Browsing by Subject "Virgil"

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“And Carthage souls be glutted with our bloods” : Marlowe’s Lucanian Dido in The Tragedie of Dido Queene of Carthage
(2015-05) Price, Destini Nicole; Woods, Marjorie Curry, 1947-; Barret, J.K.
Despite most scholars agreeing that Christopher Marlowe's The Tragedie of Dido Queene of Carthage was composed fairly contemporaneously with his adaptation of Pharsalia 1, Lucans First Booke Translated Line for Line, few have recognized the intertextuality between the two works. This paper will consider Marlowe's relationship with Lucan's 1st century epic poem--both through his own posthumously published translation as well as selections he might have encountered during his petty school and graduate school study--and argue for the presence of distinctly Lucanian conventions in his drama, particularly in the portrayal of his protagonist, Dido. By revealing the Lucanian features of his play, in narrative structure as well as verbal echoes with the Pharsalia's Cornelia, The Tragedie of Dido Queene of Carthage exposes Marlowe's "republican imagination" and allows us to discern a political commentary in the seeming playfulness of his Virgilian parody. His employment of Lucanian devices is his attempt to imitate and outdo the self-proclaimed plus quam(ness) of Lucan's Pharsalia. In doing so, he introduces his own political subtext to the stage and interrogates, through the unassuming guise of child actors, the Elizabethan monarch's appropriation of a Trojan ancestry.
Disarticulation in poetry : intertextuality, gender, and the body in the Vergilian centos
(2022-05-03) Adams, Elizabeth Dorothy; Haimson Lushkov, Ayelet; Chaudhuri, Pramit; Gurd, Sean; McGill, Scott; Riggsby, Andrew
This dissertation argues that the Vergilian Latin centos have much more intertextual and literary value than is imparted by their Vergilian hypotexts. In Chapter 1, I argue that the most common intertextual approach to reading centos, which prioritizes Vergilian readings, is insufficient. I suggest through a reading of the Iudicium Paridis that we should consider how centos change the meaning of Vergil’s texts, not just how Vergil changes the meaning of centos. I show through my analysis of the cento Hercules et Antaeus that we can see centos engaging with non-Vergilian texts in ways beyond allusion. In Chapter 2, I consider Ovid’s reputation as a proto-centonist. In his Metamorphoses, Ovid’s wordplay is deeply bound up in his depictions of violence, but this has so far gone underacknowledged in studies of the centos. I argue that we can read the centos Progne et Philomela, Narcissus, and Hippodamia as feminist texts that give voice to women silenced in mythology. In Chapter 3, I give a close reading of the cento Hippodamia. I suggest that its tragic elements, which have so far been overlooked, encourage reading it in terms of Senecan tragedy, which like Ovid also represents the physical violence of the narrative in the text. I argue that the cento Hippodamia subtly erases violence from the protagonist’s experience by embodying it within the construction of the text. In Chapter 4, I turn to the Christian centos. I argue that they, too, represent the text as a body, and use the form of the cento to emphasize the promise of resurrection. Throughout, I show that the Latin centos do not rely on Vergil to generate meaning or depth: the Latin centos take an active role in reshaping the myths they represent.
Maars, tuff rings and tuff cones
(2009-03) Barker, Daniel S.