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Classical Tradition in Operation
In these five essays Niall Rudd presents an eclectic set of comparisons between certain ancient authors and later English writers ranging from Chaucer to Pound. He shows how five English writers consciously used and adapted classical works, and in so doing he illuminates both the classical authors and their English imitators and admirers. Readable translations and summaries of the Latin sources make these stimulating studies accessible even to scholars and students with little or no Latin.
The first essay compares Chaucer's treatment of Dido in The House of Fame and The Legend of Good Women with Virgil's presentation of Dido in the Aeneid , and Ovid's in Heroides 7 . The second essay, comparing Shakespeare's The Comedy of Errors with Plautus' Menaechmi , demonstrates how Shakespeare, weaving Roman farce into the framework of Hellenistic romance, developed both genres into something richer and more complex. The third essay on Pope's Epistle to Augustus shows his conversion of Horace's praise of Augustus into an anti-royalist attack on George II. In the fourth essay, Rudd discusses how much of Tennyson's Lucretius is invented and imported by Tennyson as a way of externalizing the inner conflicts he experienced in the age of doubt. The final essay, on Pound and Propertius, looks at Pound's representation of the Latin poet in Homage to Sextus Propertius , specifically in the areas of imperial politics, love, and language.
In his preface Rudd writes: 'Everyone knows of the Classical Tradition - comprehending it is another matter.' This book brings it closer to our understanding.
eBook
PERSIUS' MIND AT WORK: A STUDY OF THE SIXTH SATIRE
The satire's recipient, Caesius Bassus, was a lyric poet who wrote, at least occasionally, about love and had a retreat in the Sabine country. So one assumes he was, to some extent, a disciple of Horace. It is conjectured that, perhaps as a friendly gesture, Persius is accommodating his own philosophy to that of his friend, upholding a moderate and sensible hedonism and suspending the more rigorous opinions which he voices elsewhere. It might just be that the features discussed were not merely diplomatic adjustments, and that Persius was actually moving towards an easier and more tolerant outlook. At any rate, the friendship with Bassus held, for he is said to have edited Persius' work after the poet's death.
Journal Article
CEYX AND ALCYONE: OVID, METAMORPHOSES 11, 410–748
Prelude (290–409): Ceyx, king of Trachis, just west of the Malian Gulf, was the son of Lucifer, the morning star, and he bore witness to his birth by the radiance of his face (271–2). He was a man of peace, unlike his brother, Daedalion, a fierce soldier, who, in a frenzy of grief at the murder of his daughter by Diana was pitied by Apollo and turned into a hawk (339–45). This was followed by another weird episode – the appearance of a monstrous wolf, which, after causing widespread destruction, was turned into a stone by Thetis (365–406). A (410–73): Worried by these strange events, Ceyx decides he must consult the oracle of Apollo. He cannot, however, go to Delphi, which is not far south, because it is being blockaded by Phorbas and the Phlegyans. So he prepares to go to Claros on the coast of Asia Minor. As the ship moves out to sea, Ceyx stands on the poop waving to his wife (A 465). Alcyone waves back, even though she is prostrate on the ground – collapsaque corpore toto est (460). Ovid gives a beautiful description of how first Ceyx himself ceases to be visible, then the hull moves out of sight and only the sails on the yard-arm can still be seen; finally, they, too, disappear over the horizon (A 466–71).
Journal Article
Some notes on imitation, ancient and modern
The article draws out some contrasts between Aristotle's \"Poetics\" and Horace's \"Ars Poetica\" on the themes of imitation and originality in terms of structure, language, grammar, imagery and the concept of an audience. This is a prelude to reflections on imitation in Dryden and Pope - the master of imitation in all its types - Wordsworth, Longfellow, Whitman, Auden, Larkin, Cope and others, suggesting that the transitions on which much literary history is predicated are unhelpful, often misleading and in one instance, as conceived by Harold Bloom, irresponsible. In seeking out enjoyable poetry, the magpie's approach, however unrespectable academically, is perhaps most rewarding. (Quotes from original text)
Journal Article
Dr Johnson and the Irish
Samuel Johnson had no interest in visiting Ireland but his doctorate came from Dublin University, he was interested in Ireland's language and history and he had many Irish friends and acquaintances who are the subject of this article. Some of them are unnamed. Those that are include George Abraham Grierson, William Maxwell, Richard Brinsley Sheridan, Thomas Campbell, Arthur Murphy, Edmund Burke, Oliver Goldsmith, Jonathan Swift, Henry Flood and Edmond Malone. The main sources are Boswell's \"Life\", G.B. Hill's \"Johnsonian Miscellanies\", \"The Oxford Dictionary of National Biography\" and \"The Encyclopaedia Britannica\" (11th edition, 1910). (Quotes from original text)
Journal Article
Swift's \On Poetry: A Rhapsody\
This essay reads Swift's poem, \"On Poetry: A Rhapsody\", in the context of 18C classical culture, reminding us that his use of the major Latin poets was so spontaneous as to be virtually second nature and would have been appreciated as such by his audiences. His title would have alerted them: the original rhapsodes were at the heart of ancient culture, reciting heroic poetry while accompanying themselves on the harp, but by the 18C rhapsody was despised, its grandeur decried as pompous and artificial. Swift's classical echoes, allusions, reminiscences, parodies - as also in Pope, Dryden, Johnson - are not intended to subvert or appropriate the Romans but to compete with them in a generous rivalry, and they have several functions here: on the status of the poet and the poet's usefulness in society he turns to the mordant Juvenal and a passage of sharp social contempt, balancing it with the more optimistic observations of Horace, whose classical taste was in vogue for most of the 18C. Virgil's underworld is conjured for Swift's description of ministers of state in hell, cleverly suggesting continuity between Augustan Rome and Augustan London. The extended satire on George II and his ministers depends on \"the low sublime\" and \"bathos\" made through reference to Horace's treatment of Prometheus and the creation of men. (Quotes from original text)
Journal Article
