Vergil


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Ver·gil

 (vûr′jəl)
See Virgil.

Vergil

(ˈvɜːdʒɪl)
n
(Biography) a variant spelling of Virgil

Vir•gil

(ˈvɜr dʒəl)

n.
(Publius Vergilius Maro) 70–19 B.C., Roman poet: author of The Aeneid.
Vir•gil•i•an (vərˈdʒɪl i ən, -ˈdʒɪl yən) adj.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.Vergil - a Roman poetVergil - a Roman poet; author of the epic poem `Aeneid' (70-19 BC)
Translations

Vergil

[ˈvɜːdʒɪl] NVirgilio

Vergil

nVirgil m, → Vergil m
References in classic literature ?
Only the rare and exceptional genius of Vergil and Milton could use the Homeric medium without loss of individuality: and this quality none of the later epic poets seem to have possessed.
Vergil and Cicero were regarded no longer as mysterious prophets from a dimly imagined past, but as real men of flesh and blood, speaking out of experiences remote in time from the present but no less humanly real.
Another book I have which I call 'The Supplement to Polydore Vergil,' which treats of the invention of things, and is a work of great erudition and research, for I establish and elucidate elegantly some things of great importance which Polydore omitted to mention.
I do not, however, share the opinion that Dante's reading of Ovid (and Vergil and Lucan) is "remarkably unaffected by the allegorizing tradition of the medieval schools" (21).
Yet Anima is not just about the undoubted skills of the two performers but the superb settings including atmospheric lighting by Phil Saunders, and an eerie score from Vergil Sharkya.
Die Studie bestatigt den Verdacht, dass die Gegenuberstellung von Vergil und Homer oder von Vergil und Theokrit, uberhaupt die Konfrontation von Romern und Griechen als ein binarer Code funktionierte, der Nachahmung und Originalitat, Geschichte und Natur kennzeichnete und einschlagige Wertungsakzente setzte.
On behalf of a friend who is studying the use of Vergil in Russian culture, I wrote with a question to Ilya Kutik, the author of a large body of poetry in Russian and of two books of essays in English, one of the founders (together with Alexei Parsh-chikov and Ivan Zhdanov) of the Russian poetic movement called by critics "Meta-realism.
In fact, on the day we interviewed Vergil Chames for this story, the conversation was nearly cut short by rocket fire in the city.
Addison's first Latin poem, a pastoral, appeared in 1689 in an Oxfordanthology celebrating the accession to the throne of William and Mary, and here Haan provides a valuable insight by discussing the other pastoral poems that appear in this Oxford commemorative volume, before demonstrating that, while Addison's verses are permeated by allusions to Vergil, he is not a mere imitator; he also infuses imaginative qualities of his own into his poetry.
Yet his critics tend disturbingly to interpret his novels, especially Die Schlafwandler and Der Tod des Vergil, as the quasi-allegorical expression of an independent set of concepts, and, by claiming that he anticipated postmodernism, to relate him to our time rather than his own.
Since then, academic industry has largely occupied itself with producing further evidence that Vergil comes to praise and stays to subvert.