In a recent contribution to this journal, D. Kovacs addresses the following passage from the fourth Eclogue :o mihi tum longae maneat pars ultima uitae,spiritus et quantum sat erit tua dicere facta!Kovacs takes it for granted that the meaning of l. 54 should correspond to the Loeb translation, ‘and inspiration enough to hymn your deeds!’. Starting from this assumption, he rejects the reading spiritus, arguing that a genitive is required ; the possible solution he suggests is pectoris, used metaphorically in (...) the sense of ‘poetical ability’. That seems a clever conjecture, restoring excellent style. Nevertheless, we have to assume that spiritus replaced pectoris as a gloss, but I cannot see any reason why somebody would have wanted to explain obscurum per obscurius: other words would have been far more appropriate. On the other hand, Virgil most likely chose the word spiritus, whose basic meaning is not ‘inspiration’ but ‘breath’, in order to amplify line 53. (shrink)

Virgil's fourth Eclogue is one of the most quoted, adapted and discussed works of classical literature. This study traces the fortunes of Eclogue 4 in the literature and art of the Italian Renaissance. It sheds new light on some of the most canonical works of Western art and literature, as well as introducing a large number of other, lesser-known items, some of which have not appeared in print since their original publication, while others are extant only in manuscript. Individual chapters (...) are devoted to the uses made of the fourth Eclogue in the political panegyric of Medici Florence, the Venetian Republic and the Renaissance papacy, and to religious appropriations of the Virgilian text in the genres of epic and pastoral poetry. The book also investigates the appearance of quotations from the poem in fifteenth- and sixteenth-century fresco cycles representing the prophetic Sibyls in Italian churches. (shrink)

Journal Name: Philologus Issue: Ahead of print.

In Virgil's seventh Eclogue, Meliboeus relates a singing contest that Corydon and Thyrsis undertook. Upon beginning their songs, Corydon invokes the Libethrian nymphs, and Thyrsis invokes ‘Arcadian shepherds’. Scholars have previously interpreted Thyrsis’ Arcadian shepherds as people, but here I suggest that they should be interpreted as divinities. In support of this assertion, I rely on the expectations of the capping style, Virgil's description of the setting and the characters present, an epigram by Erucius, the Greek and Roman literary tradition (...) that developed especially in relation to gods associated with Arcadia, and Thyrsis’ quatrains, which can be profitably interpreted if we assume that Arcadian gods have heard Thyrsis' prayer and are now inspiring his song. (shrink)

Two herdsmen meet and bicker; bargain over a stake; duel in balladeering; and ballot their umpire for a final decision. The first half of their poem dramatizes the process of challenge and defiance from which the bout materializes; the result is a draw. Critics attempt what none of its three herdsmen try out loud, namely to solve the pair of riddles with which the song-contest ends, before the judge pronounces the result. Solutions range between putative attribution to the bucolic minds (...) of the riddlers, and ascription to their creator, the intellectual, urban, bookish, Hellenizing poetaster, who here, in any event, dares a touch of rustic needling that he precisely did not find in his studies in Theocritea, which include no riddles. Solution has generally seemed the self-evident challenge to scholar-readers. (shrink)

John Conington was a towering figure in Victorian scholarship, not least because of his remarkably sensitive and literate commentaries on Virgil’s _Aeneid. _The three-volume cloth edition of _The Works of Virgil_, begun by Conington in 1852, has been unavailable for over a century, except in rare second-hand sets. Now, for the first time, the whole of Conington’s work is being reissued in a set of six paperback volumes. Each volume includes a new introduction by an established scholar, setting Conington's commentary (...) in context, as well as a general introduction to Conington’s work by Philip Hardie, who offers a fresh appreciation of the work. (shrink)

Journal Name: Philologus Issue: Ahead of print.

This article offers a new perspective on the poetic concerns of the Eclogues by looking at goats as the programmatic poetic symbol of the collection. It shows how Virgil has adapted a new poetic identity for the goats of his pastoral world from the bucolic landscape of Theocritus’ Idylls by borrowing and transforming the established poetic identity of a different animal, the bee. In particular, it traces the significance and intricacies of etymological play and markers to deepen our understanding (...) of the relationship Virgil creates between his work and that of Theocritus, and shows how this shift in poetic identity from bees to goats establishes a Virgilian conception of Roman pastoral. It gives especial consideration to Idyll 10 as a source text of inspiration for the Eclogues, with an eye to rehabilitating the importance of this poem to Virgil’s bucolic collection. (shrink)

‘But tell us, Tityrus, who is that god?’. This is what the herdsman Meliboeus asks in Virgil's first Eclogue in response to Tityrus' assertion that a certain deity granted him the leisure to sing and to pasture his herd. In posing this question, the herdsman raises the issue of this god's identity also for us, Virgil's readers. We are invited to ponder ‘Who is that deus?’ The question lingers, hanging over the text for the next twenty-three verses, without answer. For (...) despite Meliboeus' blunt and plainspoken query, which demands a concrete response, Tityrus—on finally returning to the question qui sit—pointedly names no names. Rather, he leaves his divinity anonymous. We learn only that the god is a iuuenis, whom Tityrus saw at Rome, and who answered the herdsman's entreaty. In honour of this deity, Tityrus' altars smoke with sacrifice every month of the year. As the poem takes the form of a dramatic dialogue without narrative frame, no authoritative voice intervenes to offer further guidance as to the god's identity. Thus we continue to wonder as to the identity of this divine iuuenis. The question remains open, an incitement to readerly conjecture. (shrink)

John Conington (1825–69) was a towering figure in Victorian scholarship, not least because of his remarkably sensitive and literate commentaries on Virgil's Aeneid. The three-volume cloth edition of The Works of Virgil, begun by Conington in 1852, has been unavailable for over a century, except in rare second-hand sets. Now, for the first time, the whole of Conington's work is being reissued in a set of six paperback volumes. Each volume includes a new introduction by an established scholar, setting Conington's (...) commentary in context, as well as a general introduction to Conington's work by Philip Hardie, who offers a fresh appreciation of the work.. (shrink)

The identification of Daphnis with Julius Caesar, supported in most detail by Servius of the ancient commentators, has in general been either casually accepted or arbitrarily rejected by modern criticism without serious effort to ascertain how far the probabilities point one way or the other.

The first eclogue opens with an exposition, put in the mouth of Meliboeus : Tityre, tu patulae recubans sub tegmine fagisiluestrem tenui Musam meditaris auena;nos patriae finis et dulcia linquimus arua.nos patriam fugimus; tu, Tityre, lentus in umbraformosam resonare doces Amaryllida siluas. These five lines receive two and a half pages in Coleman's commentary, five in Clausen's, six in the recent commentary by Cucchiarelli, and eighteen in Paraskeviotis's unpublished thesis on the Eclogues’ sources. Yet on the central line and (...) a half, in which Meliboeus speaks about himself rather than Tityrus, only Cucchiarelli spends more than half a page. For lines 1–2 and 4b–5, focussed on Tityrus, numerous intertexts have been suggested: Theocritus 1.1–3 and 7.88–9, Lucretius 4.589 and 5.1398, Meleager, AP 7.196.2, Callimachus, Aetia fr. 73 Pfeiffer, to list the most important ones. No allusion seems to have been detected in 3–4a. (shrink)

Two herdsmen meet and bicker; bargain over a stake; duel in balladeering; and ballot their umpire for a final decision. The first half of their poem dramatizes the process of challenge and defiance from which the bout materializes; the result is a draw. Critics attempt what none of its three herdsmen try out loud, namely to solve the pair of riddles with which the song-contest ends, before the judge pronounces the result. Solutions range between putative attribution to the bucolic minds (...) of the riddlers, and ascription to their creator, the intellectual, urban, bookish, Hellenizing poetaster, who here, in any event, dares a touch of rustic needling that he precisely did not find in his studies in Theocritea, which include no riddles. Solution has generally seemed the self-evident challenge to scholar-readers. (shrink)