
Contents
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Arms and the man Arms and the man
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Speaking out Speaking out
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Appendix 5.1: Quotations from Virgil on Pompeian walls Appendix 5.1: Quotations from Virgil on Pompeian walls
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Aeneid Aeneid
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1.1: Arma virumque cano, Troiae qui primus ab oris 1.1: Arma virumque cano, Troiae qui primus ab oris
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1.126 stagna refusa vadis, graviter commotus; et alto 1.126 stagna refusa vadis, graviter commotus; et alto
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1. 135 Quos ego—sed motos praestat componere fluctus. 1. 135 Quos ego—sed motos praestat componere fluctus.
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1. 192–3: nec prius absistit, quam septem ingentia victor | corpora fundat humi, et numerum cum navibus aequet. 1. 192–3: nec prius absistit, quam septem ingentia victor | corpora fundat humi, et numerum cum navibus aequet.
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1. 234: Certe hinc Romanos olim, volventibus annis 1. 234: Certe hinc Romanos olim, volventibus annis
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1. 242–3: Antenor potuit, mediis elapsus Achivis, | Illyricos penetrare sinus, atque intima tutus 1. 242–3: Antenor potuit, mediis elapsus Achivis, | Illyricos penetrare sinus, atque intima tutus
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1.468–9: hac Phryges, instaret curru cristatus Achilles. | Nec procul hinc Rhesi niveis tentoria velis 1.468–9: hac Phryges, instaret curru cristatus Achilles. | Nec procul hinc Rhesi niveis tentoria velis
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2.1 Conticuere omnes intentique ora tenebant 2.1 Conticuere omnes intentique ora tenebant
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2.14: ductores Danaum tot iam labentibus annis 2.14: ductores Danaum tot iam labentibus annis
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2. 148: quisquis es, amissos hinc iam obliuiscere Graios 2. 148: quisquis es, amissos hinc iam obliuiscere Graios
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2. 324: uenit summa dies et ineluctabile tempus 2. 324: uenit summa dies et ineluctabile tempus
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3. 286: aere cauo clipeum, magni gestamen Abantis 3. 286: aere cauo clipeum, magni gestamen Abantis
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4. 223: uade age, nate, uoca Zephyros et labere pennis 4. 223: uade age, nate, uoca Zephyros et labere pennis
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5. 389: Entelle, heroum quondam fortissime frustra 5. 389: Entelle, heroum quondam fortissime frustra
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6.119: si potuit manis accersere coniugis Orpheus 6.119: si potuit manis accersere coniugis Orpheus
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6. 823: uincet amor patriae laudumque immensa cupido 6. 823: uincet amor patriae laudumque immensa cupido
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7. 1: Tu quoque litoribus nostris, Aeneia nutrix 7. 1: Tu quoque litoribus nostris, Aeneia nutrix
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8. 1: ut belli signum Laurenti Turnus ab arce 8. 1: ut belli signum Laurenti Turnus ab arce
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9. 269: uidisti, quo Turnus equo, quibus ibat in armis 9. 269: uidisti, quo Turnus equo, quibus ibat in armis
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9. 404: tu, dea, tu praesens nostro succurre labori, 9. 404: tu, dea, tu praesens nostro succurre labori,
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Eclogues Eclogues
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2. 21: mille meae Siculis errant in montibus agnae 2. 21: mille meae Siculis errant in montibus agnae
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2. 56: Rusticus es, Corydon; nec munera curat Alexis 2. 56: Rusticus es, Corydon; nec munera curat Alexis
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3. 1: Dic mihi, Damoeta, cuium pecus? An Meliboei? 3. 1: Dic mihi, Damoeta, cuium pecus? An Meliboei?
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5. 72: Cantabunt mihi Damoetas et Lyctius Aegon 5. 72: Cantabunt mihi Damoetas et Lyctius Aegon
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7. 44: Ite domum pasti, si quis pudor, ite, iuuenci 7. 44: Ite domum pasti, si quis pudor, ite, iuuenci
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8. 70: Carminibus Circe socios mutavit Ulixi 8. 70: Carminibus Circe socios mutavit Ulixi
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Georgics Georgics
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1.163 tardaque Eleusinae matris uoluentia plaustra 1.163 tardaque Eleusinae matris uoluentia plaustra
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5 A Culture of Quotation: Virgil, Education, and Literary Ownership
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Published:January 2014
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Abstract
The fragments of Virgil’s Aeneid found on Pompeian walls must be seen as part of a wider culture of literary consumption. The canonization of the first words of the Aeneid made them both deeply meaningful and completely meaningless, a shorthand way of gesturing to a wider Roman literary culture. At the same time, however, quotations from other parts of Virgil’s epic text, as well as from his other works, show a broader knowledge of Rome’s most canonized poet, but one which focuses on the use and meaning of individual lines and phrases rather than of the work as a whole. Ultimately, the culture of literary quotation in the streets of Pompeii turns out to be one which prioritizes the quoted fragment as a means of communication, so that the Aeneid speaks in this popular context not as a single, unified, and canonized poem, but as an atomized and utilitarian series of pieces of text.
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