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By Scott McGill
The Virgilian centos count on the avant-garde and ruin clone of a staid, sober, and founded classical international. This ebook examines the twelve mythological and secular Virgilian centos that live to tell the tale from antiquity. The centos, during which authors take non-consecutive traces or segments of traces from the Eclogues, Georgics, and Aeneid and reconnect them to provide new poems, have obtained restricted realization. No different book-length learn exists of the entire centos, which date from ca. two hundred to ca. 530.
The centos are literary video games, and so they have a playful surprise worth that feels very sleek. but the texts additionally call for to be taken heavily for what they expose approximately overdue old literary tradition, Virgil's reception, and several other very important subject matters in Latin literature and literary reports commonly. As substantially intertextual works, the centos are rather helpful websites for pursuing inquiry into allusion. Scrutinizing the peculiarities of the texts' allusive engagements with Virgil calls for rationalization of the jobs of the writer and the reader in allusion, the standards for identifying what constitutes an allusion, and the several features allusion could have. by way of investigating the centos from those diverse views and asking what they exhibit a couple of wide selection of weighty topics, this ebook comes into discussion with significant subject matters and stories in Latin literature.
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Virgil Recomposed: The Mythological and Secular Centos in Antiquity (American Classical Studies)
The Virgilian centos expect the avant-garde and spoil a twin of a staid, sober, and founded classical global. This publication examines the twelve mythological and secular Virgilian centos that live to tell the tale from antiquity. The centos, during which authors take non-consecutive strains or segments of traces from the Eclogues, Georgics, and Aeneid and reconnect them to provide new poems, have obtained restricted recognition.
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38, Quint; Inst. Orat. , Sat. 85 Another effect of overt keywords is to provide the centos with linguistic variatio, again without producing a rhetorical figure. The cues in question often appear in patterns that conform to common types of repetition in Latin poetry. 86 Line 53 of Ausonius’s Cento Nuptialis provides an example: extulit os sacrum caelo: (A. 591) sic ora ferebat (A. 490). 87 Other examples include lines 3–4 of the Narcissus (insigni laude ferebat [ A. 625] / insignis facie [A. 583]), lines 29–30 of the Alcesta (vastoque sub antro [A.
A. 365) Here the second miserere amplifies the effect of the first, making the pathetic strains of Admetus’s plea that much greater. The use of an overt keyword to convey pathos brings the cento in line with ancient literary theory, which said that repetition could have an emotional force (see Rhet. ad Her. 38, Quint; Inst. Orat. , Sat. 85 Another effect of overt keywords is to provide the centos with linguistic variatio, again without producing a rhetorical figure. The cues in question often appear in patterns that conform to common types of repetition in Latin poetry.
77 A more abstruse and impressive mnemonic device enabling centonists to locate discrete Virgilian units is the keyword. 80 Keywords can join units that are themselves thematically related, and so can work in conjunction with thematic agreement between a cento and Virgil. An example occurs in lines 17–18 of Luxurius’s Epithalamium Fridi: mediisque parant convivia tectis. (A. 638) / fit strepitus tectis vocemque per ampla volutant (A. 725). Not only are the Virgilian units thematically connected to each other (both appear in the feast scene at Dido’s palace) but the situation in the cento, which depicts the cena nuptialis, is close to the original context of the Aeneid.