By Philip Hardie, Helen Moore
This can be a wide-ranging choice of essays on old Roman literary careers and their reception in later eu literature, with contributions by means of major specialists. ranging from the 3 significant Roman versions for developing a literary occupation - Virgil (the rota Vergiliana), Horace, and Ovid - the quantity then seems at substitute and counter-models in antiquity: Propertius, Juvenal, Cicero and Pliny. a variety of post-antique responses to the traditional styles are then tested, from Dante to Wordsworth, and together with Petrarch, Shakespeare, Milton, Marvell, Dryden, and Goethe. those chapters pose the query of the continued relevance of old profession types as rules of authorship swap over the centuries, resulting in various engagements and disengagements with classical literary careers. There also are chapters on alternative routes of concluding or extending a literary profession: bookburning and figurative metempsychosis.
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Extra resources for Classical Literary Careers and Their Reception
The second, presuming a progress (egressus) from woods, which is to say uncultivated nature, to arua, lands tamed by the plough, heralds the emerging from one imaginative sphere into another. As we dwell on the poetry of instruction, an element of compulsion appropriately enters the language that describes its creator (coegi) and of greed, that of his human pupil (auido). Finally, horrentia anticipates the weapons, bristling and inspiring dread, that are a metonymy for the Aeneid. The two passages complement each other:Â€pascua, nourisher of animals and setting for singers, finds a counterpart in auena and in siluis, the milieu for song and those who ponder its ‘woodland Muse’, rura in the more specific arua, and duces in the instruments of a warrior’s force.
But is John Hollander, in his recent splendid lectures on shade, entirely on the mark when he states that ‘the umbrae into which Turnus descends with a moan of indignation … are of another stuff entirely’ from Tityrus’ nocturnal shadows (Hollander unpublished)? Virgil has already educated us into the understanding that any attempt to measure the richness of his work depends on the reader’s cyclic meditation of his three masterpieces en groupe. If we leave Tityrus’ umbrae with only the sense in which the lucky shepherd would find them, as evidence for the passing of a day and of a song, then they bear little kinship with Turnus’ vita as it descends into the eternal shadows.
673–4 where we hear of Venus’ plot ‘to seize [the queen] by guile and gird her with flame’ (capere … dolis et cingere flamma). ’ Metaphor is expanded into simile, and Dido replaced by her city, for which she now stands as synecdoche, in the final instance of the comparison. The queen’s death, and the mourning that ensues, create a scene (669–71): â•…â•…â•… non aliter quam si immissis ruat hostibus omnis â•…â•…â•… Karthago aut antiqua Tyros, flammaeque furentes â•…â•…â•… culmina perque hominum uoluantur perque deorum.