By Andreola Rossi

Relocating past the standard pairing of Homer and Virgil, Iliad and Aeneid, Rossi refutes the concept that Homer is the one code version for the latter. This in-depth learn unearths that Virgilian conflict narrative assimilates conventions of different literary genres, particularly historiography and, ultimately, tragedy. Rossi demonstrates how Virgilian battle narrative permits a number of and diachronic visions of fact, and accordingly a number of platforms of signification, to co-exist within the textual content. during this method, Virgil's Aeneid detaches itself from the Homeric epic and forcefully asserts its personal relative modernity.Andreola Rossi is Assistant Professor, division of Classics, Harvard collage.

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Sinon incendia miscet I insultans) . 22. 310 ) rightly remarks that by mentioning the houses of Deiphobus and Ucalegon, Virgil particularizes instead of making a general statement. Deiphobus and Ucalegon are surely chosen as representative Trojans. No earlier tradition attests that their houses were attacked by Odysseus and Menelaus. 23. Heinze 1993, 17. 373-75: festinate, uiri! nam quae tam sera moratur I segnities? 2s Were these images, fairly obvious as they are, inherited from a previous tradition of the fall of Troy?

48. Cf. 554) that after Priam has been killed, Virgil supplies a coda that is much in the manner of historians, who regularly summarize the life of a dead man with a formula, such as hie exitus. Cf. also Heinze 1993, 59 n. 71. Heinze compares Virgil's closing 32 C0NTEXTS 0F WAR noteworthy, and Servius's remarks connecting Virgil's description of the sack of Troy to the Ennian account might induce one to see Ennius's Annales as the "exemplary" model for both Virgil and Livy. 49 Let us return, for a moment, to Polybius.

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