Whether he wanted to be or not, Virgil was in the thick of history, and he must have wanted to be, since he never avoided it in any of his works, and he chose for his third and greatest, the Aeneid, no less a story than the imperial city’s mythological founding. What the classical Greeks knew of that world they knew from Homer, which means that Homer’s version of people and events enjoyed, as it still does, the definitiveness of fiction or myth: the legitimacy of the Iliad’s representation of King Agamemnon as an arrogantly boorish fool is not subject to revision in light of new evidence about any real historical Agamemnon, who might to our surprise turn out to have been, say, a wise and lovable commander, and husband, too.īy contrast, we know very well who Virgil was, and when and where he lived: he was an Italian citizen of Rome during the time of its bloody metamorphosis from a republic into the empire of modern imagination.
#Juno and venus conspire translation free#
1 The Greek epics have always been comparatively free of historical setting by the time they emerged in the eighth to seventh centuries BCE the Mycenaean world they purported to depict had long been gone. The Homeric poems report from a misty prehistoric past: we don’t know who Homer was or even if he existed, the historical actuality of the Trojan War is a perennial subject of dispute, and the ancients could not say for sure to what island home his celebrated homecoming brought Odysseus, even if we think we can. But the Aeneid is very different from the other two. Studies in European Cultural Transition Volume Thirty Four General Editors: Martin Stannard and Greg WalkerĬontents General Editors’ Preface List of Illustrations Acknowledgements Introduction: Translation and Transformationġ Titus Andronicus and the Sexual Politics of TranslationĢ The Heterotopic Place of Translation: The Third Part of The Countesse of Pembrokes Yvychurch.The Iliad, the Odyssey, and the Aeneid are the holy trinity of classical European epic, and Robert Fagles and Stanley Lombardo, with their recent versions of the Aeneid, have translated all three.
Entituled, Amintas Daleģ Violence in Translation: George Sandys’s Metamorphosis EnglishedĤ From Sandys’s Ghost to Samuel Garth: Ovid’s Metamorphoses in Early Eighteenth-Century Englandĥ In Arachne’s Trace: Women as Translators of the Metamorphoses
The European dimension of research in the humanities has come into sharp focus over recent years, producing scholarship which ranges across disciplines and national boundaries. Until now there has been no major channel for such work.
#Juno and venus conspire translation series#
This series aims to provide one, and to unite the fields of cultural studies and traditional scholarship. #Juno and venus conspire translation series# It will publish the most exciting new writing in areas such as European history and literature, art history, archaeology, language and translation studies, political, cultural and gay studies, music, psychology, sociology and philosophy. Martin Stannard Greg Walker University of Leicesterįrontispiece, George Sandys, Ovids Metamorphosis Englished, Mythologized,and Represented in Figures (Oxford: 1632) By permission of the British Library The emphasis will be explicitly European and interdisciplinary, concentrating attention on the relativity of cultural perspectives, with a particular interest in issues of cultural transition. Panel, Elizabeth Talbot, Phaeton By permission of the National Trust Title page, Samuel Garth (ed.), Ovid’s Metamorphoses, by the most Eminent Hands (London: 1717) By permission of the British Library 123 (facing) By permission of the British Library Illustration, book 4, George Sandys, Ovids Metamorphosis Englished, Mythologized, and Represented in Figures (Oxford: 1632), p. Panel, Elizabeth Talbot, Europa By permission of the National TrustĪcknowledgements This monograph grew out of my doctoral thesis supervised by Roger Ellis at Cardiff University. I am immensely grateful for his extraordinary combination of intellect, wit and patience. It is impossible for me to name everyone with whom I have discussed ideas and problems related to early modern translation. Nevertheless, special mention must be made of Martin Coyle, Richard Chamberlain, Greg Walker and Ashgate’s anonymous reader. #Juno and venus conspire translation series#.
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