By Scott McGill
The Virgilian centos count on the avant-garde and destroy identical to a staid, sober, and established 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 supply new poems, have acquired restricted awareness. No different book-length examine exists of all of the 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 glossy. but the texts additionally call for to be taken heavily for what they reveal approximately overdue old literary tradition, Virgil's reception, and a number of other very important subject matters in Latin literature and literary stories usually. As notably intertextual works, the centos are rather precious 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 opting for what constitutes an allusion, and the several features allusion may have. via investigating the centos from those assorted views and asking what they exhibit a few wide variety of weighty matters, this publication comes into discussion with significant themes and reports in Latin literature.
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Additional resources for Virgil Recomposed: The Mythological and Secular Centos in Antiquity (American Classical Studies)
A. 751). It is possible to see a paronomastic anadiplosis here,98 with the resemblance between cepit and caput the reason that the centonist moves as he does between units. The centonists, then, have at their disposal different types of keywords to trigger their memories. In every kind of nota, meaning is always a consideration; the Virgilian line has to conform to the semantic situation of the cento, and so the formal cues simply help the centonists to remember that suitable membrum. Yet the development of an elaborate system of keywords on top of any thematic concerns is an exhilarating facet of the centonists’ ludic performances.
Harum verticularum variis coagmentis simulantur species mille formarum: elephantus belua aut aper bestia, anser volans et mirmillo in armis, subsidens venator et latrans canis, quin et turris et cantharus et alia eiusmodi innumerabilium ﬁgurarum, quae alius alio scientius variegant. sed peritorum concinnatio miraculum est, imperitorum iunctura ridiculum. quo praedicto scies quod ego posteriorem imitatus sum. hoc ergo centonis opusculum ut ille ludus tractatur, pari modo sensus diversi ut congruant, adoptiva quae sunt ut cognata videantur, aliena ne interluceant, arcessita ne vim redarguant, densa ne supra modum protuberent, hiulca ne pateant.
Par. , non tulit Alcides [A. 256] [Herc. et Ant. 8]). Of course, because a Virgilian cento never relates the same narrative as Virgil, the mythological ﬁgures engage in different activities in the patchwork poems from what they do in Virgil, and so acquire different functions and different attributes from what they have in the Virgilian context. Good examples are the phrases superi regnator Olympi (A. 779) in line 7 of the Europa and [stetit] ante Iovem: (G. 125) nam te voluit rex magnus Olympi (A.