Cinna In Between

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New Classicists, 2019

New England Classical Journal

This essay examines the imaginative connection between c. 3.27 of Horace, one of the poet’s longest and most intense odes, and a salient episode in book 9 of Virgil’s Aeneid. In particular it searches out the multivalent appearances of the concept of pietas in the descriptions of Europe’s behavior toward her father and of Nisus and Euryalus. In their case we attend both to the association between the two innamorati themselves and to that between Euryalus and his mother. I take it for granted that the two Latin masters knew and valued the work of each other.

Exemplaria classica: journal of classical philology, 2012

2006

Virgil’s Roman epic the Aeneid is one of the canonical works of Western culture. A classic in its own time, it continues to be used as a mirror to reflect on contemporary culture. I examine the history of the Aeneid in English translation from 1513 to 2005, specifically the translations of Book VI by Gavin Douglas, Thomas Phaer, John Dryden, C. Day Lewis, Robert Fitzgerald, Allen Mandelbaum, and Stanley Lombardo. Throughout, I discuss how each translator saw and emphasized the reflection of his own political, religious, and cultural concerns in the mirror of Virgil’s Aeneid

The story of Dido and Aeneas has been restaged by dancers and choreographers from antiquity to the present day. In September 1821, the Italian master Salvatore Viganò presented his adaptation of Virgil's episode as a coreodramma, a subgenre of dance drama that reformulated the principles of eighteenth-century ballet d'action. La Didone, as the piece was entitled, combined mimetic acting with narrative and choral dance, but it was also deeply rooted in the conventions and structure of the epic source. In this article, I explore Viganò's reworking of the Dido episode by reading his libretto in light of the first and fourth books of the Aeneid. I argue that his reconfiguration of the story rescues corporeal and kinaesthetic properties that lurked in the epic poem and reveals the potential of these verses to be restaged as a choreographic work. In the second part of this work, I move back to the Aeneid, stressing how these traces of bodily movement and expressivity were motivated by the overall performance culture in Augustan times, in particular, by the growing trend of pantomime dancing.

Classical Review, 2000