The proposed study will take an indepth approach by examining two sets of passages to show that the similarities between the behaviors, descriptions, and lineages of the heroes and monsters are so precise that they exclude many other possible influences of Beowulf.
Emma evidently knew Virgil’s epic, to which the text she commissioned makes explicit reference, and commissioned a Latin work modelled on it as a political tool to influence the actions of men.
If Simonides was the inventor of the art of memory, and ‘Tulliua’ its teacher, Thomas Aquinas became something like its patron saint.
The similarity between Dante’s The Inferno and Book VI of Virgil’s The Aeneid is, in many cases, clear. Both stories are written as Epic journeys. The Aeneid follows the journey of Aeneas from a sacked Troy to Italy, where he begins a new life and starts to build a new city for the homeless Trojans.
The project of the Irish translator of the Aeneid was strikingly different from that of a modern translator, of Virgil or of any other author: Whereas the modern translator will strive to convey in a different language both the substance and the form of his source (although there are always problems with metrical texts), the medieval translator, particularly of secular narratives, was primarily interested in ‘acceptability (to the recipients) rather than adequacy (to the original)’ .
This monograph examines the medieval French translation/adaptation of Virgil’s Aeneid. The work employs Relevance Theory, second language pedagogy and hermeneutics in its analysis.
This article takes the narrative tropes of Europe’s archetypal national foundation myth, the founding of Rome, retold in the epic Latin poem, Virgil’s Aeneid, and traces their reemergence in the foundation stories of three major modern organizations.