The Golden Bough: Orphic, Eleusinian, and Hellenistic-Jewish Sources of Virgil’s Underworld in Aeneid VI
More than a century after the first appearance of Norden’s classic commentary on Aeneid VI in 1903 the time has come to see to what extent the new discoveries of Orphic materials and new insights in the ways Virgil worked enrich and/or correct our understanding of that text. We will therefore take a...
| Published in: | Kernos |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Centre
[2009]
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| In: |
Kernos
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| Online Access: |
Volltext (doi) Volltext (kostenfrei) |
| Summary: | More than a century after the first appearance of Norden’s classic commentary on Aeneid VI in 1903 the time has come to see to what extent the new discoveries of Orphic materials and new insights in the ways Virgil worked enrich and/or correct our understanding of that text. We will therefore take a fresh look at Virgil’s underworld, but limit our comments to those passages where perhaps something new can be contributed. This means that we will especially concentrate on the Orphic, the Eleusinian, and the, if usually neglected, Hellenistic-Jewish backgrounds of Aeneas’s descent. Yet a Roman poet hardly could totally avoid his own Roman tradition or the contemporary world, and, in a few instances, we will comment on these aspects as well. As Norden observed, Virgil had divided his picture of the underworld into six parts, and we will follow these in our argument. |
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| Contains: | Enthalten in: Kernos
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| Persistent identifiers: | DOI: 10.4000/kernos.1785 |