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P. Vergili Maronis Aeneidos Liber Secundus

Francis A. Sullivan & R. G. Austin

American Journal of Philology 87 (3):359 (1966)

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Two Acrostics in Horace's Satires(1.9.24–8, 2.1.7–10).Talitha Kearey - 2019 - Classical Quarterly 69 (2):734-744.details Hunters of acrostics have had little luck with Horace. Despite his manifest love of complex wordplay, virtuoso metrical tricks and even alphabet games, acrostics seem largely absent from Horace's poetry. The few that have been sniffed out in recent years are, with one notable exception, either fractured and incomplete—the postulatedPINN-inCarm.4.2.1–4 (pinnis?Pindarus?)—or disappointingly low-stakes; suggestions of acrostics are largely confined to theOdesalone. Besides diverging from the long-standing Roman obsession with literary acrostics, Horace's apparent lack of interest is especially surprising given that (...) Download Export citation Bookmark 2 citations
(1 other version)Vergil, Aeneid 2. 250–2.Sara Mack - 1980 - Classical Quarterly 30 (01):153-.details These lines from the second book of the Aeneid introduce the night on which Troy falls. They have always been felt to be impressive: rich in allusion, noteworthy for the monosyllabic ending of the first line, and memorable for the majestic zeugma of the last two lines. Line 250 opens by incorporating a half line from Ennius: vertitur interea caelum cum ingentibus signis and closes with a near-translation of the substance of a half-line from Homer. Download Export citation Bookmark 4 citations
Manuscript evidence for alphabet-switching in the works of cicero: Proper nouns and adjectives.Neil O'Sullivan - 2020 - Classical Quarterly 70 (2):677-690.details Our manuscripts of Cicero contain dozens of Greek words that are presented in some passages in Greek letters, and in others are transliterated into Latin. In a recent paper I collected the evidence for this phenomenon in connection with common nouns and adjectives, surveyed scholarship to date and posited an interpretative framework which is assumed in this study also. Key components of this framework are the use of mixed alphabets in surviving ancient documents and an awareness of the frequency with (...) Download Export citation Bookmark
Claudian, de raptu proserpinae 1.82 and georgics 3.68.Cillian O'Hogan - 2014 - Classical Quarterly 64 (2):866-868.details That Claudian imitates Virgil's Georgics in the De raptu Proserpinae is well known. Most of his allusions are restricted to Golden Age or Underworld imagery, largely from Books 1, 2, and 4. However, one imitation of the third Georgic that appears not to have been noted previously occurs at De raptu Proserpinae 1.82. The context is Claudian's famous description of Pluto enthroned: ipse rudi fultus solio nigraque uerendusmaiestate sedet: squalent inmania foedosceptra situ; sublime caput maestissima nubesasperat et dirae riget inclementia (...) Download Export citation Bookmark
(1 other version)Vergil, Aeneid 2. 250–2.Sara Mack - 1980 - Classical Quarterly 30 (1):153-158.details These lines from the second book of the Aeneid introduce the night on which Troy falls. They have always been felt to be impressive: rich in allusion, noteworthy for the monosyllabic ending of the first line, and memorable for the majestic zeugma of the last two lines. Line 250 opens by incorporating a half line from Ennius: vertitur interea caelum cum ingentibus signis and closes with a near-translation of the substance of a half-line from Homer. Download Export citation Bookmark 2 citations
Late ciceronian scholarship and Virgilian exegesis: Servius and ps.-asconius.Giuseppe La Bua - 2018 - Classical Quarterly 68 (2):667-680.details Late Antiquity witnessed intense scholarly activity on Virgil's poems. Aelius Donatus’ commentary, the twelve-bookInterpretationes Vergilianaecomposed by the fourth-century or fifth-century rhetorician Tiberius Claudius Donatus and other sets of scholia testify to the richness of late ‘Virgilian literature’. Servius’ full-scale commentary on Virgil's poetry marked a watershed in the history of the reception of Virgil and in Latin criticism in general. Primarily ‘the instrument of a teacher’, Servius’ commentary was intended to teach students and readers to read and write good Latin (...) Download Export citation Bookmark
Aeqvor: The sea of prophecies in Virgil's aeneid.M. Pilar García Ruiz - 2014 - Classical Quarterly 64 (2):694-706.details In a well-known article, Hodnett pointed out that Virgil emphasizes the peacefulness and quiet of the sea, its immensity and limitlessness, in contrast to the view articulated by the Roman poets of the Republic, which presents the sea as deceptive and fearsome. Among the many terms used in theAeneidto denote the sea,aequorstands out precisely because it is the term most frequently used by Virgil in place of the wordmare. Download Export citation Bookmark
The Empty Tomb at Rhoeteum: Deiphobus and the Problem of the Past in Aeneid 6.494-547.Pamela Bleisch - 1999 - Classical Antiquity 18 (2):187-226.details Aeneas' encounter with Deiphobus forms a critical juncture in Vergil's "Aeneid". In the underworld Aeneas retraces his past to its beginning; so too Vergil's audience returns to its starting point: the fall of Troy. Deiphobus himself is a metonym of Troy, embodying her guilt and punishment. But Aeneas is frustrated in his attempt to reconcile himself to this past. Aeneas attempts the Homeric rites of remembrance-heroic tumulus and epic fama-but these prove to be empty gestures. The aition of Deiphobus' tomb (...) Download Export citation Bookmark

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