Silenus and the Imago Vocis in "Eclogue 6" (original) (raw)

Virgil's Eclogues: An Introduction

Lecture notes on Virgil's pastoral Eclogues (37 BCE). Some attention is paid to the historical context as well as to the literary influence of Virgil's Eclogues on later pastoral authors: Mantuan, Edmund Spenser and John Milton.

Between Text and Music: The Reception of Virgilian Speeches in Early Medieval Manuscripts

Materiali e discussioni per l'analisi dei testi classici, 2004

"The separation of verbal text and musical notation as discrete systems comes more or less as a given today. The only books that many non-musicologists handle with any frequency in which text and notation appear conjoined are hymnals. Indeed, it would surprise, puzzle, or even frustrate many readers, especially those who cannot read music, to open a novel or an epic poem and to find suddenly in the middle that for a few pages the format switched to that of sheet music, with clefs, bars, and notes. Yet however much we take for granted the autonomy of the two forms - bare words for most prose and verse, words and music only when the words are brief instructions to performers (usually in Italian), lyrics, or texts that have been set to music - this outcome was not already predetermined in the early Middle Ages. For three centuries the sort of abrupt transition described a moment ago would not have been infrequent. Through an examination of a selection from the more than two dozen passages of Virgil's poetry that survive with musical notation from the tenth through the twelfth century, this essay offers a reminder of how different the experience of encountering Virgil could have been to the audiences of medieval manuscripts and how complexly musical notation, in the form known as 'neumes', could relate to other types of markers that were being developed to give directions about the delivery and comprehension of poetry."

Accounting for Virgil‘s Third Eclogue: Anecdotage Parsed

2019

Responding to new anecdotage on eclogue three, 1 the present account starts with the eclogue's chronotopology including location by old beeches [1.a], taken to imply an economic system of production and exchange [1.b], that animates drama [2], which beyond the dramatic surface implies an agenda in poetics featuring amant alterna [sc. carmina] Camenae [3]:2 agenda realized with respect to contexts in both literature and culture [3.a], but particularly with respect to the rest of the eclogue book, where in recursive revision, alternos [sc.versus] Musae meminisse uolebant,3 and where.beech symbolizes development-from single broad, to dense green tops, to old and carved, to medium for new writing, but then tops broken, lost, yet beech at last implied to feed swine in Arcadia and get inscribed with loves to close the book [3.b]: all calculated in closely counted increments eclogue by eclogue connumerating also the third-{E. i} 5+5+63(+5)+5: {E. ii} 5+63 (+)5: {E. iii} 63<48>: {E. iiii} 63 [4].4