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Relevant bibliographies by topics / Virgil Bucolica

Academic literature on the topic 'Virgil Bucolica'

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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Journal articles on the topic "Virgil Bucolica"

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Pataki, Elvira. "Vergilius Provence-ban: Marcel Pagnol Bucolica-fordítása II." Antikvitás & Reneszánsz, no. 4 (December 1, 2019): 169–87. http://dx.doi.org/10.14232/antikren.2019.4.169-187.

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In the long history of French translations of Vergilian Eclogues, the work of M. Pagnol (1895–1974) has a special place. The novelist, playwright and filmmaker (the first one of them elected to Académie Française) published his version of pastoral poems in 1958, two years after the highly artistic edition of P. Valéry. In a sociocultural approach, Pagnol’s translation is usually considered as a sophisticated tool of marketing used to remodel the image of the author. The popular and rich star of French theatre and cinema is not really accepted neither by academic literature nor by the movements of literary radicalism because of his regional features and his cheap sentimentalism. By translating Virgil in a quasi-academic way, by editing a text with a preface, commentary and notes, Pagnol would highlight his erudition and postulate a place for himself among the Classics. Nevertheless, his very funny and personal way to interpret Virgil, his cultural commentaries, and his ethical remarks based on the norms of modern urban society make the Latin poet accessible for a very wide audience. The current paper focuses on the aesthetic features of his work. Being born in Provence, passionate of the Mediterranean landscape and highly influenced by classical mythology, Pagnol appears to emphasize the Latin origins of his homeland, the cultural and ethnical continuity between the Antiquity and the 20th century, with a strong apparent wish to revive thousand-year-old traditions.

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Gagliardi, Paola. "Hesperus nelle Bucoliche di Virgilio." Myrtia 35 (November 12, 2020): 249–73. http://dx.doi.org/10.6018/myrtia.454911.

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The treatment of the τόπος of morning and evening, or “East / West τόπος” (Eous and Hesperus ) in the Augustan poets, borrowed from Cinna fr. 10 Hollis (= fr. 6 Morel) and variously developed, seems to suggest that it had been treated in an original way by Cornelius Gallus. The analysis of Hesperus in Virgil’s Bucolics seems to confirm this impression, since the term always appears in contexts related to Gallus. Il trattamento del τόπος del mattino e della sera, ovvero dell’oriente e dell’occidente, (Eous ed Hesperus ) nei poeti augustei, mutuato da Cinna fr. 10 Hollis (= fr. 6 Morel) e variamente sviluppato, sembra suggerire che esso fosse stato trattato in modo originale da Cornelio Gallo. L’analisi di Hesperus nelle Bucoliche virgiliane sembra confermare questa impressione, giacché il termine compare sempre in contesti riconducibili a Gallo.

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Mottram, Brett. "Nugae on the Block: Maffeo Vegio (1407–1458), Virgil, and the Early Quattrocento Polemic over Light Verse." Journal of Medieval and Early Modern Studies 52, no. 2 (May 1, 2022): 313–34. http://dx.doi.org/10.1215/10829636-9687900.

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Studies on the Renaissance reception of Virgil as an epic, georgic, and bucolic poet typically overshadow Virgil’s reception as an author of light, ludic verse. In 1428, Maffeo Vegio (1407–1458) wrote his Supplementum to Virgil’s Aeneid, an earnest attempt to complete the revered ancient epic. A decade later, however, Vegio was alluding to Virgil’s poetry irreverently in distichs and epigrams, regarding Virgil’s example as justification for poetic frivolity. The vogue for such poetic trifles sparked controversy between Vegio and his literary associates over poetic decorum and the moral limits of poetry. This article situates Vegio’s short poems within this literary-historical context, showing how the reception of Virgil intersected with a fierce polemic over the status and legitimacy of light verse. It sheds new light not only on Vegio’s poetics of Virgilian allusion, but also on the role of literary networks in shaping the theory and practice of Renaissance imitation and the construction of poetic identity.

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Gratwick, A. S. "Catullus 1. 10 and the title of his Libellus." Greece and Rome 38, no. 2 (October 1991): 199–202. http://dx.doi.org/10.1017/s0017383500023573.

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It was a natural and well-established usage in antiquity that works of literature might readily be referred to by their opening words. Aristophanes accidentally lends the ‘Παλλάδα περсέέολιν δεινάν …. ’ ‘Pallas the awful city-sacker …’ of a certain Lamprocles or maybe of Stesichorus and the ‘Τηλέπορον τι βόαμα …’, ‘Some far-reaching shriek …’ of one ‘Kydidas’ a pale and partial immortality this way (Nub.967), and in the imaginary world of Theocritus an imaginary poem the ‘τὸν ἐμὸν Λύκον….’ ‘Lycus my lover…’ by an imaginary ‘Larisaean fellow’ is thus evoked (Id. 14.30). Cicero refers to Ennius' Medea as the ‘Vtinam ne in nemore….’ (Fin. 1.5), and we even find him casually referring to an evidently near-definitive draft of his Cato maior de senectute which he had sent to Atticus as the ‘O Tite si quid …’ (Att.16.3.1) and ‘O Tite …’ 9 Att. 16.11.3): here an opening citation of a citation (of Ennius) is identifying the book, clearly doubly unsuitable as an official title; as if for Atticus the publisher and his clerks in the scriptorium this was a normal practice, mechanically applicable regardless of appositeness. In one of the less gloomy passages in Tristia (2.261) Ovid has a girl broaching Lucretius in not quite the right spirit: sumpserit ‘Aeneadum genetrix …’ ubi pritna, requiret Aeneadum genetrix unde sit alma Venus, and further on (2.534) alludes to the Aeneid in the same way: contulit in Tyrios arma uirumque toros; cf. Persius 1.96 ‘arma uirum’, nonne hoc spumosum etcorticepingui utramale uetus uegrandi subere coctum?, Martial 14.185 accipe facundi Culicem, studiose, Maronis, ne nucibus positis arma uirumque legas. Virgil himself had alluded in the closing signature to the Georgics to his own Bucolica with Tityre, tepatulae cecini sub tegmine fagi (G. 4.566); Ovid elaborates on that at Amores 1.15.25 Tityrus etfruges Aeneiaque arma, though without wanting just mechanically to insist specifically on first line allusions; after all, he could have written segetes instead of fruges in recollection of Ge orgies 1.1. Lastly in this little survey, which is merely illustrative, there is the point that it seems to have been standard Alexandrian practice in cataloguing works to refer, e.g., to ‘The Brothers of X of which the first line is …’, ‘The Phoenissae of Y, the first line of which is …’, presumably to resolve potential ambiguities within and between the canons of particular authors.

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Myers, K. Sara. "THE CULEX’S METAPOETIC FUNERARY GARDEN." Classical Quarterly 70, no. 2 (December 2020): 749–55. http://dx.doi.org/10.1017/s0009838821000045.

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The Culex is now widely recognized as a piece of post-Ovidian, possibly Tiberian, pseudo-juvenilia written by an author impersonating the young Virgil, although it was attached to Virgil's name already in the first century c.e., being identified as Virgilian by Statius, Suetonius and Martial. Dedicated to the young Octavian (Octaui in line 1), the poem seems to fill a biographical gap in Virgil's career before his composition of the Eclogues. It is introduced as a ludus, which Irene Peirano suggests may openly refer to ‘the act of impersonating Virgil’, and, like many of the poems in the Appendix Vergiliana, it seems to have a parodic intent. The Culex has been interpreted as a parody of neoteric style and the epyllion, as mock-epic, as Virgil parody (John Henderson called it a ‘spoof Aeneid in bucolic drag’), as pointed Augustan satire, as mock Ovidian ‘Weltgedicht’ and as just very bad poetry (Housman's ‘stutterer’). Glenn Most has observed that the poem's three ‘acts’ structurally recapitulate Virgil's three major works in chronological succession. Little attention, however, has been paid to the Culex's final lines, which contain a catalogue of flowers the pastor places on the gnat's tomb. Recent scholarship has reintroduced an older interpretation of the gnat's tomb as a political allegory of Augustus’ Mausoleum; in this paper I suggest instead that the tomb and its flowers serve a closural and metapoetic function at the end of the poem.

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Sickle, John Van. ""Shepheard Slave": Civil Status & Bucolic Conceit in Virgil, "Eclogue" 2." Quaderni Urbinati di Cultura Classica 27, no. 3 (1987): 127. http://dx.doi.org/10.2307/20546927.

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Gagliardi, Paola. "Ecloga haec paene tota Theocriti est: riflessioni sull´Ecloga VII di Virgilio." Emerita 87, no. 1 (June 12, 2019): 83. http://dx.doi.org/10.3989/emerita.2019.05.1801.

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[it] L’Ecloga VII di Virgilio, giudicata da Servio paene tota Theocriti, è in realtà un componimento ricco di spunti originali, entro il quale Teocrito è citato come termine di confronto: in tal modo il poeta latino può affermare e sottolineare la novità della propria produzione bucolica, debitrice di altri modelli, anche attinti dal panorama culturale contemporaneo.

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Loupiac, Annick. "Summa bucolica, une mise au point sur la composition modulaire des Bucoliques de Virgile." Bulletin de l'Association Guillaume Budé 1, no. 2 (2011): 170–85. http://dx.doi.org/10.3406/bude.2011.6794.

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Tartari Chersoni, Marinella. "Motivi aristofaneschi nelle Bucoliche ‘romane’ di Virgilio?" Giornale Italiano di Filologia 60, no. 1-2 (November 2008): 91–103. http://dx.doi.org/10.1484/j.gif.5.101789.

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Gagliardi, Paola. "Ecl. 10,73–74: Virgilio, Gallo e la crisi della poesia bucolica." Hermes 139, no. 1 (2011): 21–41. http://dx.doi.org/10.25162/hermes-2011-0002.

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Dissertations / Theses on the topic "Virgil Bucolica"

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Rupprecht, Kai. "Cinis omnia fiat : zum poetologischen Verhältnis der pseudo-vergilischen "Dirae" zu den Bucolica Vergils." Göttingen Vandenhoeck & Ruprecht, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015492366&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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Berghoff-Bührer, Margrith. "Das "Bucolicum Carmen" des Petrarca : ein Beitrag zur Wirkungsgeschichte von Vergils Eclogen : Einführung, lateinischer Text, Übersetzung und Kommentar zu den Gedichten 1-5, 8 und 11 /." Bern ; Berlin ; Paris [etc.] : P. Lang, 1991. http://catalogue.bnf.fr/ark:/12148/cb35741696v.

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Diss.--Philosophische Fakultät I--Universität Zürich, 1991.
Contient le texte latin des églogues 1 à 5, 8 et 11 du "Bucolicum Carmen" de Pétrarque et la trad. allemande en regard. Bibliogr. p. 322-326. Notes bibliogr. Index.

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Ribeiro, Márcio Luiz Moitinha. "A poesia pastoril: \"As Bucólicas\" de Vírgilio." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-23082007-124652/.

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Este trabalho desenvolve algumas reflexões sobre o bucolismo de Virgílio e sua originalidade. Discorreremos sobre a origem deste gênero, como também sobre os temas característicos da poesia bucólica que são o cenário bucólico, o amor heterossexual, homossexual e o amor-veneração e os elementos mitológicos. Dividimos o estudo sobre o estilo virgiliano em três partes. Na primeira, mostraremos a presença dos helenismos nas Bucólicas. Na segunda, veremos as estruturas sintáticas que mais aparecem em sua poesia: o paralelismo sintático, o uso do vocativo, o uso do imperativo e a presença de elipses e zeugmas. Num último momento, focalizaremos o ritmo, a musicalidade e as figuras de harmonia, de construção, de repetição e quiasmo, de pensamento e os tropos. As alusões políticas em Virgílio também serão registradas e exemplificadas nesta dissertação. Na conclusão, focalizaremos dois gêneros literários especiais que estão presentes nas Bucólicas - o canto amebeu e o epigrama - gêneros esses que contribuem para acentuar o hibridismo no poema de Virgílio. Outrossim, podemos afirmar que As Bucólicas de Virgílio serviram de paradigma para as literaturas posteriores das civilizações contemporâneas de ascendência greco-latina.
This research introduces some reflections about Virgil\'s bucolic poetry and his originality. Considerations are made about the origins of this genre, as well as about the themes which are recurrent in bucolic poetry, such as bucolic landscape, heterosexual and homosexual love, love-admiration, and mythological elements. We have divided the study of Virgilian style in three parts. In the first part, the presence of Hellenic traits in the work Bucolics is suggested. In the second part, recurrent syntactic structures in his poetry are explored: syntactic parallelism, the use of the vocative, the use of the imperative form, ellipsis and zeugma. Finally, focus is given to rhythm, musicality and figures of harmony, repetition and chiasm, of thinking and tropes. Political allusions in Virgil are also discussed and exemplified in this dissertation. In the conclusion, two special literary genres are introduced, which feature in Bucolics - the amebeu chant and the epigram, which contribute to Virgil\'s poem being a text in which one can notice hybridism, in generic terms. Virgil\'s Bucolics became a paradigmatic work to literature in civilizations of both Greek and Latin ascent.

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Ntanou, Eleni. "Ovid and Virgil's pastoral poetry." Thesis, University of Manchester, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.748040.

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This thesis explores the generic interaction between Virgilian pastoral and Ovidian epic. My primary goal is to bring pastoral, substantially enriched by important critical work thereupon in recent decades, more energetically into the scholarly discussion of the Metamorphoses, whose multifaceted generic interplay is often limited to the study of its interaction with elegy. Secondarily, I hope to show how the Metamorphoses plays a pivotal role in the re-reading of the Eclogues. The fact that both epic and pastoral are written in hexameters facilitates the interaction between the two and enables the Metamorphosesâ repeated short-term transformations into pastoral poetry, which often end abruptly. I will try to show that although the engagement with pastoral occasionally appears to threaten the epic code of the poem, pastoral is ultimately integrated in the Metamorphosesâ generic self-definition as epic and partakes in Ovidâs dynamic recreation of the genre. My primary method is that of intertextuality, resting on the premise that all readings of textual relationships, as the one suggested here, are acts of interpretation. I also explore pastoral in the Metamorphoses intratextually by joining together various pastoral episodes of the Metamorphoses and arguing how similar thematics are replayed and rewritten throughout the poem. The main perspectives from which I examine pastoral in the Ovidian epic are those of fiction and the development of the thematics of the Golden Age. In the first part, I explore instances of song performances in the Metamorphoses, i) musical contests, ii) solo performances and iii) laments, in which I argue that pastoral is extensively at work. I suggest that the Metamorphoses employs pastoralâs overriding generic self-obsession and its tendency to create its own fiction internally, significantly through the means of singing performance and repetition. I argue that the mythopoetic means of pastoral are applied and reworked in the Metamorphoses for the creation of its epic world and heroes. In the second part, I explore the repeated occurrences of the Golden Age theme in the Metamorphoses and suggest that the remarkable engagement with pastoral is employed both to invite a political reading of the Golden Age, as set by Eclogue 4 and its post-Eclogues occurrences, and to recap the introversion of the pastoral enclosure and its seclusion from politics.

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Richer, Jean-Camille. "Théocrite et la création de la pastorale : entre mime et idylle." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1057.

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Dans cette thèse est proposée une définition du genre poétique bien connu qu’est la poésie bucolique. Son point de départ réside dans le double statut qui la caractérise : c’est à la fois un titre (les Bucoliques) et un genre (la poésie bucolique). Le fait de privilégier l’un ou l’autre de ces statuts oriente la définition qui est retenue. Nous avons donc examiné les sources antiques et tenté d’inverser la perspective habituellement retenue : alors que l’on considère souvent que c’est le genre qui a engendré le titre, nous pensons que c’est le titre (Bucoliques) qui a engendré le genre. En d’autres termes, à l’origine, un poème bucolique n’est pas un « poème de bouviers », mais un poème contenu dans un recueil intitulé Βουκολικά. Ce n’est que dans un second temps que le sens du titre originel (Βουκολικά) se serait restreint au genre tel que nous le connaissons aujourd’hui (une « poésie de bouviers », souvent réduite à une « poésie de pâtres ») et qui aurait entraîné, à la fin de l’Antiquité, le remplacement de ce titre par les mots « idylles » et « églogues », qui à l’origine n’avaient aucun rapport avec la poésie bucolique. La définition du poème bucolique que nous proposons est fondée sur la rencontre entre deux personnes et l’interprétation d’un chant, car ce schéma s’observe dans la plupart des poèmes bucoliques, y compris post-théocritéens. Dès lors opère une loi de variation censée varier le genre des chants insérés. Cela créée une hiérarchie entre les genres : le poème bucolique n’est pas un poème de bouviers, mais un poème comportant l’interprétation d’un chant dont le genre est appelé à varier. La notion de « mime » n’est ici étudiée qu’à titre de variante de la bucolicité. En effet, trois poèmes de Théocrite sont ainsi décrits parce qu’ils n’appartiennent ni au monde de la campagne (poèmes bucoliques), ni au monde des héros (epyllia). Nous analysons la manière dont cette catégorie s’est constituée, puis sa pertinence : si elle permet à n’en pas douter de constater des codes communs entre les poèmes de Théocrite et ceux d’Hérondas, elle ne doit pas faire oublier que la différence métrique entre les deux auteurs implique une différence d’esthétique
The aim of this study is a definition of Bucolic poetry. Nowadays it can be analized as a title (Bucolics) or as a poetry genre (bucolic poetry). The choice which is made between these two categories has consequences on the way bucolic poetry is theorised. I try to demonstrate that the genre was invented out of the title : at first, a bucolic poem was no more than a poem included in collection entitled Βουκολικά. At the end of Antiquity this title had been changed into Idylls in the Greek-speaking World and into Eglogues in the Latin-speaking world because the definition has changed. « Bucolicity » is based not on the cowherd, but on a scenario which is repeated from a poem to another : two people meet, a song is sung, and the people leave each other. Any poetic genre could be included in the song which is sung, so I distinguish the bucolic poem from the inserted song which lies inside. I then compare Theocritus to Herodas and Sophron because some bucolic poems are nowadays called « urban mimes ». The name of this categorie is modern, so it shows how new definitions (and new termes) are constantly proposed for poetic genres

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Books on the topic "Virgil Bucolica"

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Cinis omnia fiat: Zum poetologischen Verhältnis der pseudo-vergilischen "Dirae" zu den Bucolica Vergils. Göttingen: Vandenhoeck & Ruprecht, 2007.

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Parthenope: The interplay of ideas in Vergilian bucolic. Leiden: Brill, 2012.

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The design of Virgil's Bucolics. 2nd ed. London: Bristol Classical, 2004.

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Virgil. Le bucoliche di Virgilio. Genova: Università di Genova, Facoltà di lettere, Istituto di filologia classica e medievale, 1985.

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Albrecht, Michael von. Virgilio: Un'introduzione : Bucoliche, Georgiche, Eneide. Milano: Vita e Pensiero, 2012.

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Marchetta, Antonio. Due studi sulle Bucoliche di Virgilio. Roma: GEI, 1994.

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Virgil. Le bucoliche di Virgilio: Commentate e tradotte. [Genova]: Istituto di filologia classica e medievale, 1985.

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Virgil. Le bucoliche di Virgilio: Commentate e tradotte. [Genova]: Istituto di filologia classica e medievale, 1985.

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Lorenzo, Enrico Di. Strutture allitterative nelle ecloghe di Virgilio e nei bucolici latini minori. Napoli: Arte Tipografica, 1988.

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Donatella, Martinelli, Virgil, and Virgil, eds. Bucoliche e Georgiche di Virgilio: Traduzioni edite e inedite. [Milano]: Fondazione Pietro Bembo, 2011.

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Book chapters on the topic "Virgil Bucolica"

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"Bucolica." In Virgil. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350114371.ch-002.

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"Bucolics." In A Companion to the Study of Virgil, 27–61. BRILL, 1995. http://dx.doi.org/10.1163/9789004217591_003.

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Maystrenko, Lyudmila. "THE ORIGINALITY OF THE MYTHOLOGY OF EROS PLATO IN THE POETRY OF VERGILIUS." In Modernization of research area: national prospects and European practices. Publishing House “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-221-0-26.

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Eros is one of the main themes of world literature. The theory of love, dialectically expounded by Plato in The Banquet, had a great influence on all European cultures, especially on morality, fiction, and fine arts. The experience of world literature confirms Plato’s theory, including the poetry of Virgil, his works «Bucolic», «Georgica» and «Aeneid». The purpose of the paper is to identify the characteristic features of the mythology of Eros in the works of Virgil, to clarify the nature of the eternal relevance of Plato’s philosophical discovery of earthly love and heavenly love, his vitality in literary works. Methodology. The choice of methods is determined by the peculiarities of the scientific problems of the topic, the solution of which is based on the selection, systematization, comparison, and textual analysis of the relevant material. The main method of research is comparative-historical with genetic and contact approaches, which are in the direct or indirect dialogue of Virgil with other authors. The psychological method was used to know the inner world of the artist, and his author’s interpretation of the mythology of Eros. Results of the survey. Objectively substantiated results are obtained, structural, thematic, and ideological characteristics of Eros mythology are systematized in their interrelation as a complex phenomenon during a certain period in Virgil’s poetry, and established ideas about the mythopoetic paradigm in ancient literature are developed. Plato’s teachings on Eros, its two stages – lower (Earthly love) and higher (Heavenly love) actualize the works of Virgil: «Bucolics», «Georgics», «Aeneid». Рractical implications and value. The practical significance of the work and its value are determined by the possibility of using it in the course of lectures at higher educational institutions. The same results can be taken into account when writing monographs, textbooks, and manuals, in the development of lectures, courses, and special courses on the history of foreign literature. In the Bucolics, Virgil raises the issue of the harmony of man and nature associated with the beauty of Eros. Virgil’s «Bucolics» testify to the complex inner world of man, to the dissonances of his soul, tired of the big city. Rural themes, full of beauty and love of life with all the colors of the Italian land, with the poet’s favorite evening – the constant motifs of the idyllic world of Virgil, which encourages love. In the Georgics, Virgil considers four themes: love, renunciation, death, and rebirth, developing Plato’s theory of the lower and higher levels of Eros – earthly and heavenly love. Virgil denies earthly love. He focuses on libido sexual – sexual desire as the lower stage of Eros. Virgil condemns not only carnal love but also all passion. The vanity of horses rushing to the finish line is no different from human vanity. An example of renunciation of love and all passion is the bee kingdom in Book IV «Georgik». Dido’s tragic love for Aeneas began with libido. Virgil equates the queen’s love affair with illness, a terrible element, a catastrophe. The spirit of great tragedy hovers throughout the fourth book of the Aeneid. Sympathizing with Dido, Virgil condemns her love for Aeneas as a destructive, destructive force, a mad shawl of love passion. However, the poet does not deny purified, that is, ideal love in the Platonic sense. It begins with love for the native land, for beauty, and reigns in all his works. It is love for nature, which permeates the artistic world of the poet, for native lares and penates, love for parents and paternal and maternal love, a mutual friendship between kindred spirits, and finally – love for all things: trees, celestial bodies, space life. Universal love dominates all the works of Virgil.

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"Panegyric in Virgil’S Bucolics." In Brill's Companion to Greek and Latin Pastoral, 301–32. BRILL, 2006. http://dx.doi.org/10.1163/9789047408536_014.

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Gioseffi, Massimo. "Huc ades! Una nota al lessico di Virgilio." In Antichistica. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-557-5/001.

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Huc ades is an expression Virgil uses four times in the Bucolics, and which is usually claimed to be his own invention, a probable suggestion from hymnodic poetry. Thanks to the information now available in digital libraries, my paper reflects on these claims, proposing some new observations.

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Day, Matthew. "Wynkyn de Worde and the Bucolics." In English Humanism and the Reception of Virgil c. 1400-1550, 70–99. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192871138.003.0004.

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Abstract Chapter 3 provides a comprehensive study of Wynkyn de Worde’s four editions of Virgil’s Eclogues (1512, 1514, 1522, 1529, titled the ‘Bucolics’). Through analysing the contents, production and use of these editions, the chapter demonstrates the enduring influence of medieval pedagogy on the gradual adoption of humanist curricula in England. As the first part of the chapter shows, the commentary in De Worde’s editions was modelled on a genre of medieval pedagogic commentaries, often termed ‘familiar commentaries’. Second, an examination of surviving Sammelbände suggests that late fifteenth- and early sixteenth-century schoolmasters more often taught the Bucolics alongside traditional medieval school texts rather than humanist curricular choices. The third part of the chapter shows how De Worde progressively revised his printing repertoire to accommodate developing humanist attitudes among English readers.

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"Continuity and Change in Greek Bucolic Between Theocritus and Virgil." In Brill's Companion to Greek and Latin Pastoral, 209–34. BRILL, 2006. http://dx.doi.org/10.1163/9789047408536_010.

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Nauta, Ruurd. "Calpurnius Siculus in the Flavian Poets." In Flavian Responses to Nero’s Rome. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463725248_ch08.

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This contribution has two aims. The first is to systematically refute E. Courtney’s argumentation that Calpurnius Siculus imitated the Flavian poets (and Juvenal) rather than the other way around. The second, enabled by the first, is to undertake a first exploration of the reception of Calpurnius by the Flavian poets. It turns out that much revolves around the bucolic genre, which all the poets treat as constituted by both Virgil and Calpurnius. Statius and Silius understandably focus on the relation with epic, whereas Martial is mostly concerned with the poetics of a ‘small’ genre and with the need for patronage. Calpurnius’ Neronian panegyric, however, is scarcely used for panegyric of Domitian, either by Martial or by Statius in the Silvae.

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