Date: Fri, 16 Oct 1998 20:37:14 -0400
From: john dwyer <[EMAIL PROTECTED]>
Eco's _The Name of the Rose_?
John Dwyer
. . .
>was seldom if ever a matter of book-burning campaigns; simple neglect of
>texts that held little relevance to medieval Christendom was the main
>factor. Just to underscore
>
>Does one want a faithful reproduction of the Latin, almost a 'key'? -
>which acts as a kind of decoding of the original? Or does one say, OK,
>I'm not a Latinist; if I were I'd read the poem in the original; and
what
>I need is something that works as a *poem*, that makes me feel and
>under
>For the benefit of novices in ancient & medieval studies, I would add
only
>that the medieval Christian church had no need to feel threatened by
>Greco-Roman paganism, which was no longer a serious rival to Christian
>belief;
Hmmm...thats not how I understood it. So if the early Church did not
Purple was a sign of regal individuals. It also indicated excess. For
example: Aeneas is covered in purple material when indulging himself with
Dido: Bk4.
At 20:57 15/10/98 -0400, you wrote:
>
>Hi
>Just finnished the Aeneid and had a quewstion about the meaning of purple
>in the book. I know fr
Hi Carole!
As I recall, the main claim raised in your initial
post was inaccuracies in West's _Aeneid_ translation.
Along with Prof. Nadeau, I would also like to ask
for specific cites of mistranslation...
Thanx!
Bob White
Robert T. White
Shaker Heights HS/ Shaker Heights OH
[EMAIL PROTECTED] (new
Well, 'pungency' depends a bit on one's own sense of smell; but I think
Latinless readers are never _unaware of the existence_ of Latin, even if
they don't know much of its grammar or vocabulary. A translator such as
Dryden who strategically reanimates a dead Latin etymology is doing
something impo
In a message dated 10-17-1998 5:54:32 AM Eastern Daylight Time,
[EMAIL PROTECTED] writes:
> Purple was a sign of regal individuals. It also indicated excess. For
> example: Aeneas is covered in purple material when indulging himself with
> Dido: Bk4.
>
Purple dye was expensive.
pat sloane
At 04:58 PM 10/17/98 +0100, Colin Burrow wrote:
>David's problem with the end-stopping of the couplets is one that many
>share. I think the epigrammatic nature of the couplet, though, is often
>over-stated: it is a matter of recalibrating our ears a little to hear that
>shifts in the position of ca
One reason why rhymed couplets are particularly well suited to an English
translation of Vergil, I think, is that they convey something of the rigid
formality of the Latin hexameter in a way that blank verse cannot. For
consider: the hexameter excludes any word containing the sequence
long-short-
