By Richard F. Thomas
This ebook examines the ideological reception of Virgil at particular moments some time past millennia. It makes a speciality of the emperor Augustus within the poetry of Virgil, detects within the poets and grammarians of antiquity seasoned- and anti-Augustan readings, reports Dryden's 1697 Royalist translation, and likewise naive American translation. It scrutinizes nineteenth-century philology's rewriting or excision of troubling readings, and covers readings by means of either supporters and rivals of fascism and nationwide Socialism. ultimately it examines how successive a while have made the Aeneid agree to their upbeat expectancies of this poet.
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P. 56 If ``many would like to see'' English scholarship moving closer to German, they should help it to do so; and if ``more can be said about Virgil'' than those interested in ideology are saying (and that is obviously true), why not go out and say it? We will return to Wlosok later in this book; she serves a particular function in the rhetoric of the Augustans, as a post-war German (woman) whose voice validates and a½rms the German Augustan Virgil of an earlier generation. Again, C. Martindale, in an article on ambiguity in Virgil, can write ``the ambiguity of the Aeneid is becoming a somewhat tired trope,''57 as he looks for a post-Cold War ``end of history'': Virgil tied to ``the dissipations of the contemporary European scene'' ± which may however look all too much like the familiar ``European scenes,'' whose intersection with Virgil we shall explore in Chapters 7 and 8.
13 In short, we must imagine a truncated history as we read Virgil, imagining the end of history, and of Augustanism, in the year of publication of that work. That is, we must both avoid anachronism and establish synchronism, extremely di½cult enterprises, given the centrality of Augustus in the history of Europe. In this connection Yavetz,14 quoting Tac. Ann. 10 and Suet. Aug. '' That reputation was formed in the period in which Virgil wrote two of his three poems and was presumably forming the idea of his epic.
But the reality is that the seeds of subversion are already inherent in that text, which makes the relationships these poets have to Virgil much less simple and simply confrontational, potentially more collaborative. The view of Virgil as Classic is for many endemic and unquestioned: Averil Cameron writes in the introduction to an essay by Maria Wyke on Roman elegy: ``Reading the Roman elegists . . ''50 Let us forget about Virgil, of whom (as of Propertius) we know little or nothing, but let us think of the Virgilian Aeneas: Cameron's ``prone to romantic passion, liable to make mistakes, even rather absurd'' ®ts pretty well, I would say.