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Depiction of Virgil
Depiction of Virgil
BornPublius Vergilius Maro
15 October, 70 BC
Near Mantua, Cisalpine Gaul, Roman Republic (now Province of Mantua, Italy)
Died21 September, 19 BC (age 50)
Brundisium, Italy, Roman Empire (now Brindisi, Italy)
GenreEpic poetry, didactic poetry, pastoral poetry
Literary movementAugustan poetry

Publius Vergilius Maro (Classical Latin[ˈpuːblɪ.ʊs wɛrˈɡɪlɪ.ʊs ˈmaroː]; traditional dates 15 October, 70 BC – 21 September, 19 BC[1]), usually called Virgil or Vergil (/ˈvɜːrɪl/ VUR-jil) in English, was an ancient Roman poet of the Augustan period. He wrote three of the most famous poems in Latin literature: the Eclogues (or Bucolics), the Georgics, and the epic Aeneid. A number of minor poems, collected in the Appendix Vergiliana, are sometimes attributed to him.[2][3]

Virgil is traditionally ranked as one of Rome's greatest poets. His Aeneid has been considered the national epic of ancient Rome since the time of its composition. Modeled after Homer's Iliad and Odyssey, the Aeneid follows the Trojan refugee Aeneas as he struggles to fulfill his destiny and reach Italy, where his descendants Romulus and Remus were to found the city of Rome. Virgil's work has had wide and deep influence on Western literature, most notably Dante's Divine Comedy, in which Virgil appears as Dante's guide through Hell and Purgatory.[4]

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In 19 B.C., the Roman poet Virgil was traveling from Greece to Rome with the emperor Augustus. On the way, he stopped to go sightseeing in Megara, a town in Greece. Out in the sun for too long, he suffered heatstroke and died on his journey back to Italy. On his deathbed, Virgil thought about the manuscript he had been working on for over ten years, an epic poem that he called the "Aeneid." Unsatisfied with the final edit, he asked his friends to burn it, but they refused. and soon after Virgil's death, Augustus ordered it to be published. Why was Augustus so interested in saving Virgil's poem? The Romans had little tradition of writing serious literature and Virgil wanted to create a poem to rival the "Iliad" and "Odyssey" of Ancient Greece. The "Aeneid," a 9,896 line poem, spans twelve separate sections, or books, the first six of which mirror the structure of the "Odyssey" and the last six echo the "Iliad." Also like the Greek epics, The "Aeneid" is written entirely in dactylic hexameter. In this meter, each line has six syllable groups called feet made up of dactyls which go long, short, short, and spondees which go long, long. So the famous opening line in the original Latin starts, "Arma Virvmqve Cano," which can be translated as "I sing of arms and the man," arms, meaning battles and warfare, another "Iliad" reference, and the man being the hero Aeneas. To understand the "Aeneid," it's necessary to examine the unsettled nature of Roman politics in the second half of the 1st century B.C. In 49 B.C., Julius Caesar, Augustus's great uncle, triggered nearly 20 years of civil war when he led his army against the Roman Republic. After introducing a dictatorship, he was assassinated. Only after Augustus's victory over Marc Antony and Cleopatra in 31 B.C. did peace return to Rome and Augustus became the emperor. Virgil aimed to capture this sense of a new era and of the great sacrifices that the Romans had endured. He wanted to give the Romans a fresh sense of their origins, their past, and their potential. By connecting the founding of Rome to the mythological stories that his audience knew so well, Virgil was able to link his hero Aeneas to the character of Augustus. In the epic poem, Aeneas is on a quest to establish a new home for his people. This duty, or pietas as the Romans called it, faces all kinds of obstacles. Aeneas risks destruction in the ruins of Troy, agonizes over love when he meets the beautiful Queen of Carthage, Dido, and in one of the most vivid passages in all of ancient literature, has to pass through the underworld. On top of all that, he must then fight to win a homeland for his people around the future sight of Rome. Virgil presents Aeneas as a sort of model for Augustus, and that's probably one of the reasons the emperor was so eager to save the poem from destruction. But Virgil didn't stop there. In some sections, Aeneas even has visions of Rome's future and of Augustus himself. Virgil presents Augustus as a victor, entering Rome in triumph and shows him expanding the Roman Empire. Perhaps most importantly, he's hailed as only the third Roman leader in 700 years to shut the doors of the Temple of Janus signifying the arrival of permanent peace. But there's a twist. Virgil only read Augustus three selected extracts of the story and that was Augustus's entire exposure to it. Some of the other sections could be seen as critical, if not subtly subversive about the emperor's achievements. Aeneas, again a model for Augustus, struggles with his duty and often seems a reluctant hero. He doesn't always live up to the behavior expected of a good Roman leader. He struggles to balance mercy and justice. By the end, the reader is left wondering about the future of Rome and the new government of Augustus. Perhaps in wanting the story published, Augustus had been fooled by his own desire for self-promotion. As a result, Virgil's story has survived to ask questions about the nature of power and authority ever since.


Life and works

Birth and biographical tradition

Virgil's biographical tradition is thought to depend on a lost biography by Varius, Virgil's editor, which was incorporated into the biography by Suetonius and the commentaries of Servius and Donatus, the two great commentators on Virgil's poetry. Although the commentaries no doubt record much factual information about Virgil, some of their evidence can be shown to rely on inferences made from his poetry and allegorizing; thus, Virgil's biographical tradition remains problematic.[5]

The tradition holds that Virgil was born in the village of Andes, near Mantua[6] in Cisalpine Gaul (added to Italy during his lifetime).[7] Analysis of his name has led to beliefs that he descended from earlier Roman colonists. Modern speculation ultimately is not supported by narrative evidence either from his own writings or his later biographers. Macrobius says that Virgil's father was of a humble background; however, scholars generally believe that Virgil was from an equestrian landowning family which could afford to give him an education. He attended schools in Cremona, Mediolanum, Rome and Naples. After considering briefly a career in rhetoric and law, the young Virgil turned his talents to poetry.[8]

According to Robert Seymour Conway, the only ancient source which reports the actual distance between Andes and Mantua is a surviving fragment from the works of Marcus Valerius Probus. Probus flourished during the reign of Nero (reigned 54–68).[9] Probus reports that Andes was located 30 Roman miles from Mantua. Conway translated this to a distance of about 45 kilometres or 28 English miles.[9]

Relatively little is known about the family of Virgil. His father reportedly belonged to gens Vergilia, and his mother belonged to gens Magia.[9] According to Conway, gens Vergilia is poorly attested in inscriptions from the entire Northern Italy, where Mantua is located. Among thousands of surviving ancient inscriptions from this region, there are only 8 or 9 mentions of individuals called "Vergilius" (masculine) or "Vergilia" (feminine). Out of these mentions, three appear in inscriptions from Verona, and one in an inscription from Calvisano.[9]

Conway theorized that the inscription from Calvisano had to do with a kinswoman of Virgil. Calvisano is located 30 Roman miles from Mantua, and would fit with Probus' description of Andes.[9] The inscription in this case is a votive offering to the Matronae (a group of deities) by a woman called Vergilia, asking the goddesses to deliver from danger another woman, called Munatia. Conway notes that the offering belongs to a common type for this era, where women made requests for deities to preserve the lives of female loved ones who were pregnant and were about to give birth. In most cases, the woman making the request was the mother of a woman who was pregnant or otherwise in danger. Though there is another inscription from Calvisano, where a woman asks the deities to preserve the life of her sister.[9] Munatia, the woman who Vergilia wished to protect, was likely a close relative of Vergilia or Vergilia's daughter. The name "Munatia" indicates that this woman was a member of gens Munatia, and makes it likely that Vergilia married into this family.[9]

Early works

According to the commentators, Virgil received his first education when he was five years old and he later went to Cremona, Milan, and finally Rome to study rhetoric, medicine, and astronomy, which he soon abandoned for philosophy. From Virgil's admiring references to the neoteric writers Pollio and Cinna, it has been inferred that he was, for a time, associated with Catullus' neoteric circle. According to Servius, schoolmates considered Virgil extremely shy and reserved, and he was nicknamed "Parthenias" or "maiden" because of his social aloofness. Virgil also seems to have suffered bad health throughout his life and in some ways lived the life of an invalid. According to the Catalepton, he began to write poetry while in the Epicurean school of Siro the Epicurean at Naples. A group of small works attributed to the youthful Virgil by the commentators survive collected under the title Appendix Vergiliana, but are largely considered spurious by scholars. One, the Catalepton, consists of fourteen short poems,[10] some of which may be Virgil's, and another, a short narrative poem titled the Culex ("The Gnat"), was attributed to Virgil as early as the 1st century AD.

The Eclogues

Page from the beginning of the Eclogues in the 5th-century Vergilius Romanus
Page from the beginning of the Eclogues in the 5th-century Vergilius Romanus

The biographical tradition asserts that Virgil began the hexameter Eclogues (or Bucolics) in 42 BC and it is thought that the collection was published around 39–38 BC, although this is controversial.[10] The Eclogues (from the Greek for "selections") are a group of ten poems roughly modeled on the bucolic hexameter poetry ("pastoral poetry") of the Hellenistic poet Theocritus. After his victory in the Battle of Philippi in 42 BC, fought against the army led by the assassins of Julius Caesar, Octavian tried to pay off his veterans with land expropriated from towns in northern Italy, supposedly including, according to the tradition, an estate near Mantua belonging to Virgil. The loss of his family farm and the attempt through poetic petitions to regain his property have traditionally been seen as Virgil's motives in the composition of the Eclogues. This is now thought to be an unsupported inference from interpretations of the Eclogues. In Eclogues 1 and 9, Virgil indeed dramatizes the contrasting feelings caused by the brutality of the land expropriations through pastoral idiom, but offers no indisputable evidence of the supposed biographic incident. While some readers have identified the poet himself with various characters and their vicissitudes, whether gratitude by an old rustic to a new god (Ecl. 1), frustrated love by a rustic singer for a distant boy (his master's pet, Ecl. 2), or a master singer's claim to have composed several eclogues (Ecl. 5), modern scholars largely reject such efforts to garner biographical details from works of fiction, preferring to interpret an author's characters and themes as illustrations of contemporary life and thought. The ten Eclogues present traditional pastoral themes with a fresh perspective. Eclogues 1 and 9 address the land confiscations and their effects on the Italian countryside. 2 and 3 are pastoral and erotic, discussing both homosexual love (Ecl. 2) and attraction toward people of any gender (Ecl. 3). Eclogue 4, addressed to Asinius Pollio, the so-called "Messianic Eclogue" uses the imagery of the golden age in connection with the birth of a child (who the child was meant to be has been subject to debate). 5 and 8 describe the myth of Daphnis in a song contest, 6, the cosmic and mythological song of Silenus; 7, a heated poetic contest, and 10 the sufferings of the contemporary elegiac poet Cornelius Gallus. Virgil is credited[by whom?] in the Eclogues with establishing Arcadia as a poetic ideal that still resonates in Western literature and visual arts and setting the stage for the development of Latin pastoral by Calpurnius Siculus, Nemesianus, and later writers.

The Georgics

Sometime after the publication of the Eclogues (probably before 37 BC),[11] Virgil became part of the circle of Maecenas, Octavian's capable agent d'affaires who sought to counter sympathy for Antony among the leading families by rallying Roman literary figures to Octavian's side. Virgil came to know many of the other leading literary figures of the time, including Horace, in whose poetry he is often mentioned,[12] and Varius Rufus, who later helped finish the Aeneid.

Late 17th-century illustration of a passage from the Georgics by Jerzy Siemiginowski-Eleuter
Late 17th-century illustration of a passage from the Georgics by Jerzy Siemiginowski-Eleuter

At Maecenas' insistence (according to the tradition) Virgil spent the ensuing years (perhaps 37–29 BC) on the long didactic hexameter poem called the Georgics (from Greek, "On Working the Earth") which he dedicated to Maecenas. The ostensible theme of the Georgics is instruction in the methods of running a farm. In handling this theme, Virgil follows in the didactic ("how to") tradition of the Greek poet Hesiod's Works and Days and several works of the later Hellenistic poets. The four books of the Georgics focus respectively on raising crops and trees (1 and 2), livestock and horses (3), and beekeeping and the qualities of bees (4). Well-known passages include the beloved Laus Italiae of Book 2, the prologue description of the temple in Book 3, and the description of the plague at the end of Book 3. Book 4 concludes with a long mythological narrative, in the form of an epyllion which describes vividly the discovery of beekeeping by Aristaeus and the story of Orpheus' journey to the underworld. Ancient scholars, such as Servius, conjectured that the Aristaeus episode replaced, at the emperor's request, a long section in praise of Virgil's friend, the poet Gallus, who was disgraced by Augustus, and who committed suicide in 26 BC.

The Georgics' tone wavers between optimism and pessimism, sparking critical debate on the poet's intentions,[13] but the work lays the foundations for later didactic poetry. Virgil and Maecenas are said to have taken turns reading the Georgics to Octavian upon his return from defeating Antony and Cleopatra at the Battle of Actium in 31 BC.

The Aeneid

A 1st-century terracotta expressing the pietas of Aeneas, who carries his aged father and leads his young son
A 1st-century terracotta expressing the pietas of Aeneas, who carries his aged father and leads his young son

The Aeneid is widely considered Virgil's finest work and one of the most important poems in the history of Western literature. Virgil worked on the Aeneid during the last eleven years of his life (29–19 BC), commissioned, according to Propertius, by Augustus.[14] The epic poem consists of 12 books in dactylic hexameter verse which describe the journey of Aeneas, a warrior fleeing the sack of Troy, to Italy, his battle with the Italian prince Turnus, and the foundation of a city from which Rome would emerge. The Aeneid's first six books describe the journey of Aeneas from Troy to Rome. Virgil made use of several models in the composition of his epic;[11] Homer, the preeminent author of classical epic, is everywhere present, but Virgil also makes special use of the Latin poet Ennius and the Hellenistic poet Apollonius of Rhodes among the various other writers to which he alludes. Although the Aeneid casts itself firmly into the epic mode, it often seeks to expand the genre by including elements of other genres such as tragedy and aetiological poetry. Ancient commentators noted that Virgil seems to divide the Aeneid into two sections based on the poetry of Homer; the first six books were viewed as employing the Odyssey as a model while the last six were connected to the Iliad.[15]

Book 1[16] (at the head of the Odyssean section) opens with a storm which Juno, Aeneas' enemy throughout the poem, stirs up against the fleet. The storm drives the hero to the coast of Carthage, which historically was Rome's deadliest foe. The queen, Dido, welcomes the ancestor of the Romans, and under the influence of the gods falls deeply in love with him. At a banquet in Book 2, Aeneas tells the story of the sack of Troy, the death of his wife, and his escape, to the enthralled Carthaginians, while in Book 3 he recounts to them his wanderings over the Mediterranean in search of a suitable new home. Jupiter in Book 4 recalls the lingering Aeneas to his duty to found a new city, and he slips away from Carthage, leaving Dido to commit suicide, cursing Aeneas and calling down revenge in a symbolic anticipation of the fierce wars between Carthage and Rome. In Book 5, funeral games are celebrated for Aeneas' father Anchises, who had died a year before. On reaching Cumae, in Italy in Book 6, Aeneas consults the Cumaean Sibyl, who conducts him through the Underworld where Aeneas meets the dead Anchises who reveals Rome's destiny to his son.

Book 7 (beginning the Iliadic half) opens with an address to the muse and recounts Aeneas' arrival in Italy and betrothal to Lavinia, daughter of King Latinus. Lavinia had already been promised to Turnus, the king of the Rutulians, who is roused to war by the Fury Allecto, and Amata Lavinia's mother. In Book 8, Aeneas allies with King Evander, who occupies the future site of Rome, and is given new armor and a shield depicting Roman history. Book 9 records an assault by Nisus and Euryalus on the Rutulians, Book 10, the death of Evander's young son Pallas, and 11 the death of the Volscian warrior princess Camilla and the decision to settle the war with a duel between Aeneas and Turnus. The Aeneid ends in Book 12 with the taking of Latinus' city, the death of Amata, and Aeneas' defeat and killing of Turnus, whose pleas for mercy are spurned. The final book ends with the image of Turnus' soul lamenting as it flees to the underworld.

Reception of the Aeneid

Virgil Reading the Aeneid to Augustus, Octavia, and Livia by Jean-Baptiste Wicar, Art Institute of Chicago
Virgil Reading the Aeneid to Augustus, Octavia, and Livia by Jean-Baptiste Wicar, Art Institute of Chicago

Critics of the Aeneid focus on a variety of issues.[17] The tone of the poem as a whole is a particular matter of debate; some see the poem as ultimately pessimistic and politically subversive to the Augustan regime, while others view it as a celebration of the new imperial dynasty. Virgil makes use of the symbolism of the Augustan regime, and some scholars see strong associations between Augustus and Aeneas, the one as founder and the other as re-founder of Rome. A strong teleology, or drive towards a climax, has been detected in the poem. The Aeneid is full of prophecies about the future of Rome, the deeds of Augustus, his ancestors, and famous Romans, and the Carthaginian Wars; the shield of Aeneas even depicts Augustus' victory at Actium against Mark Antony and Cleopatra VII in 31 BC. A further focus of study is the character of Aeneas. As the protagonist of the poem, Aeneas seems to waver constantly between his emotions and commitment to his prophetic duty to found Rome; critics note the breakdown of Aeneas' emotional control in the last sections of the poem where the "pious" and "righteous" Aeneas mercilessly slaughters Turnus.

The Aeneid appears to have been a great success. Virgil is said to have recited Books 2, 4, and 6 to Augustus;[11] and Book 6 apparently caused Augustus' sister Octavia to faint. Although the truth of this claim is subject to scholarly scepticism, it has served as a basis for later art, such as Jean-Baptiste Wicar's Virgil Reading the Aeneid.

Unfortunately, some lines of the poem were left unfinished, and the whole was unedited, at Virgil's death in 19 BC.

Virgil's death and editing of the Aeneid

According to the tradition, Virgil traveled to Greece in about 19 BC to revise the Aeneid. After meeting Augustus in Athens and deciding to return home, Virgil caught a fever while visiting a town near Megara. After crossing to Italy by ship, weakened with disease, Virgil died in Brundisium harbor on September 21, 19 BC. Augustus ordered Virgil's literary executors, Lucius Varius Rufus and Plotius Tucca, to disregard Virgil's own wish that the poem be burned, instead ordering it published with as few editorial changes as possible.[18] As a result, the text of the Aeneid that exists may contain faults which Virgil was planning to correct before publication. However, the only obvious imperfections are a few lines of verse that are metrically unfinished (i.e. not a complete line of dactylic hexameter). Some scholars have argued that Virgil deliberately left these metrically incomplete lines for dramatic effect.[19] Other alleged imperfections are subject to scholarly debate.

Later views and reception

In antiquity

A 3rd-century Tunisian mosaic of Virgil seated between Clio and Melpomene (from Hadrumetum [Sousse])
A 3rd-century Tunisian mosaic of Virgil seated between Clio and Melpomene (from Hadrumetum [Sousse])

The works of Virgil almost from the moment of their publication revolutionized Latin poetry. The Eclogues, Georgics, and above all the Aeneid became standard texts in school curricula with which all educated Romans were familiar. Poets following Virgil often refer intertextually to his works to generate meaning in their own poetry. The Augustan poet Ovid parodies the opening lines of the Aeneid in Amores 1.1.1–2, and his summary of the Aeneas story in Book 14 of the Metamorphoses, the so-called "mini-Aeneid", has been viewed as a particularly important example of post-Virgilian response to the epic genre. Lucan's epic, the Bellum Civile has been considered an anti-Virgilian epic, disposing with the divine mechanism, treating historical events, and diverging drastically from Virgilian epic practice. The Flavian poet Statius in his 12-book epic Thebaid engages closely with the poetry of Virgil; in his epilogue he advises his poem not to "rival the divine Aeneid, but follow afar and ever venerate its footsteps."[20] In Silius Italicus, Virgil finds one of his most ardent admirers. With almost every line of his epic Punica Silius references Virgil. Indeed, Silius is known to have bought Virgil's tomb and worshipped the poet.[21] Partially as a result of his so-called "Messianic" Fourth Eclogue – widely interpreted later to have predicted the birth of Jesus Christ – Virgil was in later antiquity imputed to have the magical abilities of a seer; the Sortes Vergilianae, the process of using Virgil's poetry as a tool of divination, is found in the time of Hadrian, and continued into the Middle Ages. In a similar vein Macrobius in the Saturnalia credits the work of Virgil as the embodiment of human knowledge and experience, mirroring the Greek conception of Homer.[11] Virgil also found commentators in antiquity. Servius, a commentator of the 4th century AD, based his work on the commentary of Donatus. Servius' commentary provides us with a great deal of information about Virgil's life, sources, and references; however, many modern scholars find the variable quality of his work and the often simplistic interpretations frustrating.

Late antiquity and Middle Ages

A 5th-century portrait of Virgil from the Vergilius Romanus
A 5th-century portrait of Virgil from the Vergilius Romanus

Even as the Western Roman empire collapsed, literate men acknowledged that Virgil was a master poet. Gregory of Tours read Virgil, whom he quotes in several places, along with some other Latin poets, though he cautions that "we ought not to relate their lying fables, lest we fall under sentence of eternal death."[22]

Dante made Virgil his guide in Hell and the greater part of Purgatory in The Divine Comedy.[23] Dante also mentions Virgil in De vulgari eloquentia, along with Ovid, Lucan and Statius, as one of the four regulati poetae (ii, vi, 7).

The best-known surviving manuscripts of Virgil's works include the Vergilius Augusteus, the Vergilius Vaticanus and the Vergilius Romanus.


Virgil in His Basket, Lucas van Leyden, 1525
Virgil in His Basket, Lucas van Leyden, 1525

The legend of "Virgil in his basket" arose in the Middle Ages, and is often seen in art and mentioned in literature as part of the Power of Women literary topos, demonstrating the disruptive force of female attractiveness on men. In this story Virgil became enamoured of a beautiful woman, sometimes described as the emperor's daughter or mistress and called Lucretia. She played him along and agreed to an assignation at her house, which he was to sneak into at night by climbing into a large basket let down from a window. When he did so he was hoisted only halfway up the wall and then left trapped there into the next day, exposed to public ridicule. The story paralleled that of Phyllis riding Aristotle. Among other artists depicting the scene, Lucas van Leyden made a woodcut and later an engraving.[24]

In the Middle Ages, Virgil's reputation was such that it inspired legends associating him with magic and prophecy. From at least the 3rd century, Christian thinkers interpreted Eclogues 4, which describes the birth of a boy ushering in a golden age, as a prediction of Jesus' birth. In consequence, Virgil came to be seen on a similar level to the Hebrew prophets of the Bible as one who had heralded Christianity.[25] Relatedly, The Jewish Encyclopedia argues that medieval legends about the golem may have been inspired by Virgilian legends about the poet's apocryphal power to bring inanimate objects to life.[26]

Possibly as early as the second century AD, Virgil's works were seen as having magical properties and were used for divination. In what became known as the Sortes Vergilianae (Virgilian Lots), passages would be selected at random and interpreted to answer questions.[27] In the 12th century, starting around Naples but eventually spreading widely throughout Europe, a tradition developed in which Virgil was regarded as a great magician. Legends about Virgil and his magical powers remained popular for over two hundred years, arguably becoming as prominent as his writings themselves.[28] Virgil's legacy in medieval Wales was such that the Welsh version of his name, Fferyllt or Pheryllt, became a generic term for magic-worker, and survives in the modern Welsh word for pharmacist, fferyllydd.[29]

Virgil's tomb

The structure known as "Virgil's tomb" is found at the entrance of an ancient Roman tunnel (also known as "grotta vecchia") in Piedigrotta, a district 3 kilometres (2 mi) from the centre of Naples, near the Mergellina harbor, on the road heading north along the coast to Pozzuoli. While Virgil was already the object of literary admiration and veneration before his death, in the Middle Ages his name became associated with miraculous powers, and for a couple of centuries his tomb was the destination of pilgrimages and veneration.[30]


By the fourth or fifth century AD the original spelling Vergilius had been corrupted to Virgilius, and then the latter spelling spread to the modern European languages.[31] The error persisted even though, as early as the 15th century, the classical scholar Poliziano had shown Vergilius to be the original spelling.[32] Today, the anglicisations Vergil and Virgil are both acceptable.[33]

There is some speculation that the spelling Virgilius might have arisen due to a pun, since virg- carries an echo of the Latin word for "wand", uirga, Vergil being particularly associated with magic in the Middle Ages. There is also a possibility that virg- is meant to evoke the Latin uirgo, "virgin"; this would be a reference to the fourth Eclogue, which has a history of Christian, and specifically Messianic, interpretations.[34]


  1. ^ Jones, Peter (2011). Reading Virgil: Aeneid I and II. Cambridge University Press. pp. 1, 4. ISBN 978-0521768665. Retrieved 23 November 2016.
  2. ^ Bunson, Matthew (2014). Encyclopedia of the Roman Empire. Infobase Publishing. p. 584. ISBN 978-1438110271. Retrieved 23 November 2016.
  3. ^ Roberts, John (2007). The Oxford Dictionary of the Classical World. Oxford University Press. ISBN 978-0192801463. Retrieved 23 November 2016.
  4. ^ Ruud, Jay (2008). Critical Companion to Dante. Infobase Publishing. p. 376. ISBN 978-1438108414. Retrieved 23 November 2016.
  5. ^ Don Fowler "Virgil (Publius Vergilius Maro)" in The Oxford Classical Dictionary, (3.ed. 1996, Oxford), p. 1602
  6. ^ The epitaph on his tomb in Posilipo near Naples was Mantua me genuit; Calabri rapuere; tenet nunc Parthenope. Cecini pascua, rura, duces ("Mantua gave birth to me, the Calabrians took me, now Naples holds me; I sang of pastures [the Eclogues], country [the Georgics] and leaders [the Aeneid]").
  7. ^ "Map of Cisalpine Gaul". Archived from the original on 2008-05-28.
  8. ^ "Archived copy". Archived from the original on 2017-02-16. Retrieved 2016-12-05.CS1 maint: archived copy as title (link)
  9. ^ a b c d e f g Conway (1967), pp. 14–41
  10. ^ a b Fowler, p. 1602
  11. ^ a b c d Fowler, p. 1603
  12. ^ Horace, Satires 1.5, 1.6, and Odes 1.3
  13. ^ Fowler, p. 1605
  14. ^ Avery, W.T. (1957). "Augustus and the "Aeneid"". The Classical Journal. 52 (5): 225–229.
  15. ^ Jenkyns, p. 53
  16. ^ For a succinct summary, see Archived 2009-12-18 at the Wayback Machine
  17. ^ For a bibliography and summary see Fowler, pp. 1605–1606
  18. ^ Sellar, William Young; Glover, Terrot Reaveley (1911). "Virgil". Encyclopædia Britannica. 28 (11th ed.). New York : Encyclopaedia Britannica. p. 112. Retrieved 2012-06-07.
  19. ^ Miller, F.J. (1909). "Evidences of Incompleteness in the "Aeneid" of Vergil". The Classical Journal. 4 (11th ed.). pp. 341–355. JSTOR 3287376.
  20. ^ Theb.12.816–817
  21. ^ Pliny Ep. 3.7.8
  22. ^ Gregory of Tours 1916, p. xiii.
  23. ^ Alighieri, Dante (2003). The Divine Comedy (The Inferno, The Purgatorio, and The Paradiso). New York: Berkley. ISBN 978-0451208637.
  24. ^ Snyder, James. Northern Renaissance Art, 1985, Harry N. Abrams, ISBN 0136235964, pp. 461–462
  25. ^ Ziolkowski, Jan M.; Putnam, Michael C. J. (2008). The Virgilian Tradition: The First Fifteen Hundred Years. Yale University Press. pp. xxxiv–xxxv. ISBN 978-0300108224. Retrieved November 11, 2013.
  26. ^
     Singer, Isidore; et al., eds. (1901–1906). "Golem". The Jewish Encyclopedia. New York: Funk & Wagnalls.
  27. ^ Ziolkowski & Putnam, pp. xxxiv, 829–830.
  28. ^ Ziolkowski & Putnam, p. xxxiv.
  29. ^ Ziolkowski & Putnem, pp. 101–102.
  30. ^ Chambers, Robert (1832). The Book of Days. London: W and R Chambers. p. 366.
  31. ^ Comparetti, Domenico (1997). Vergil in the Middle Ages. Princeton University Press. ISBN 978-0691026787. Retrieved 23 November 2016.
  32. ^ Wilson-Okamura, David Scott (2010). Virgil in the Renaissance. Cambridge University Press. ISBN 978-0521198127. Retrieved 23 November 2016.
  33. ^ Winkler, Anthony C.; McCuen-Metherell, Jo Ray (2011). Writing the Research Paper: A Handbook. Cengage Learning. p. 278. ISBN 978-1133169024. Retrieved 23 November 2016.
  34. ^ For more discussion on the spelling of Virgil's name, see Flickinger, R. C., "Vergil or Virgil?", The Classical Journal 25.9 (1930), pp.658–60.


The article above was originally sourced from Nupedia and is open content.

Further reading

  • Anderson, W.S., and L.N. Quartarone. Approaches to Teaching Vergil's Aeneid. New York: Modern Language Association of America, 2002.
  • Buckham, Philip Wentworth; Spence, Joseph; Holdsworth, Edward; Warburton, William; Jortin, John. Miscellanea Virgiliana: In Scriptis Maxime Eruditorum Virorum Varie Dispersa, in Unum Fasciculum Collecta. Cambridge: Printed for W.P. Grant, 1825.
  • Conway, R.S. (1915). The Youth of Vergil: A Lecture Delivered in the John Rylands Library on 9 December, 1914. s.n.
  • Farrell, J., and Michael C.J. Putnam, eds. A Companion to Vergil's Aeneid and Its Tradition. Blackwell Companions to the Ancient World. Literature and Culture. Chichester/Malden, MA: Wiley-Blackwell, 2010.
  • Farrell, J. "The Vergilian Century". Vergilius (1959–), vol. 47, 2001, pp. 11–28.
  • Farrell, J. Vergil's Georgics and the Traditions of Ancient Epic: The Art of Allusion in Literary History. New York: Oxford University Press, 1991.
  • Fletcher, K.F.B. Finding Italy: Travel, Nation and Colonization in Vergil's 'Aeneid'. Ann Arbor: University of Michigan Press, 2014.
  • Gregory of Tours (1916). The History of the Franks. Translated by Ernest Brehaut. New York: Columbia University Press. OCLC 560532077.
  • Hardie, Philip R., ed. Virgil: Critical Assessments of Ancient Authors. 4 vols. New York: Routledge, 1999.
  • Henkel, J. "Vergil Talks Technique: Metapoetic Arboriculture in 'Georgics' 2." Vergilius (1959–), vol. 60, 2014, pp. 33–66.
  • Horsfall, N. The Epic Distilled: Studies in the Composition of the Aeneid. Oxford and New York: Oxford University Press, 2016.
  • Mack, S. Patterns of Time in Vergil. Hamden: Archon Books, 1978.
  • Panoussi, V. Greek Tragedy in Vergil's "Aeneid": Ritual, Empire, and Intertext. Cambridge and New York: Cambridge University Press, 2009.
  • Quinn, S., ed. Why Vergil? A Collection of Interpretations. Wauconda: Bolchazy-Carducci, 2000.
  • Rossi, A. Contexts of War: Manipulation of Genre in Virgilian Battle Narrative. Ann Arbor: University of Michigan Press, 2004.
  • Sondrup, Steven P. (2009). "Virgil: From Farms to Empire: Kierkegaard's Understanding of a Roman Poet" in Kierkegaard and the Roman World, ed. Jon Bartley Stewart. Farnham: Ashgate.
  • Syed, Y. Vergil's Aeneid and the Roman Self: Subject and Nation in Literary Discourse. Ann Arbor: University of Michigan Press, 2005.
  • Syson, A. Fama and Fiction in Vergil's Aeneid. Columbus: Ohio State University Press, 2013.

External links

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