At the very instant, at the first sound of his voice, to carry on the Virgilian
metaphor, D'Artagnan's recruits, recognizing each his sovereign lord, discontinued their plank-fighting and trestle blows.
Among their topics are the story of you: second-person narrative and the narratology of the Georgics, the Georgics in the context of Orphic poetry and religion, puppy fiction: Virgilian
reception and genre in Columella De Re Rustica 10, and women and Earth: female responses to the Georgics in the 20th and 21st centuries.
Figure 12 indicates that the hydraulic head data fall into two groups: the Wolfcampian, Virgilian
, and Missourian profiles form one group with higher head values and higher gradients, and the Mississippian and Cambrian-Ordovician-Silurian profiles form a second group with lower head values and lower gradients.
model (1) of the Aeneid which Dante privileged in the Convivio no longer appears plausible.
The first chapter, on Dido, Queen of Carthage, argues that Marlowe "presents the world as an indeterminate and ambiguous place which is resistant to reductive, unifying projects" (37), focusing on the moral ambiguity of Marlowe's Aeneas (his indecisiveness and lack of chivalry) and his failure to live up to Virgilian
mottos adorn the Great Seal of the United States, including one 13-letter phrase from the Aeneid, "Annuit Coeptis," which translates as "[Providence] favors our undertakings." (The other is "Novus Ordo Seclorum"--a new order of the ages--from Virgil's Eclogues.) As a symbol of their own divine favor, the American Founders invoked the blessings of the pagan gods who helped Trojan Aeneas build Rome.
In particular, Stapleton challenges Patrick Cheneys view in Marlowe's Counterfeit Profession: Ovid, Spenser, Counter-Nationhood (University of Toronto Press, 1997) that Marlowe sought a professional career path based on Ovid's progression from love poetry to tragedy to epic, in deliberate contrast to Spenser's Virgilian
Syphilis, an epyllion written in Virgilian
dactylic hexameter and dedicated to Cardinal Pietro Bembo, was a 16th-century best-seller: by 1935 there were over a hundred editions, including 15 in Italian and seven in English.
Ellen Finkelpearl (1990, 1999) is referenced in the subsequent chapters for her studies on the Virgilian
allusions (both specific and thematic) throughout the narrative and for the descent to the Underworld as a significant mise en scene.
1606-7), as well as his more explicitly Virgilian
drama The Tempest (1611).
Identities in the French Renaissance, Gallica, 27.