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"Dido"
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The Theory and Practice of Imitation in the (Polyphonic?) Dido-tragedy by Nicodemus Frischlin1
In my study I will be focusing on the text transformation technique in the tragedy
by Nicodemus Frischlin (1547–1590) German Neo-Latin poet, this author’s first imitational drama was published in 1581 in Tübingen. In the first half of my work, I summarize Frischlin’s basic rhetorical principles, including his most significant ideas around imitation based on his 1587 oration in Wittenberg. Instead of precepts and definitions, the poet’s rhetorical concept operates with concrete examples, written passages, authoral texts by which he aims to educate the reader. In the second portion of my study, I aim to answer the question of how polyphonic imitation works in the play, and how this creative method makes it more difficult to identify the imitative techniques in the text, such as paraphrase, cento and parody. As I delve into my topic, I wish to point to examples of the switch of rhetorical theory, that is, a divergence from the tradition of Melanchton’s rhetoric textbooks, the connections between the different varieties of imitation techniques, genre transformation, the reinterpretation of the Virgilian epic into a tragedy.
Journal Article
Magic and Memory
In this article, I examine the nature of Dido’s magic ritual in Aeneid 4, reading it as a magic ritual aimed at inducing forgetfulness. I argue that in burning his belongings, Dido intends to forget Aeneas and not to destroy him; for this purpose, I study this episode in the light of non-literary sources and of the poetic tradition concerning love magic and the obliteration of memory.
Journal Article
Virgil’s Rival Sororities: Dido and Anna, Camilla and Acca
Virgil carefully arranges the appearances of the pairs Dido and Anna, Camilla and Acca as an integral part of his commentary on the Trojan progression from Carthage to Italy, and as part of his allegorical reminiscence of Cleopatra at Alexandria and at Actium.
Journal Article
VARIVM ET MVTABILE SEMPER FEMINA: DIVINE WARNINGS AND HASTY DEPARTURES IN ODYSSEY 15 AND AENEID 4
In his second appearance to Aeneas in Aeneid 4 Mercury drives the hero to flee Carthage with a false allegation that Dido is planning an attack, capping his warning with an infamous sententia about the mutability of female emotion. Building on a previous suggestion that Mercury's first speech to Aeneas is modelled on Athena's admonishment of Telemachus at the opening of Odyssey 15, this article proposes that Mercury's second speech as well is modelled on Athena's warning, in which the goddess uses misdirection about Penelope's intentions and a misogynistic gnōmē about the changeability of women's affections to spur Telemachus’ departure from Sparta. After setting out how Virgil divides his imitation of Athena's speech verbally and thematically between Mercury's two speeches, the discussion turns to why both Athena and Mercury adopt these deceptive tactics. The speeches are shown to be culminations of the poets’ similar approaches to creating doubt and foreboding around the queens’ famed capacities for using δόλος. Common features in the ensuing hasty departures of Telemachus and Aeneas further confirm Virgil's use of Odyssey 15 in devising Aeneas’ escape from Carthage.
Journal Article
Topology synthesis of coupled inductor based four port DC-DC converter for multi-input PV-battery application with autonomous mode selection
Multiport converters are the most reliable and integral component for latest renewable source integration with multiple inputs. This article is one among the kind, which proposes a novel Coupled Inductor based Four Port topology Multiport Converter (CI-FP-MPC) for integrating multiple PV sources with different voltages. The adoption of coupled inductor contributes an increased voltage gain with reduced stress on the switches and diodes. In addition, reduced number of switches and diodes for a four-port topology provides an increase in efficiency due to its reduced switching and conduction losses. Also, soft switching techniques for zero-voltage-switching in switches and zero-current-switching in diodes transfers a smooth commutation between the mode transients and operating intervals. The proposed converter operates with two PV sources with battery as a source and load as well, paving to two modes of operation viz., TISO and DIDO mode respectively. The proposed topology is derived from the conventional high gain boost converter with an add-on of autonomous sensing and control logic to swap and control between the modes. To evaluate and validate its performance, the converter is developed in experimental setup with a power capability of 750 Watts. The control logic and duty cycle adjustments are supervised in Hardware-In-Loop (HIL) arrangement using dSPACE MicroLabBox. The results show increased efficiency, improved voltage gain and robust mode transition during load perturbations.
Journal Article
Novel Cleopatras
Advocating a revised history of the eighteenth-century novel, Novel Cleopatras showcases the novel's origins in ancient mythology, its relation to epic narrative, and its connection to neoclassical print culture.
eBook
THE GODS’ DELAY: OVID, HEROIDES 7.21
This note makes a new argument for van Lennep's conjecture di at Ovid, Heroides 7.21 against the manuscript reading te.
Journal Article
LUCRETIAN DIDO: A STICHOMETRIC ALLUSION
In the fourth line of her first speech in Book 1, to Ilioneus and the Trojan castaways, Dido quotes the first word of the first line of Lucretius’ De rerum natura, and in the fourth line of her second speech, to Aeneas, she quotes the first words of the second line of the De rerum natura. This is not a coincidence but a signal of the importance of Lucretius and Epicureanism for the characterization of Dido in the Aeneid.
Journal Article
Searching for Dido in the Latin Epics of Colonial Mexico
Dido is a common feature of early modern imitations of the Aeneid , but there is no Dido figure in extant Latin epics from the Americas. This paper argues that this lacuna is a form of colonial loss and traces her absence from these Latin texts to her elimination from Jesuit curriculum and Jesuit textbooks in the Americas. These pedagogical texts shaped the composition of Latin epic by Jesuit students. Through this case study, I suggest that Latin from the Americas provides an opportunity for classicists to contribute to the interdisciplinary study of colonial loss.
Journal Article