Many thanks to Neven for Nicholas Modrussiensiensis; but if I may expand
on my own dissertation, where I had occasion to comment on 'facetiis' at
Gellius 2. 23. 3 'ita Graecarum, quas aemulari nequiuerunt, facetiis
atque luminibus obsolescunt' [i.e. Roman comedies are not a patch on the
Greek origi
In message <[EMAIL PROTECTED]>, Clare
Studwell <[EMAIL PROTECTED]> writes
>I brought up this question about a week ago about the ekphrasis in Book VI
>(lines 20-36) of Vergil's Aeneid. Unfortunately I received NO responses. If
>you have any opinion on the role of this ekphrasis on the temple do
Daedalus is like Aeneas: they have both crossed the seas to get to Cumae and
suffered loss on the way.
Daedalus is like Vergil: they both depict 'error' and pity 'magnum reginae
amorem'.
The doors at the start of book 6 are related to the gates at the end.
There is a new book by Michael Punam calle
Date: Sun, 7 Mar 1999 16:34:42 -0500 (EST)
From: "James M. Pfundstein" <[EMAIL PROTECTED]>
If you want to know what you're in for before you join, there are
archives of the CLASSICS-L list (along with some others) at
http://omega.cohums.ohio-state.edu:8080/hyper-lists/
Maria Pantelia's awesome s
Aeneid 6.413 "ingentem Aenean" prompted Austin to write: "Virgil smiles at
the thought of the big solid man taken on board the flimsy craft, a most
unghostly passenger."
I remember also finding a good deal of amusement in the funeral games of
Book 5, which I read in Dryden's translation.
Simon Ca
This was a joke that had already been made in Aristophanes' Frogs with
reference to Heracles crossing the Styx on Charon's boat.
More humour in Vergil "invitus, regina, tuo de litore cessi" (Bk 6)
reference to Catullus' Lock of Berenice "invitus, regina, tuo de cervice
cessi", a singularly inco
The two similarities (Daedalus-Aeneas/Daedalus-Virgil) are linked by the
lines 'ipse ratem nocturnis rexit in undis' (of Aeneas, V 868) and 'ipse
dolos tecti ambagesque resolvit, caeca regens filo vestigia' (of Daedalus,
VI, 29). The hero and the artist/poet 'take personal charge' in
situations of
I've also been struck by this passage but never been able to come to a
suitable explanation. Looking at the passage again, the language reminds me
of Georgics IV "labor...et inextricabilis error" (quite a curious phrasing)
"magnum reginae sed enim miseratus amorem"; Daedalus in the labyrinth is
On Mon, 8 Mar 1999, Leofranc Holford-Strevens wrote (in part):
>
> To the English reader _facetus_ is a 'faux ami': it implied not
> schoolboyishness but polished elegance; not always even humour; cf.
> Quintilian 6.3.20: "Facetum quoque non tantum citca ridicula opinor
> consistere; neque enim d
Daedalus = Virgil?
Both are cunning creators, manipulators of their respective materials with
the purpose of causing unusual effects. Both are practitioners of the art
of techne. Virgil must have enjoyed making the comparison with himself
--
> From: Adrian Pay <[EMAIL PROTECTED]>
> To: '[
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In message <[EMAIL PROTECTED]>,
James M. Pfundstein <[EMAIL PROTECTED]> writes
>On Mon, 8 Mar 1999, Leofranc Holford-Strevens wrote (in part):
>
>>
>> To the English reader _facetus_ is a 'faux ami': it implied not
>> schoolboyishness but polished elegance; not always even humour; cf.
>> Quintilia
>More humour in Vergil "invitus, regina, tuo de litore cessi" (Bk 6)
>reference to Catullus' Lock of Berenice "invitus, regina, tuo de cervice
>cessi", a singularly incongruous intertextualism at a singularly inapposite
>moment.
I have always thought "invitus, regina" to be as bad as W. S. Gilbert
>
>And while we're at it, does anyone have any views on the 64 million dollar
>question i.e. the golden bough and the ivory gates? I remember being quite
>taken with West's article where the golden bough reflected the "aureos
>ramos" of Plato's poetry in Meleager's garland. In that context, it's
>
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