaching is. When I was at school I used books that said that whatever
> remained unrefuted was intended to be true; nowadays undergraduates are
> specifically warned against thinking so. Indeed, the point is well
> taken: we should no more say 'Plato says this' than 'Euripides says
> that' or 'Shakespeare says the other' (though the tradition of doing so
> is not of recent vintage).
>
> Leofranc Holford-Strevens
> *_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
>
> Leofranc Holford-Strevens
> 67 St Bernard's Road                                         usque adeone
> Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
> OX2 6EJ
>
> tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
> email: [EMAIL PROTECTED] (home)         [EMAIL PROTECTED] (work)
>
> *_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
> -----------------------------------------------------------------------
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From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Aeneid 9 and Sacred Band
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In message <[EMAIL PROTECTED]>, OLIVER P METZGER
<[EMAIL PROTECTED]> writes
>Is there scholarship on the issue of Virgil's awareness of Plato? (or other
>philosophers, for that matter?) 

Lots and lots and lots; he would have had to be remarkably uneducated
*not* to be aware of the major philosophical writings and theories. But
that is only the beginning of the problem; the true Roman attitude
expressed by Cicero in a letter to his son (Fragemnta Epistularum VIII 4
in Watt's OCT, from Lactantius, _Divine Institutes_ 3. 14. 17) that one
should know what the philopshers say but live by the standards of a
Roman citizen, 'philosophiae quidem praecepta noscenda, vivendum autem
esse civiliter', might be amended in Vergil's case as 'scribendum autem
esse poetice'. The question is not merely what Vergil has read, but what
he has done with it; if that is true of any poet, how much more so of
Vergil! Give us the original text of Callimachus' poetry, and the
complete run of the Alexandrian Library that he catalogued, and we shall
solve every difficulty; give us everything that Vergil read, and who
will undertake anything of the kind for him?

> Epicurus has been discussed on this list in
>the past, I believe.

So indeed, I think, has Plato.

Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
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Date: Thu, 12 Apr 2001 08:37:03 -0500
From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: VIRGIL: Virgil and the American President
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I don't wish to turn this into a discussion about contemporary politics,
but those who take an interest in the intellectual accomplishments of the
American president will, I think, find some amusement in the following:

THE ONION, 11 April 2001
Bush Regales Dinner Guests with Impromptu Oratory on Virgil's Lesser-Known
Poetry"
http://www.theonion.com/onion3713/bush_regales_guests.html

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David Wilson-Okamura    http://virgil.org              [EMAIL PROTECTED]
Macalester College      Virgil Tradition: discussion, bibliography, &c.
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Date: Fri, 13 Apr 2001 08:59:36 +0100
From: Giovanni Robaldo <[EMAIL PROTECTED]>
Subject: VIRGIL: Augustus and the principate in Virgil's Aeneid.
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<x-html><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
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<DIV><FONT face=Arial size=2>I was wondering if anyone had idea's or suggestins 
for online articles regarding the three prophecy scenes in the Aeneid: prophecy 
of Jupiter, Prophecy of Anchises, The Shield. All three relate to augustus, but 
how is the history significant for example in the "Parade of 
heroes?"</FONT></DIV></BODY></HTML>
</x-html>From [EMAIL PROTECTED] Fri Apr 13 13:42:47 2001
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Date: Fri, 13 Apr 2001 14:31:10 +0100
From: Helen Conrad <[EMAIL PROTECTED]>
Subject: VIRGIL: Death of Professor Peter Marshall
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<x-html><HTML>
<HEAD>
<TITLE>Death of Professor Peter Marshall</TITLE>
</HEAD>
<BODY>
<BR>
<BLOCKQUOTE><BR>
<B>I am sure everyone in Mantovano will be grieved to hear &nbsp;Professor 
Peter Marshall of Amherst College passed away last Monday. &nbsp;Professor 
Marshall worked throughout his career on the Vergilian commentaries. &nbsp;His 
edition of the Spangenberg bifolium will published this summer in Rivista di 
Philologia.<BR>
Helen COB</B></BLOCKQUOTE>
</BODY>
</HTML>

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Date: Fri, 13 Apr 2001 15:03:16 -0500
From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: VIRGIL: Hellenism and the Harvard School
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One of my projects for this academic year has been to read, think, and
write about Virgil's epic style and its imitators. I still have a lot of
all three to do, but this morning a few thoughts came together over coffee,
and I'd welcome your reaction.

1a. For all practical purposes, the Hellenistic element in Virgil's epic
was largely lost on his Renaissance critics and commentators. Instead, they
focus on the classical (universalizing) tendencies.

1b. This was probably not a programmatic bias. Rather, such was the state
of Western classical scholarship in the fifteenth and sixteenth centuries:
strong on Latin, just getting started on Greek. 

2. There is another thing missing from Virgil criticism in the Renaissance:
a sustained interest in the darker moments of the text. This is not to say
that no one spoke with Two Voices; those who did, though, were isolated and
atypical (see Kallendorf's article on the Harvard School as well as his new
monograph on subversion and containment in Virgilian Venice).

3a. Now my question is this: are points (1) and (2) connected? That is to
say, is the darkness something that shows itself in Virgil's Hellenism? Two
more reasons to think that maybe it is:

3b. This is the silly one: one of the scholars most closely associated with
the Harvard school, Wendell Clausen, is also the author of a book on the
Hellenistic element in Virgil's poetry; his commentary on the Eclogues is
also Hellenistic in orientation.

3c. W. R. Johnson has been saying for several years now that Darkness
Visible was really an attempt to talk about Virgil's mannerism. To say that
mannerism = Hellenism would obviously be wrong, but it would also (I think)
be an exaggeration of the truth in the right direction. Note that by
mannerism I mean a rejection of the objective and universal in favor of the
subjective and personal.

So what do you think? Are the "Friends of Augustus" (e.g., Cairns,
Galinsky) responding to the classical element in Virgil's verse, the
pessimists the Hellenistic?

-----------------------------------------------------------------------
David Wilson-Okamura    http://virgil.org              [EMAIL PROTECTED]
Macalester College      Virgil Tradition: discussion, bibliography, &c.
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Date: Sat, 14 Apr 2001 11:31:08 +0100
From: Giovanni Robaldo <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Hellenism and the Harvard School
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Maybe you could help me. I was wondering the other day if the Parade of
Idols in Milton's "Paradise lost" a subversion of the "Parade of heroes" in
the Aeneid? if so, what does this suggest? Could it be that Milton read the
"Parade of heroes" as an example of an immoral value system where the
Republic was put before human good? Or was it simply that he admired the
work and was treading in the footsteps of his epic model?
----- Original Message -----
From: David Wilson-Okamura <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Friday, April 13, 2001 9:03 PM
Subject: VIRGIL: Hellenism and the Harvard School


> One of my projects for this academic year has been to read, think, and
> write about Virgil's epic style and its imitators. I still have a lot of
> all three to do, but this morning a few thoughts came together over
coffee,
> and I'd welcome your reaction.
>
> 1a. For all practical purposes, the Hellenistic element in Virgil's epic
> was largely lost on his Renaissance critics and commentators. Instead,
they
> focus on the classical (universalizing) tendencies.
>
> 1b. This was probably not a programmatic bias. Rather, such was the state
> of Western classical scholarship in the fifteenth and sixteenth centuries:
> strong on Latin, just getting started on Greek.
>
> 2. There is another thing missing from Virgil criticism in the
Renaissance:
> a sustained interest in the darker moments of the text. This is not to say
> that no one spoke with Two Voices; those who did, though, were isolated
and
> atypical (see Kallendorf's article on the Harvard School as well as his
new
> monograph on subversion and containment in Virgilian Venice).
>
> 3a. Now my question is this: are points (1) and (2) connected? That is to
> say, is the darkness something that shows itself in Virgil's Hellenism?
Two
> more reasons to think that maybe it is:
>
> 3b. This is the silly one: one of the scholars most closely associated
with
> the Harvard school, Wendell Clausen, is also the author of a book on the
> Hellenistic element in Virgil's poetry; his commentary on the Eclogues is
> also Hellenistic in orientation.
>
> 3c. W. R. Johnson has been saying for several years now that Darkness
> Visible was really an attempt to talk about Virgil's mannerism. To say
that
> mannerism = Hellenism would obviously be wrong, but it would also (I
think)
> be an exaggeration of the truth in the right direction. Note that by
> mannerism I mean a rejection of the objective and universal in favor of
the
> subjective and personal.
>
> So what do you think? Are the "Friends of Augustus" (e.g., Cairns,
> Galinsky) responding to the classical element in Virgil's verse, the
> pessimists the Hellenistic?
>
> -----------------------------------------------------------------------
> David Wilson-Okamura    http://virgil.org              [EMAIL PROTECTED]
> Macalester College      Virgil Tradition: discussion, bibliography, &c.
> -----------------------------------------------------------------------
> -----------------------------------------------------------------------
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>

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Subject: Re: VIRGIL: Virgil What does mean?
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<x-html><HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>With regard to laurel 
you may wish to consider the following which I would 
<BR>think educated Romans must have been familiar with:
<BR>Apollo was a great archer, but sometimes he was a little full of himself. 
One 
<BR>day he caught sight of <A 
HREF="http://www.pantheon.org/mythica/articles/e/eros.html";>Eros</A>, the son 
of <A 
HREF="http://www.pantheon.org/mythica/articles/a/aphrodite.html";>Aphrodite</A>. 
Eros was also an archer, 
<BR>and his arrows were responsible for instilling the twists and turns of love 
<BR>and lust in a person’s heart. Apollo teased young Eros, putting down his 
<BR>abilities as an archer, claiming that one so small could make no difference 
<BR>with his arrows. Angry at this insult, Eros shot two arrows, one tipped in 
<BR>gold, one blunted and tipped with lead. The arrow dipped in gold had the 
<BR>power to create insatiable lust in a person, while the other created 
absolute 
<BR>abhorrence towards all things romantic and passionate. The unfortunate soul 
<BR>who was struck with that arrow would have no desire to love anyone. The 
arrow 
<BR>dipped in gold struck Apollo, but the arrow dipped in lead struck fair 
<BR>Daphne. Daphne was the daughter of the river god <A 
HREF="http://www.pantheon.org/mythica/articles/p/peneus.html";>Peneus</A>. 
Apollo chased down 
<BR>the maiden, desperate for her love, but she wanted nothing to do with him, 
<BR>and she ran from him endlessly. Soon, she grew weary in her running and 
that 
<BR>Apollo would ultimately catch her. Fearful, she called out to her father 
for 
<BR>help. As all gods of water posses the ability of transformation, Peneus 
<BR>transformed his daughter into a laurel tree. Suddenly her legs took root, 
and 
<BR>her arms grew into long and slender branches. Apollo reached the laurel 
tree, 
<BR>and, still enamored with Daphne, held the tree in a special place in his 
<BR>heart. He claimed the tree the as his special tree, and adorned himself 
with 
<BR>some of it’s leaves. And that is why the laurel was, and still is, a 
symbol 
<BR>of the god Apollo. 
<BR>    
<BR>*****
<BR>The poet hungers after that which he loves but is unseen and which he would 
<BR>find rest in but you may disagree and have other thoughts...no????
<BR>
<BR>Tacos Sam sincerely....
<BR></FONT></HTML>
</x-html>From [EMAIL PROTECTED] Mon Apr 16 08:23:24 2001
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[I originally sent this offlist to the good professor himself; he encouraged 
me to post it here.  His follow-up comments were excellent, and I hope he'll 
post *them* here as well -- in that hope, I haven't changed what I originally 
wrote.]

Dear Professor Wilson-Okamura:

I'm sending this offlist because I suspect I may be misunderstanding your 
question, and hope not to make too public a fool of myself.  You write:

<< There is another thing missing from Virgil criticism in the Renaissance: a 
sustained interest in the darker moments of the text. >>

I realize you're asking about (a) Virgil's epic, and (b) fifteenth- and 
sixteenth-century Virgil *criticism*, of the latter of which I am wholly 
ignorant.  Still, does it seem to you that Virgil's "darkness," as seen in 
the *bucolics*, does compare closely with plenty of Sidney's 
*Arcadia*...particularly the first version?  Or do you read that as the 
accident of similarly "dark" times, and not a direct indebtedness?  (One 
might ask similar things about Shakespearean "bucolic" works, but I think 
Sidney makes the clearer case.  If you see Sidney as one of those "isolated" 
voices you mention, I guess I'm off the mark...though heaven knows the 
Jacobean dramatists were as black as the slasher movies they so resemble.  ;) 
)

If Sidney is consciously echoing Virgil's "darker" tones, why the failure of 
Renaissance epic critics to "hear" it?  Perhaps epic itself tends to be read 
as simply heroic?, or did until a somewhat more psychologically sophisticated 
age?

Forgive me if this is unduly ignorant; I'm genuinely eager to hear what you 
might have to say.
 
 -- A.J. Rose / Los Angeles
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Date: Sun, 15 Apr 2001 17:14:28 +0100
From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Hellenism and the Harvard School
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In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes
>[I originally sent this offlist to the good professor himself; he encouraged 
>me to post it here.  His follow-up comments were excellent, and I hope he'll 
>post *them* here as well -- in that hope, I haven't changed what I originally 
>wrote.]
>
>Dear Professor Wilson-Okamura:
>
>I'm sending this offlist because I suspect I may be misunderstanding your 
>question, and hope not to make too public a fool of myself.  You write:
>
><< There is another thing missing from Virgil criticism in the Renaissance: a 
>sustained interest in the darker moments of the text. >>
>
>I realize you're asking about (a) Virgil's epic, and (b) fifteenth- and 
>sixteenth-century Virgil *criticism*, of the latter of which I am wholly 
>ignorant.  Still, does it seem to you that Virgil's "darkness," as seen in 
>the *bucolics*, does compare closely with plenty of Sidney's 
>*Arcadia*...particularly the first version?  Or do you read that as the 
>accident of similarly "dark" times, and not a direct indebtedness?  (One 
>might ask similar things about Shakespearean "bucolic" works, but I think 
>Sidney makes the clearer case.  If you see Sidney as one of those "isolated" 
>voices you mention, I guess I'm off the mark...though heaven knows the 
>Jacobean dramatists were as black as the slasher movies they so resemble.  ;)
For those who believed (including those who had talked themselves into
believing) the Gloriana view of Elizabeth I's reign, James I's was a
miserable contrast: peace with Spain, conflicts between king and
parliament, and a far less impressive personality as monarch; indeed,
Good Queen Bess became even more popular by contrast than she had been
in her lifetime. Blackness is as much to be expected as in the age of
Seneca and Lucan; though in both ages one may suspect certain artists of
enjoying it.
> 
>)
>
>If Sidney is consciously echoing Virgil's "darker" tones, why the failure of 
>Renaissance epic critics to "hear" it?  Perhaps epic itself tends to be read 
>as simply heroic?, or did until a somewhat more psychologically sophisticated 
>age?
Perhaps too sophisticated?

Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
email: [EMAIL PROTECTED] (home)         [EMAIL PROTECTED] (work)

*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
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Date: Mon, 16 Apr 2001 08:08:38 +0200
From: Anna Giontella <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: WEstern Religion
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<x-html><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content="text/html; charset=iso-8859-1" http-equiv=Content-Type>
<META content="MSHTML 5.00.2614.3500" name=GENERATOR>
<STYLE></STYLE>
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<BODY bgColor=#ffffff>
<DIV><FONT face=Arial size=2>cara carolyn&nbsp; � di grande interesse leggere 
Virgilio in chiave misterica e rintracciare i legami con la western religion, 
pu� essere di conferma una lettura esoterica delle Bucoliche e delle Georgiche: 
penso ai temi magici di cui mi sto occupando ora. Grazie, attendo di leggere 
estratti del tuo lavoro anna giontella</FONT></DIV>
<BLOCKQUOTE 
style="BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; 
PADDING-LEFT: 5px; PADDING-RIGHT: 0px">
  <DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV 
  style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B> 
  <A href="mailto:[EMAIL PROTECTED]" [EMAIL PROTECTED]>Carolyn 
  Eberle</A> </DIV>
  <DIV style="FONT: 10pt arial"><B>To:</B> <A 
href="mailto:[EMAIL PROTECTED]"; 
  [EMAIL PROTECTED]>[EMAIL PROTECTED]</A> </DIV>
  <DIV style="FONT: 10pt arial"><B>Sent:</B> Monday, April 16, 2001 3:11 
PM</DIV>
  <DIV style="FONT: 10pt arial"><B>Subject:</B> VIRGIL: WEstern Religion</DIV>
  <DIV><BR></DIV>
  <DIV>
  <P>I have been assigned to write a paper on the Aeneid (and virgil in 
  generals) influence upon the philosphy of western religion, any advice/info 
  you could send me would be great.&nbsp; Thanks.</P>
  <P>Carolyn<BR><BR></P></DIV><BR clear=all>
  <HR>
  Get your FREE download of MSN Explorer at <A 
  href="http://explorer.msn.com";>http://explorer.msn.com</A><BR>
  
<P></P>----------------------------------------------------------------------- 
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http://virgil.org/mantovano/mantovano.htm#unsub</BLOCKQUOTE></BODY></HTML>
</x-html>From [EMAIL PROTECTED] Mon Apr 16 09:47:21 2001
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Date: Mon, 16 Apr 2001 08:35:28 -0500
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Subject: Re: VIRGIL: Hellenism and the Harvard School
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At 09:54 AM 4/14/01 -0400, A.J. Rose wrote:
>If Sidney is consciously echoing Virgil's "darker" tones, why the failure of 
>Renaissance epic critics to "hear" it?  Perhaps epic itself tends to be read 
>as simply heroic?, or did until a somewhat more psychologically
sophisticated 
>age?

I'm resistant to the idea that we live in a more psychologically
sophisticated age (though perhaps we do live in a more psychologically
_troubled_ age). But your comment on the bucolic tradition is really
suggestive. The answer, I suspect, has something to do with the history of
that tradition in medieval and renaissance Europe, namely, that it becomes
a an established vehicle for political and ecclesiastical _satire_. (Helen
Cooper's book on pastoral offers a clear overview of this phenomenon.) The
satirical tradition may be post-classical, but once it gets going it's easy
enough to find precedents for it in Virgil's Eclogues (esp. 1 and 9), and
that's probably what Sidney is doing.

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David Wilson-Okamura    http://virgil.org              [EMAIL PROTECTED]
Macalester College      Virgil Tradition: discussion, bibliography, &c.
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From: Carolyn Eberle <[EMAIL PROTECTED]>
Subject: VIRGIL: WEstern Religion
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<x-html><html><DIV>
<P>I have been assigned to write a paper on the Aeneid (and virgil in generals) 
influence upon the philosphy of western religion, any advice/info you could 
send me would be great.&nbsp; Thanks.</P>
<P>Carolyn<BR><BR></P></DIV><br clear=all><hr>Get your FREE download of MSN 
Explorer at <a 
href="http://explorer.msn.com";>http://explorer.msn.com</a><br></p></html>
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From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Western Religion
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At 03:11 PM 4/16/01 +0000, Carolyn Eberle wrote:
>I have been assigned to write a paper on the Aeneid (and Virgil in general) 
>influence upon the philosphy of western religion, any advice/info you could 
>send me would be great.  Thanks.

1. Think about concentrating on Virgil's underworld (book 6) or the
reception of Eclogue 4.

2. Have a look at one or more of the following. 

If you know French, start with these:

Courcelle, Pierre. "Les ex�g�ses chr�tiennes de la quatri�me Eglogue."
Revue des �tudes anciennes 59 (1957): 294-319.

Courcelle, Pierre. "Les p�res de l'�glise devant les enfers virgiliens."
Archives d'histoire doctrinale et litt�raire du moyen age 30 (1955): 5-74.

Courcelle, Pierre. Lecteurs pa�ens et lecteurs chr�tiens de l'En�ide.
M�moires de l'acad�mie des inscriptions et belles lettres, n.s. 4. Paris:
Institut de France, 1984, 1989. Part 1: Les t�moignages litt�raires (1984).
Part 2: Les manuscrits illustr�s de l'En�ide du Xe au XVe si�cle (1989).

If not, try:

Bennett, Camille. "The Conversion of Vergil: The Aeneid in Augustine's
Confessions." Revue des �tudes augustiniennes 34 (1988): 47-69.

Coffin, H. C. "The Influence of Vergil on St. Jerome and on St. Augustine."
Classical Weekly 17 (1924): 170-75.

Hagendahl, Harald. Augustine and the Latin Classics. 2 vols. Stockholm:
Elanders Boktryckeri Aktiebolag, 1967. 2: 384-463.

Hagendahl, Harald. The Latin Fathers and the Classics: A Study on the
Apologists, Jerome and Other Christian Writers. Studia Graeca et Latina
Gothoburgiensia 6. G�teborg: Institute of Classical Studies, University of
G�teborg, 1958.

MacCormack, Sabine. The Shadows of Poetry: Vergil in the Mind of Augustine.
Transformation of the Classical Heritage 26. Berkeley and Los Angeles: U of
California P, 1998.

Nisbet, R. G. M. "Virgil's Fourth Eclogue: Easterners and Westerners."
Bulletin of the Institute of Classical Studies 25 (1978): 59-78. Rpt. idem,
Collected Papers on Latin Literature, ed. S. J. Harrison (Oxford:
Clarendon, 1995), 47-75.

O'Donnell, James J. "Augustine's Classical Readings." Recherches
augustiniennes 15 (1980): 144-75.

O'Meara, John J. "Vergil and Augustine: The Roman Background to Christian
Sexuality." Augustinus 13 (1968): 307-26.

There's also plenty of material in German; see
http://virgil.org/bibliography under "Late Antiquity."


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David Wilson-Okamura    http://virgil.org              [EMAIL PROTECTED]
Macalester College      Virgil Tradition: discussion, bibliography, &c.
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please don't send me this stuff!
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On 16 Apr 2001, at 14:42, tom bishop wrote:

> At what point were the "pro�mic" lines fronting the Aeneid detached
> from the poem, and what name, if any, did they go by afterwards?  My
> history of Virgil scholarship is pretty sketchy. I know Ovid and
> Martial took "arma virumque" etc. to be the opening of the poem. But
> Servius knew the introductory lines too, and they're not entirely
> unVirgilian.

See _Virgilio Eneide_, ed. Ettore Paratore, vol. 1 app. crit to l. 1 and
its commentary pp. 123-27 for a full discussion of all the issues.
Aelius Donatus (vita Vergilii) and Servius (praef. IV) testify that the
four lines beginning "Ille ego..." prefaced the opening "Arma
virumque... ."  Varius removed or cancelled them.  (1) The complete
silence of the major manuscript tradition about the proem, (2) the
fact that the principle writers following Vergil always cite the proem
separately from "Arma virumque" and (3) the inappropriately
intimate or familiar tone of the lines have convinced most scholars
that they are apocryphal.  The absence of the proem in the
manuscript tradition suggests it never prefaced the Aeneid or was
was removed very early in the transmission.


======================================
Steven J. Willett
Shizuoka University of Art and Culture
Dept. of International Culture, Faculty of Cultural Policy
1794-1 Noguchi
Hamamatsu City, Japan 430-8533
Tel/Autofax: (53) 457-6142
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Subject: Re: VIRGIL: Western Religion
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Dear Bgr1ES18 (E 605? Big grizzly? Bundesgrenzschutz? Brother gruszly?)
what's wrong with "this stuff"? "this stuff" is only a good question, and as I 
see there comes a lot of fertile answers leading to scientific researches. 
Best stuff, erste Sahne!

grusz, hansz
http://marvin.sn.schule.de/~latein/eneis6.htm#Sibylle von Cumae


[EMAIL PROTECTED] schrieb:
> please don't send me this stuff!

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Cara Carolyn...fulgente trahit constrictos Gloria curru
non minus ignotos generosis...
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David Wilson-Okamura schrieb:
> At 03:11 PM 4/16/01 +0000, Carolyn Eberle wrote:
> >I have been assigned to write a paper on the Aeneid (and Virgil in general) 
> >influence upon the philosphy of western religion, any advice/info you could 
> >send me would be great.  Thanks.
>
> 1. Think about concentrating on Virgil's underworld (book 6) ... 

d'accord - that might be the main street (or bus stop near a cross road):
        infernum-purgatorium-caelum would be one road (leading Dante); 
nekya-katabasis (Odysseia 11); Aeneis 6 - 
        katabasis in Mythology and Religion for saving of died persons: 
Gilgamesh (Sumerian, Babylonian), Orpheus and Jesus, 
Innana/Ishtar (Syrian, Babylonian) and Maria (East-European Christian poems). 

        The soma-sema (corpus-carcer) analogy would be another road:
Platon, Kratylos 400 (orphic old word: soma=sema)
Cicero, Somnium Scipionis (De re publica 6,14: corpus-carcer)
        and going on in series of alliterations:
Maro, Aeneis 6,731 ff (clausae tenebris et carcere caeco)
Augustinus, De civitate Dei 14,3 (corpus-carcer, corruptio corporis, caro 
corruptibilis) etc. 

grusz, hansz
http://home.t-online.de/home/hanumans/qu.htm

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Date: Tue, 17 Apr 2001 11:58:28 -0400
From: "Heslin, Dr. Tom" <[EMAIL PROTECTED]>
Subject: RE: VIRGIL: Western Religion
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Can anyone give me any references concerning the anti-intellectual bias in
the Aeneid?  ("quidquid id est timeo Danaos et dana ferentes.")

Tom Heslin

-----Original Message-----
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: Tuesday, April 17, 2001 7:01 AM
To: [EMAIL PROTECTED]
Subject: Re: VIRGIL: Western Religion


David Wilson-Okamura schrieb:
> At 03:11 PM 4/16/01 +0000, Carolyn Eberle wrote:
> >I have been assigned to write a paper on the Aeneid (and Virgil in
general) 
> >influence upon the philosphy of western religion, any advice/info you
could 
> >send me would be great.  Thanks.
>
> 1. Think about concentrating on Virgil's underworld (book 6) ... 

d'accord - that might be the main street (or bus stop near a cross road):
        infernum-purgatorium-caelum would be one road (leading Dante); 
nekya-katabasis (Odysseia 11); Aeneis 6 - 
        katabasis in Mythology and Religion for saving of died persons: 
Gilgamesh (Sumerian, Babylonian), Orpheus and Jesus, 
Innana/Ishtar (Syrian, Babylonian) and Maria (East-European Christian
poems). 

        The soma-sema (corpus-carcer) analogy would be another road:
Platon, Kratylos 400 (orphic old word: soma=sema)
Cicero, Somnium Scipionis (De re publica 6,14: corpus-carcer)
        and going on in series of alliterations:
Maro, Aeneis 6,731 ff (clausae tenebris et carcere caeco)
Augustinus, De civitate Dei 14,3 (corpus-carcer, corruptio corporis, caro 
corruptibilis) etc. 

grusz, hansz
http://home.t-online.de/home/hanumans/qu.htm

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Heslin, Dr. Tom schrieb:
> Can anyone give me any references concerning the anti-intellectual bias in
> the Aeneid?  ("quidquid id est timeo Danaos et dana ferentes.")
>
> Tom Heslin

pardon - what is the "anti-intellectual bias" in the Aeneid? (bias - the Greek 
word?, like "kratos kai bias"?) 
I don't find any anti-intellectualism in the Aeneis. She is full of discussion 
on high level, discussion for example of the historical concept of Polybios; of 
the cosmological concept of Platon (with Orphical and Pythagorean religious 
roots) and Stoa; of Stoic ethics and duty-conflicts. And we find an aesthetic 
discussion in her existence, for Maro had to fight with his own neoteric roots 
and with a stuff that matches more to tragoidia than to epos. But Maro has a 
good consciousness about "epos" (and that's maybe the reason, why he didn't 
wish to sing one): compare Gilgamesh-, Mahabharata-, Odysseia-, Perceval-Epos. 
They all have this eschatological gate, wise background, practical realism 
(founding towns, establishing states), and of course noble fight as "father of 
all things" (Herakleitos) - as strange world for us. We would not even write a 
novel in verses (hexametron...), would you? 
grusz, hansz

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In message <[EMAIL PROTECTED]>, Hans Zimmermann
<[EMAIL PROTECTED]> writes

> We would not even write a 
>novel in verses (hexametron...), would you? 

Pushkin did: Evgenij Onegin even bears the subtitle 'Roman v stixax'.
The metre to be sure is not the hexameter, but it is the staple metre of
Russian high poetry.

Leofranc
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Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
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From: [EMAIL PROTECTED] (Hans Zimmermann)
Subject: Re: VIRGIL: Western Religion
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Leofranc Holford-Strevens schrieb:
> In message <[EMAIL PROTECTED]>, Hans Zimmermann
> <[EMAIL PROTECTED]> writes
>
> > We would not even write a 
> >novel in verses (hexametron...), would you? 
>
> Pushkin did: Evgenij Onegin even bears the subtitle 'Roman v stixax'.
> The metre to be sure is not the hexameter, but it is the staple metre of
> Russian high poetry.

then also Lord Byron, Goethe (Hermann und Dorothea, Reineke Fuchs - 
Hexameter!), 
(if we don't go back further to Klopstock, "Messias" or Milton, "Paradise lost" 
...) - but they are not "we" (most of us born in the 20th century); more near 
to 
"us": Alfred D�blin, "Manas" (1927); or Shri Aurobindo, "Sawitri" (1975) - both 
with Indian titles, more connected to Sanskrit classics than to Greek and Latin 
tradition. 
And who knows how many German Latinteachers hide their thick big grand own 
hexametrical poems in secret drawers of their writingtable, or under the bed in 
the dust-wool near by the sock with the coins (or the pissputt)? 

grusz, hansz

P.S.: Each of the nine books of "Onegin" has a motto. Motto of the second book 
is: 
                O rus!
                        Horaz 
                O Russia!

This funny-short "O rus!" (Horaz) is taken from the satura (sermo) about rural 
and urban life (serm. 2,6,60 - short before the fabula of rural mouse and urban 
mouse). The wonderful "translation" "O Russia" is Pushkin's nice joke. 

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Date: Thu, 19 Apr 2001 01:03:12 +0400
From: Marina <[EMAIL PROTECTED]>
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I will be very grateful if anyone answers me. Maybe anyone knows
something about compounds in Latin?  I've found a lot about greek ones
(such as deirotomeo,etc), but I failed in Latin. And what about
Virgil's attitude to compound words? As far as I know he followed
greek epic style examples, so he might use compounds as well.


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<x-html><html><DIV>
<P><BR>Hello,</P>
<P>Would anyone know of a good book introducing the reader to the basics of 
Latin? There are no courses in Latin offered at my school, and although I have 
Spanish to contend with, I would like to begin learning some Latin. </P>
<P>Thank you,</P>
<P>H. McCann.</P></DIV><br clear=all><hr>Get your FREE download of MSN Explorer 
at <a href="http://explorer.msn.com";>http://explorer.msn.com</a><br></p></html>
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</x-html>From [EMAIL PROTECTED] Wed Apr 18 21:59:27 2001
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Date: Thu, 19 Apr 2001 00:01:08 +0100
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Subject: Re: VIRGIL: Virgil
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In message <[EMAIL PROTECTED]>, Marina
<[EMAIL PROTECTED]> writes
>I will be very grateful if anyone answers me. Maybe anyone knows
>something about compounds in Latin?  I've found a lot about greek ones
>(such as deirotomeo,etc), but I failed in Latin. And what about
>Virgil's attitude to compound words? As far as I know he followed
>greek epic style examples, so he might use compounds as well.
>
In general, Latin is more hesitant than Greek to coin new words,
especially compounds: so much so, in classical times, that compounds in
-fer or -ger count as poetical when their Greek counterparts in -ph�ros
would be prosaic. The archaic poets are bolder; Vergil is more
restrained, and there is always the possibility that when he uses such a
word as _auricomus_(see Aeneid 6. 141) he did not directly calque it on
chrys�komos/chrysok�mes, but found it in (say) Ennius, of whom so little
survives. However, if you consult, say, the pages of Norden's commentary
on _Aeneid_ 6 indicated in the index under 'Adjectiva composita' (p.
472), you will get a feel for what he is willing to do.

Verb-forms like deirotomeo, strictly not compounds but decomposita
(parasyntheta), derivatives of compounds, are very characteristic of
Greek; they are far rarer in Latin (the Latin for deirotomeo, for
instance, is iugulo).

Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

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Date: Thu, 19 Apr 2001 11:38:57 +0100
From: andrew <[EMAIL PROTECTED]>
Subject: VIRGIL: Re : Augustus and the principate in Virgil's Aeneid
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>... three prophecy scenes in the Aeneid: prophecy of Jupiter, =
>Prophecy of Anchises, The Shield. All three relate to augustus, but how =
>is the history significant for example in the "Parade of heroes?"

Surely the fact that it's the parade of Roman (ie future to Aeneas,
historical to Virgil and us) Heroes that ties it in with the 'history'
theme?

The most interesting thing (I think) about Augusts in the parade is that he
is referred to as a "Rex Romana" (the exact quote is something like
"carrying the staffs and sceptres of a Roman king", and occurs about half
way through).

The word 'rex' is ambiguous - both in Virgil, and for the Romans generally.
J.Caesar's great mistake as to appear a king; and the Aeneadi who 'rushed
into the sword for liberty (pro-libertate)' in BkVIII were definitely
anti-rex (the rex in question being the final Tarquin).

But kings can be both good and bad. On the one hand, Evander is a rex - and
he's portrayed as a wise ruler; 'pius' to state, family and gods (as
required); a hospitable a host; an intelligent father figure - the 'senex'
to Aeneas' 'vir'. But on the other hand, so is Mezentius - the tyrant who
crushed his city beneath a 'regio superbo'.

I wonder if this is a way in to understanding Virgil's views of the
principate : If you are a 'rex', you can serve your people (and yourself)
well and be good ruler, following the example of Saturn - 'pacem imponere',
'debellare superbos' etc.; or, you can go the other way and became an evil,
hubristic villain.  So the principate could be a good thing for Rome, or it
could be bad - and which it was to be would depend on what Augustus himself
chose to do.

-andrew ormerod

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<x-html><HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>How can i get taken off 
this list serve, or group (virgil.org)? If you can 
<BR>tell me, I'd appreciate it greatly. Thank you, Alice Broughton 
Cox</FONT></HTML>
</x-html>From [EMAIL PROTECTED] Sat Apr 21 10:08:15 2001
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Date: Sat, 21 Apr 2001 09:30:51 -0500
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<x-rich>At 04:17 AM 4/21/01 -0400, you wrote: 

>>>>

<excerpt><fontfamily><param>arial</param><smaller>How can i get taken off
this list serve, or group (virgil.org)? If you can 

tell me, I'd appreciate it greatly. Thank you, Alice Broughton
Cox</smaller> 

</fontfamily></excerpt><fontfamily><param>arial</param><<<<<<<<


</fontfamily>It's done.



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David Wilson-Okamura    http://virgil.org              [EMAIL PROTECTED]

Macalester College      Virgil Tradition: discussion, bibliography, &c.

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</x-rich>
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From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: VIRGIL: status of "Ille ego" in the renaissance
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Some time ago we talked about the authorship of the "Ille ego" lines that
were (according to the ancient grammarians) affixed to the beginning of the
Aeneid. Jim O'Hara gave a concise summary of the issues involved, which I
immediately printed out and filed. This last week the subject came up again
on the Sidney-Spenser list; excerpts from that discussion follow.

-----------------------------------------------------------------------
Date: Wed, 18 Apr 2001 21:56:16 -0500
From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: Status of "Ille ego..." in the renaissance
Sender: Sidney-Spenser Discussion List <[EMAIL PROTECTED]>

At 02:15 PM 4/17/01 -0500, Tom Bishop wrote:
>>>  At what point were the "pro�mic" lines fronting the Aeneid detached
>>>  from the poem, and what name, if any, did they go by afterwards?  My
>>>  history of Virgil scholarship is pretty sketchy. I know Ovid and
>>>  Martial took "arma virumque" etc. to be the opening of the poem. But
>>>  Servius knew the introductory lines too, and they're not entirely
>>>  unVirgilian.

The standard work on the text of Virgil in the sixteenth century was J.
Pierius Valerianus, Castigationes et varietates Virgilianae lectionis
(1521; repeatedly reprinted in annotated editions of Virgil's text).
Valerianus points out that the "Ille ego" verses are controversial and
testifies that "insofar as the ancient manuscripts are concerned, I have
discovered none so far in which the Aeneid begins with these verses --
though in some codices they have been added separately by a later hand
(postscripti)." (As it happens, this manuscript layout was fairly common;
there's a reproduction of a twelfth-century exemplar in Christopher
Baswell, Virgil in Medieval England [1995], pp. 43.) Valerianus, however,
thinks that the "Ille ego" verses are probably Virgilian, and says that
most people (bona hominum pars) think as he does.


-----------------------------------------------------------------------
Date: Wed, 18 Apr 2001 22:19:51 -0500
From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: More on status of "Ille ego..." in the renaissance
Sender: Sidney-Spenser Discussion List <[EMAIL PROTECTED]>

At 10:46 AM 4/19/01 +0900, Steven J. Willett wrote:
>A more interesting question than Spenser's view of the proemium is
>the rationale for including it in early editions, such as the one above.
>Do the editors address the issue or give any explanation?  If the
>main editions he would have read printed the quatrain, then he's
>likely to have accepted it despite the absence of any MS support.

For Pierius, the rationale seems to be twofold:

1. An ancient biographer (A. Donatus) and an ancient commentator (Servius)
both attribute the lines to Virgil. (This is implicit in his discussion of
the history of the proem, which he cribs from one or both of the
aforementioned scholiasts.)

2. Like the end of the Georgics (which quotes the opening of the Eclogues),
the "Ille ego" lines serve to (a) identify the author and (b) connect the
Aeneid with his previous efforts, "binding it to the previous pair, so that
it forms one body, knit together, as it were, by an indissoluble bond."


-----------------------------------------------------------------------
Date: Fri, 20 Apr 2001 11:52:37 -0500
From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: Re: More on status of "Ille ego..." in the renaissance
Sender: Sidney-Spenser Discussion List <[EMAIL PROTECTED]>

A couple more things about the status of "Ille ego" in the sixteenth century:

1. Phaer includes the "Ille ego" lines in his translation of Aen. 1-7.

2. In the editions that I have looked at, these lines are not
distinguished, typographically or otherwise, from the rest of the text. (To
date, I have examined microfilms of the first edition of Phaer's
translation, 1558, and the first edition of the complete Phaer-Twyne
translation, 1584.)


-----------------------------------------------------------------------
Date: Fri, 20 Apr 2001 13:34:51 -0500
From: Thomas Herron <[EMAIL PROTECTED]>
Subject: Re: More on status of "Ille ego..." in the renaissance
Sender: Sidney-Spenser Discussion List <[EMAIL PROTECTED]>

Richard Stanyhurst (c. 1581/2) also has it, and takes points for style:

I that in old season wyth reeds oten harmonye whistled
My rural sonnet; from forrest flitted (I) forced
Thee sulcking swincker thee soyle, thoghe craggie, to sunder.
A labor and a trauaile too plowswayns hertelye welcoom.
Now manhod and garbroyls I chaunt, and martial horror.
I blaze the captayne first from Troy cittye repairing...

Ed. D. Van der Haar (Amsterdam 1933).  --TH


-----------------------------------------------------------------------
Date: Fri, 20 Apr 2001 17:42:02 -0400
From: Anne Prescott <[EMAIL PROTECTED]>
Subject: Re: More on status of "Ille ego..." in the renaissance
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Godamighty, Thomas. When I heard your *brilliant* paper on Stanyhurst I
decided I had underestimated him. I still believe, I really do. But
"sulcking swincker"? Still, this is one to print out and file with notes
on the opening of the Faerie Queene. Next time I teach Spenser I will
recite it with a straight face. Promise. Anne.

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Macalester College      Virgil Tradition: discussion, bibliography, &c.
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Hey Dave...

What's this all about???

On Sat, 21 Apr 2001 09:30:51 -0500 David Wilson-Okamura
<[EMAIL PROTECTED]> writes:

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Date: Tue, 24 Apr 2001 13:25:25 +0200
From: Anna Giontella <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Re : Augustus and the principate in Virgil's Aeneid
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Tutto il mondo magico virgiliano � immaginabile dall'egloga VIII;
l'operazione magica incantaria � interpretabile come elemento esoterico
misterico sotteso a tutta l'opera virgiliana; Dido � ravvicinabile a
Medea.Grazie anna
---- Original Message -----
From: "andrew" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Thursday, April 19, 2001 12:38 PM
Subject: VIRGIL: Re : Augustus and the principate in Virgil's Aeneid


> >... three prophecy scenes in the Aeneid: prophecy of Jupiter, =
> >Prophecy of Anchises, The Shield. All three relate to augustus, but how =
> >is the history significant for example in the "Parade of heroes?"
>
> Surely the fact that it's the parade of Roman (ie future to Aeneas,
> historical to Virgil and us) Heroes that ties it in with the 'history'
> theme?
>
> The most interesting thing (I think) about Augusts in the parade is that
he
> is referred to as a "Rex Romana" (the exact quote is something like
> "carrying the staffs and sceptres of a Roman king", and occurs about half
> way through).
>
> The word 'rex' is ambiguous - both in Virgil, and for the Romans
generally.
> J.Caesar's great mistake as to appear a king; and the Aeneadi who 'rushed
> into the sword for liberty (pro-libertate)' in BkVIII were definitely
> anti-rex (the rex in question being the final Tarquin).
>
> But kings can be both good and bad. On the one hand, Evander is a rex -
and
> he's portrayed as a wise ruler; 'pius' to state, family and gods (as
> required); a hospitable a host; an intelligent father figure - the 'senex'
> to Aeneas' 'vir'. But on the other hand, so is Mezentius - the tyrant who
> crushed his city beneath a 'regio superbo'.
>
> I wonder if this is a way in to understanding Virgil's views of the
> principate : If you are a 'rex', you can serve your people (and yourself)
> well and be good ruler, following the example of Saturn - 'pacem
imponere',
> 'debellare superbos' etc.; or, you can go the other way and became an
evil,
> hubristic villain.  So the principate could be a good thing for Rome, or
it
> could be bad - and which it was to be would depend on what Augustus
himself
> chose to do.
>
> -andrew ormerod
>
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Date: Thu, 26 Apr 2001 10:03:34 +0000
From: Bob Cowan <[EMAIL PROTECTED]>
Subject: VIRGIL: Horse's Blood
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A simile at Georgics 3.461ff refers to the Geloni and Bisaltae
mixing horse's blood with milk to curdle the latter, and in the Latin
poetic tradition from then on there are numerous references, collected
by H.H. Huxley in CPh 1956, to this Scythian (or Thracian, or
Sarmatian, or Spanish) practice or that of drinking horse's blood neat.

Hdt 4.1 describes the Scythian practice of milking mares and the
production of a drink later known as koumiss (see Stephanie West
'Introducing the Scythians...' in Museum Helveticum for 1999), while
Scythians are also known as 'mare-milkers' from Homer and Hesiod on.
However I have not come across any pre-Virgilian reference to blood in
connection with the nomadic diet.

Does anyone know of pre-Virgilian sources or of genuine ethnographical
evidence for this practice?

Many thanks

Bob Cowan
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Date: Thu, 26 Apr 2001 13:39:22 +0100
From: Leofranc Holford-Strevens <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Horse's Blood
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In message <[EMAIL PROTECTED]>, Bob Cowan
<[EMAIL PROTECTED]> writes
>A simile at Georgics 3.461ff refers to the Geloni and Bisaltae
>mixing horse's blood with milk to curdle the latter, and in the Latin
>poetic tradition from then on there are numerous references, collected
>by H.H. Huxley in CPh 1956, to this Scythian (or Thracian, or
>Sarmatian, or Spanish) practice or that of drinking horse's blood neat.
>
>Hdt 4.1 describes the Scythian practice of milking mares and the
>production of a drink later known as koumiss (see Stephanie West
>'Introducing the Scythians...' in Museum Helveticum for 1999), while
>Scythians are also known as 'mare-milkers' from Homer and Hesiod on.
>However I have not come across any pre-Virgilian reference to blood in
>connection with the nomadic diet.
>
>Does anyone know of pre-Virgilian sources or of genuine ethnographical
>evidence for this practice?

One usually associates it with the Maasai of Kenya; I notice that all
the parallels in Mynors ad loc. are post-Vergilian.

Leofranc Holford-Strevens
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
 
Leofranc Holford-Strevens
67 St Bernard's Road                                         usque adeone
Oxford               scire MEVM nihil est, nisi ME scire hoc sciat alter?
OX2 6EJ

tel. +44 (0)1865 552808(home)/267865(work)          fax +44 (0)1865 512237
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Date: Mon, 30 Apr 2001 11:11:13 -0400
From: Sarah Mudge <[EMAIL PROTECTED]>
Subject: VIRGIL: Maphaeus Vegius
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I am curious about any info. regarding Maphaeus Vegius' Thirteenth Book
of the Aeneid (the only info. that I have been able to get has been
about the Sixteenth century translation by Twyne).  Also, what about the
Renaissance's general response to Virgil's work: how was his work
exposed and considered, if at all?

[EMAIL PROTECTED]

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Date: Mon, 30 Apr 2001 11:15:08 -0500
From: David Wilson-Okamura <[EMAIL PROTECTED]>
Subject: Re: VIRGIL: Maphaeus Vegius
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At 11:11 AM 4/30/01 -0400, you wrote:
>I am curious about any info. regarding Maphaeus Vegius' Thirteenth Book
>of the Aeneid (the only info. that I have been able to get has been
>about the Sixteenth century translation by Twyne).  Also, what about the
>Renaissance's general response to Virgil's work: how was his work
>exposed and considered, if at all?

Have a look at 

        http://virgil.org/supplementa/vegio-twyne.htm

This is a transcription of the Twyne translation and includes a selected
bibliography. 

On Virgil in the renaissance: see the relevant sections of "Virgil in Late
Antiquity, the Middle Ages and Renaissance: An Online Bibliography" at

        http://virgil.org/bibliography

For a general orientation, I recommend (in this order)

- the chapters on Virgil in D. C. Allen, _Mysteriously Meant_ (on
allegorical interpretations) and Hough, _Preface to The Faerie Queene_

- Craig Kallendorf, _In Praise of Aeneas_ (which has a bang-up chapter on
Vegio) and _Virgil and the Myth of Venice_

- Vladimiro Zabughin, _Vergilio nel Rinascimento italiano da Dante a
Torquato Tasso_. (Yes, "Vergilio" is correct.)

For the tradition of Virgilian epic in the renaissance, start with Colin
Burrow, _Epic Romance_ and David Quint, _Epic and Empire_. For Virgil in
England, start with John Watkins, _The Specter of Dido_ (on Spenser; he
talks about Vegio, too) and Margaret Tudeau-Clayton, _Jonson, Shakespeare,
and Early Modern Vergil_.

Others will have their own favorites, and I hope they will not hesitate to
name them here or quibble with mine.

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Hi,

I have recently joined this discussion group and am looking forward to
seeing what goes on.

I wonder if I might ask for some advice.

I started learing Latin when I was nine and stopped when I was
sixteen.  During the last three of four years of this period we
studied Virgil's Aeneid among other Roman works, hence I have some
knowledge in this area.

Since then I have kept a general interest Latin, mainly through my
work in biology which not only involves Classical scientific names,
but sometimes Latin descriptions.  Much material from earlier
centuries was, of course, written in Latin and I have found works from
the fifteenth and sixteenth centuries much easier to understand than
Classical Latin.  I think this is because the later authors are really
writing English, French or whatever in a Latin way, using Latin words.

Anyway, my question is what do people suggest the best way is of
getting my Latin back up to speed at the age of 63 so that I can spend
my declining years enjoying Virgil as he should be enjoyed?  Are there
books that help, for example, or is it just simply a question of
practise and familiarity?

Thanks for your help.

Patrick Roper

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