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By Philip Hardie, Helen Moore

It is a wide-ranging selection of essays on historic Roman literary careers and their reception in later ecu literature, with contributions through 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 to be at substitute and counter-models in antiquity: Propertius, Juvenal, Cicero and Pliny. various post-antique responses to the traditional styles are then tested, from Dante to Wordsworth, and together with Petrarch, Shakespeare, Milton, Marvell, Dryden, and Goethe. those chapters pose the query of the ongoing relevance of old profession versions as principles of authorship swap over the centuries, resulting in various engagements and disengagements with classical literary careers. There also are chapters on alternative ways of concluding or extending a literary profession: bookburning and figurative metempsychosis.

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Extra resources for Classical Literary Careers and Their Reception

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Chronologically the next city with which Aeneas is involved is Carthage. Here his role in the city’s metamorphosis is more subtle, combining aspects that are both active and passive. 418–40), gazing at houses, gates, streets. The inhabitants are at work on a citadel, harbour, theatre and a temple for Juno. On its steps Dido dispenses rights and laws. 86–9): non coeptae adsurgunt turres, non arma iuuentus exercet portusue aut propugnacula bello tuta parant:€pendent opera interrupta minaeque murorum ingentes aequataque machina caelo.

92:€extemplo Aeneas soluuntur Â�frigore membra. ’ As the first line in which Aeneas is named, the hexameter endures in the 11 On rhyme as a standard signpost of conclusion, and closure, see B. H. Smith 1968:€44–5. 720. At the end of the Aeneid, the iterations of prosody replace the literal rituals, with description of ceremony mimicked in the formality of a poem’s completion, which the conclusions of the Iliad and the Odyssey lead us to expect from Virgil’s own finale. Virgil’s final paradox is to have the patterned shaping of words bring order to Aeneas’ summary violence.

We also learn that Aeneas in fact reciprocates Dido’s feeling. But the force of the narration puts more emphasis on the effect than on the cause, on the wound rather than on its perpetrator. Both aspects are present in the powerful simile, but spatial distance between hunter and prey serves to suggest ethical differentiation as well. The doe is incauta, with a lack of guard that suggests irresponsibility. The hunter purposefully causes the hurt€– he is driving the animal with his arrows€– but remains ignorant that the shaft has struck home and that the wound is mortal.

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