Death and Rebirth in Virgil's Arcadia is an introduction to the Eclogues, based on sound scholarship but also personally felt and addressed to a popular audience. It outlines clearly the literary and historical background of Virgil's early poems, discusses each eclogue in some detail, and offers a new and challenging interpretation of the collection as a whole. The ten eclogues are shown to be a young poet's attempt at self-understanding. Their symmetrical arrangement is a journey inward toward the central experience of death, and a journey back toward rebirth and the writing of larger and greater works.
Death and Rebirth in Virgils Arcadia is an introduction to the Eclogues, based on sound scholarship but also personally felt and addressed to a popular audience. It outlines clearly the literary and historical background of Virgils early poems, discusses each eclogue in some detail, and offers a new and challenging interpretation of the collection as a whole. The ten eclogues are shown to be a young poets attempt at self-understanding. Their symmetrical arrangement is a journey inward toward the central experience of death, and a journey back toward rebirth and the writing of larger and greater works.
This book aims to enhance our appreciation of the modernity of the classical cultures and, conversely, of cinema's debt to ancient Greece and Rome. It explores filmic perspectives on the ancient verbal and visual arts and applies what is often referred to as pre-cinema and what Sergei Eisenstein called cinematism: that paintings, statues, and literature anticipate modern visual technologies. The motion of bodies depicted in static arts and the vividness of epic ecphrases point to modern features of storytelling, while Plato's Cave Allegory and Zeno's Arrow Paradox have been related to film exhibition and projection since the early days of cinema. The book additionally demonstrates the extensive influence of antiquity on an age dominated by moving-image media, as with stagings of Odysseus' arrow shot through twelve axes or depictions of the Golden Fleece. Chapters interpret numerous European and American silent and sound films and some television productions and digital videos.
A decade ago, Michael Bradley published the Canadian bestseller, Holy Grail Across the Atlantic (Hounslow Press, 1988), presenting the astounding evidence that a European settlement in Canada had been established in Nova Scotia ninety-four years before Columbus and ninety-nine years before John Cabot. Incredibly, mediaeval documents and maps showed that this settlement had been founded by refugee Knights Templar from Scotland - knights who had been created for the sole purpose of guarding the Holy Grail. Bradley presented evidence that these Grail-believing religious refugees and their knightly protectors had been instrumental in discovering, settling, and influencing the development of New France and, later, the fledgling American Republic. The book was automatically ridiculed by conventional North American historians, while at the same time serving as the model for European works (e.g. The Sword and the Grail by Britain's Andrew Sinclair). Michael Bradley's investigation stimulated some serious professional and academic researchers to join his quest to find further evidence of the Knights Templar in Canada and the United States. Now, in 1998, comes the publication of the long-awaited sequel to Holy Grail Across the Atlantic - Grail Knights of North America. Realizing from mediaeval documents that the initial Nova Scotia refuge of AD 1398 must have harboured many Grail believers, and that the secret colony must have expanded, Bradley began to trace evidence of Grail Knights from Nova Scotia, through New Brunswick to the St. Lawrence River, and on to the Great Lakes as far as Niagara, New York State, and central Pennsylvania. Evidence of their presence has been uncovered on both the Canadian and American sides of this great waterway. Bradley poses compelling questions about his discoveries, and offers plausible and provocative answers as we travel with him and his companions (both academic and amateur) along the trail of the Grail Knights of North America.
Tracing the movement of literary decadence from the writers of the fin de siècle - Oscar Wilde, Aubrey Beardsley, Ernest Dowson, and Lionel Johnson - to the modernist writers of the following generation, this book charts the legacy of decadent Catholicism in the fiction and poetry of British and Irish modernists. Linking the later writers with their literary predecessors, Martin Lockerd examines the shifts in representation of Catholic decadence in the works of W. B. Yeats through Ezra Pound to T.S. Eliot; the adoption and transformation of anti-Catholicism in Irish writers George Moore and James Joyce; the Catholic literary revival as portrayed in Evelyn Waugh's Brideshead Revisited; and the attraction to decadent Catholicism still felt by postmodernist writers D.B.C. Pierre and Alan Hollinghurst. Drawing on new archival research, this study revisits some of the central works of modernist literature and undermines existing myths of modernist newness and secularism to supplant them with a record of spiritual turmoil, metaphysical uncertainty, and a project of cultural subversion that paradoxically relied upon the institutional bulwark of European Christianity. Lockerd explores the aesthetic, sexual, and political implications of the relationship between decadent art and Catholicism as it found a new voice in the works of iconoclastic modernist writers.
Virgil's book of bucolic verse, the Eclogues, defines a green space separate from the outside worlds both of other Roman verse and of the real world of his audience. However, the boundaries between inside and outside are deliberately porous. The bucolic natives are aware of the presence of Rome, and Virgil himself is free to enter their world. Virgil's bucolic space is, in many ways, a poetic replication of the public and private gardens of his Roman audience - enclosed green spaces which afforded the citizen sheltered social and cultural activities, temporary respite from the turbulence of public life, and a tamed landscape in which to play out the tensions between the simple ideal and the complexities of reality. This book examines the Eclogues in terms of the relationship between its contents and its cultural context, making connections between the Eclogues and the representational modes of Roman art, Roman concepts of space and landscape, and Roman gardens.
Though John Dryden once called the Georgics "the best Poem of the best Poet," and Montaigne thought it the most highly finished work in all of poetry, Virgil's song of the earth has never won as many readers as has his Aeneid, and at present it is the subject of more debate among classicists than perhaps any other poem in Latin. Using a Jungian approach, this book draws on the new commentaries in English as well as on the work of the great German Virgilians of the past, and is written in the eloquent, accessible, and personal style for which its author has become known. It outlines clearly the literary and historical background of the poem, discusses the sound of Virgil's hexameters, and treats each of the four georgics in detail, with special emphasis on the concluding myth of Orpheus. The most baffling of all Latin poems is shown in these pages to be Virgil's gift to Augustus, the most powerful man in the world as the salvational leader of the renewed Roman state, telling him what he must know about nature and about human nature if he is to rule the world well.
Beginning in outer space and ending up among the atoms, "Bucolic Ecology" illustrates how these poems repeatedly turn to the natural world in order to define themselves and their place in the literary tradition. It argues that the 'Eclogues' find there both a sequence of analogies for their own poetic processes and a map upon which can be located other landmarks in Greco-Roman literature. Unlike previous studies of this kind, "Bucolic Ecology" does not attribute to Virgil a predominantly Romantic conception of nature and its relationship to poetry, but by adopting such differing approaches to the physical world as astronomy, geography, topography, landscape and ecology, it offers an account of the Eclogues that emphasises their range and complexity and reaffirms their innovation and audacity.
Papers in honour of Carin M. C. Green (1948-2015) are presented under 3 headings: (1) Greek philosophy, history, and historiography; (2) Latin literature, history, and historiography; and (3) Greco-Roman material culture, religion, and literature
This volume, together with its companion on the Eclogues and the previously published volume on the Aeneid, completes the coverage of Vergil's poetry in Oxford Readings in Classical Studies. It collects ten classic papers on the Georgics written between 1970 and 1999 by leading scholars from several different countries. The contributions are representative of recent developments in Vergilian scholarship, with some discussing general issues raised by the work and others treating important individual poems and passages. The editor's Introduction places the essays in their context. A conspectus of contemporary Georgics criticism, the book will be helpful to students who are encountering the poems for the first time - all Latin has been translated - and will also serve as a reference work for more seasoned scholars.
