Auorum Spes Et Purpurei Flores: The Eulogy for Marcellus in Aeneid VI

Brenk, Frederick E.

doi:10.2307/294604

Cited by 7 publications

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“…Marrone and Nicolini 2010, 172. See, for example, Burke 1979Brenk 1986;Leach 1999, 125-7;Molyviati 2011;Pandey 2014;Kondratieff 2014;Freudenberg 2017, 120-4. For this "gloomy final note," see Burke 1979, 228n36; for its relation to the overall themes of the Aeneid, see, for example, Reed 2001Reed , 2007 For Anchises as a prophet, and as such unusually allowing a follow-up question that reveals the fragility of the Augustan family, see O'Hara 1990, 169.…”

Section: Discussionmentioning

confidence: 99%

Maternal Conceptions in Classical Literature and Philosophy

Sharrock¹,

Keith²

2020

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Introduction 3 alison keith, mairéad mcauley, and alison sharrock 2 Uncanny Mothers in Roman Literature 26 mairéad mcauley Section 1: Mothers and Young Children 47 3 From Body to Behaviour: Maternal Transmission in the Ancient Greek World 49 florence gherchanoc 4 Νωδυνία: L'Oubli des Souffrances Maternelles et le Chant Théocritéen: d'Alcmène (Id. 24) à Bérénice (Id. 17) 63 florence klein 5 "Nimis … mater": Mother Plot and Epic Deviation in the Achilleid 80 federica bessone 6 Augustan Maternal Ideology: The Blended Families of Octavia and Venus 113 judith p. hallett Section 2: Mothers and Their Children's Marriages 127 7 Motherhood in Roman Epithalamia 129 henriette harich-schwarzbauer vi Contents 8 The Roman Mother-In-Law 140 alison sharrock Section 3: Mothers and Their Adult Children 167 9 Maximum Thebis (Romae?) scelus / maternus amor est (Oed. 629-30): Amour de la Mère et Inceste chez Sénèque 169 jacqueline fabre-serris 10 Mighty Mothers: Female Political Theorists in Euripides' Suppliant Women and Phoenician Women 193 giulia sissa 11 Wife, Mother, Philosopher: On the Symbolic Function of Augustine's Monnica 224 therese fuhrer Section 4: Mothers and the Death of Their Children 241 12 Virgilian Matres: From Maternal Lament to Female Sedition in the Aeneid 243 alison keith 13 Octavia: A Roman Mother in Mourning 270 valerie hope 14 Mothers as Dedicators 296 olympia bobou Abbreviations 321 Works Cited 323 Contributors 361 Index Locorum 363 General Index 373 MATERNAL CONCEPTIONS IN CLASSICAL LITERATURE AND PHILOSOPHY This page intentionally left blank 10 Contents 10 Alison Keith, Mairéad McAuley, and Alison Sharrockout our anxiety, giving that zone of anguish a name: femininity, nonlanguage, body. But the name we give it before all others, the one we really hold answerable for it, is the mother." 20 The "mother" here stands for both the notion of a coherent self and testimony to its inherent instability, as demonstrated by the inevitable inadequacy or "falling short" of language as communication and signification.Kristeva is redescribing here, in psychoanalytic terms, a philosophical problem with the mother that has troubled modern feminist theory since its origins in the early twentieth century. What does motherhood mean -or rather, what is motherhood's relationship to meaning, particularly as it is defined by "patriarchal discourses" of the self, such as philosophy and literature? At the beginning of The Second Sex, her foundational work of feminist theory, Simone de Beauvoir sketched out the metaphorical meanings of the mother figure in Western culture:The Woman-Mother has a face of shadows: she is the chaos whence all have come and whither all must one day return; she is Nothingness. In the Night are confused together the multiple aspects of the world which daylight reveals: night of spirit confined in the generality and opacity of matter, night of sleep and of nothingness. In the deeps of the sea it is night: woman is the Mare tenebrarum, dreaded by navigators of old; it is night in the entrails of the earth....

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Section: Discussionmentioning

confidence: 99%

Maternal Conceptions in Classical Literature and Philosophy

Sharrock¹,

Keith²

2020

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“…A.2. 33 On the vision of Marcellus, see Brenk;Reed, 2001;Reed, 2007, 148-72. story that reimagines an Aeneas finding his Anchises among the dead and, in the process, praising him for teaching him the arts of song (the section ends, echoing Virgil, with the image of the gates of horn and ivory). 34 In late antiquity, Fulgentius would present Virgil as a cranky schoolmaster, using book 6 to bully the recalcitrant student into attentiveness.…”

Section: Aeneid 6 As a Book Of And For Sonsmentioning

confidence: 99%

Milton's “Ad Patrem” and the Poetics of Virgilian Sons

Lerer

2022

Renaiss. Q.

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This article relocates John Milton's Latin poem to his father (“Ad Patrem”) in the contexts of the young Milton's literary self-fashioning and the changing patterns of early modern Virgil reception. Here and in his prose epistles, Milton establishes the persona of a scholarly, questing filial figure, grounded in a reading of book 6 of the “Aeneid” and its drama of fathers and sons. He makes a case for poetry and scholarship as shared practices. This article reflects on a new archival turn in Milton studies and, in turn, how Milton himself invites the reader to become a questing scholar.

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“…It has stimulated much scholarly discussion about its meaning and sources of inspiration: philosophical, literary, cultural and visual.6 For instance, Norden saw the Heldenschau as an imitation of Homer's teichoscopia , the catalogue of Achaean heroes.7 In 1965, Skard argued that Vergil modeled the Heldenschau on aristocratic funeral processions (based on eschatological elements in Aeneid 6 and a reference to the funeral of Marcellus at 6.860-885).8 Some scholars have elaborated on Skard's thesis, arguing that the Heldenschau reflects the Roman practice of having actors represent noble ancestors at aristocratic funerals by wearing their imagines (ancestor masks) and magisterial robes;9 others have noted that Anchises' praise of certain heroes evokes eulogies extolling ancestral achievements delivered at Roman funeral assemblies.10 Meanwhile, visual and thematic elements that do not fit the funereal model are often passed over; reinterpreted as a clever inversion of the aristocratic funeral;11 or used as evidence for otherwise unattested developments in aristocratic funerary practice in the later Republic.12 Meanwhile, others have focused on the visual sources from which Vergil drew inspiration for his heroes' descriptions, such as works of art on public display and numismatic designs.13 6 On aspects of the Heldenschau see: Delaruelle 1913;Hurlbut 1920;Camps 1959;Williams 1964;Otis 1964 297-312;Skard 1965;Highet 1972, passim;Harrison 1978;Burke 1979;Austin 1986, esp. 202-278;Bacon 1986;Brenk 1986;Feeney 1986;Novara 1987;Grebe 1989;Habinek 1989;Hardie 1990;Bettini 1991;Goold 1992;Braund 1997;Flower 1997 109-114;Zetzel 1997;Bartsch 1998;Glei 1998;Lefèvre 1998;Leach 1999 125-129;Ahl 2007 372-382;Geiger 2008, esp. 50-51;O'Sullivan 2011 74-76;Molyviati 2011;Kondratieff 2012;…”

Section: Part I: Rome In the Underworldmentioning

confidence: 99%

Future City in the Heroic Past: Rome, Romans, and Roman Landscapes in Aeneid 6–8

Kondratieff¹

2015

Urban Dreams and Realities in Antiquity

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Arma virumque canō? "Arms and the Man I sing …"1 So Vergil begins his epic tale of Aeneas, who overcomes tremendous obstacles to find and establish a new home for his wandering band of Trojan refugees. Were it metrically possible, Vergil could have begun with "Cities and the Man I sing," for Aeneas' quest for a new home involves encounters with cities of all types: ancient and new, great and small, real and unreal. These include Dido's Carthaginian boomtown (1.419-494), Helenus' humble neo-Troy (3.349-353) and Latinus' lofty citadel (7.149-192).2 Of course, central to his quest is the destiny of Rome, whose future greatness-empire without limit (1.277-278)-Jupiter prophesies to Venus as recompense for the destruction of her beloved Troy, but whose foundation ultimately depends on Aeneas' success at establishing a foothold in Italy (1.257-296). Although Rome's (notional/traditional) foundation will occur several centuries after Aeneas's final victory, Vergil has his hero interact with the future city in several ways, including two well-known passages. In the first (8.95-369) he tours Evander's Pallanteum, the physical site of future Rome, taking delight in his surroundings and learning local lore (8.310-312, 359), yet he fails to perceive that this

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Auorum Spes Et Purpurei Flores: The Eulogy for Marcellus in Aeneid VI

Cited by 7 publications

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Maternal Conceptions in Classical Literature and Philosophy

Maternal Conceptions in Classical Literature and Philosophy

Milton's “Ad Patrem” and the Poetics of Virgilian Sons

Future City in the Heroic Past: Rome, Romans, and Roman Landscapes in Aeneid 6–8

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