By Charles Martindale
This ground-breaking and authoritative quantity is an quintessential reference booklet to accompany the research of Virgil. it's a multi-authored consultant geared toward scholars and somebody with an curiosity in nice literature and the classical background. The chapters comprise crucial details whereas additionally providing clean and unique insights into the poems and their writer. Emphasis is given to the responses to Virgil over the centuries, rather via different artistic artists.
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Additional resources for The Cambridge Companion to Virgil
Other kinds of twentiethcentury exile have turned to Aeneas for comfort as well. C. H. Sisson's Aeneid (1986) is steeped in a post-Eliotean conviction that Culture has departed from the West: his prefatory remark that 'Everyone should know something of the Aeneid. Until recently, everybody did' (p. vii) creates an ambience of cultural loss which flavours his entire version. 'Pater Aeneas' is 'our ancestor' for Sisson, reminding his readers - sometimes with a prod 35 Cambridge Companions Online © Cambridge University Press, 2006 COLIN BURROW - that for him, as for T.
Cambridge Companions Online © Cambridge University Press, 2006 CHARLES MARTINDALE Kafka). Most obviously it recalls Hermann Broch's novel constructed around this event, a novel which is regarded by George Steiner as one of the supreme masterpieces of literary Modernism and which Fiona Cox here relates to some major strands in twentieth-century accounts of Virgil. And it also raises the question of whether Virgil is still living for us today, or whether he is a species of dead classic, still a potent name perhaps but not widely influential.
In Singleton's hands Virgil becomes a text which compels schoolboys to evacuate themselves of identity, and, in the name of purity, to turn themselves into little Romans. Singleton - another Irish-born Englisher of Virgil, who wrote a primer of the Irish language - marks his own additions and the grammatical necessities of the English language in square brackets; but the authorised language of classical translation, laced with phrases from Shakespeare and Milton, thickly adorns his version. By 1800 Virgil is so associated with poetical self-denial and with efforts to Latinise English that few poets with a sense of their own mastery would attempt him.