TL;DR: Virgil's reception in antiquity was discussed in this article, where the authors discuss the reception of Virgil's poetry in a contemporary context, and discuss the relationship between the reception and its interpretative implications.
Abstract: 1. Introduction: 'the classic of all Europe' Charles Martindale Part I. Receptions: 2. Modern receptions and their interpretative implications: the case of T. S. Eliot Duncan F. Kennedy 3. Aspects of Virgil's reception in antiquity Richard Tarrant 4. The Appendix Vergiliana Scott McGill 5. Augustine's Virgil Gillian Clark 6a. The Virgil commentary of Servius Don Fowler (revised by Sergio Casali and Fabio Stok) 6b. Postclassical commentary Sergio Casali and Fabio Stok 7. Virgil in English translation Colin Burrow 8. Virgils from Dante to Milton Colin Burrow 9. Virgil in art L. B. T. Houghton Part II. Forms: 10. Green politics: the Eclogues Charles Martindale 11. Virgilian didaxis: value and meaning in the Georgics William W. Batstone 12. Virgilian epic Duncan F. Kennedy 13. Closure and the Book of Virgil Elena Theodorakopoulos Part III. Contexts: 14. Poetry and power: Virgil's poetry in a contemporary context Richard Tarrant 15. Rome and its traditions James E. G. Zetzel 16. Virgil and the cosmos: religious and philosophical ideas Susanna Braund 17. Virgil's intertextual personae Joseph Farrell 18. Virgil and tragedy Philip Hardie Part IV. Themes: 19. Virgil as a poet Victoria Moul 20. Virgil's style James J. O'Hara 21. Character in Virgil Helen Lovatt 22a. Virgilian narrative: storytelling Don Fowler (revised by Alessandro Barchiesi) 22b. Virgilian narrative: ecphrasis Alessandro Barchiesi 23. Sons and lovers: sexuality and gender in Virgil's poetry Ellen Oliensis 24. Authority Fiachra Mac Gorain Envois: 25. The death of Virgil Fiona Cox 26. Virgil: the future? Fiachra Mac Gorain Dateline compiled by Genevieve Liveley.
TL;DR: The iconography of metre is discussed in this article, where Iambics: the short and the long of it, the sapphic stanza, and the dactylic hexameter and its detractors.
Abstract: Introduction: the iconography of metre 1. The hendecasyllable: an abbreviated history 2. Iambics: the short and the long of it 3. 'Narrower circuits': the sapphic stanza 4. The dactylic hexameter and its detractors Conclusion
TL;DR: One of the things Lucilius, Horace, Persius, and Juvenal have in common is their pleasure in a nice bit of epic furniture about the place as mentioned in this paper.
Abstract: One of the things Lucilius, Horace, Persius, and Juvenal have in common is their pleasure in a nice bit of epic furniture about the place. It is easy enough to install, since epic and satire both use the dactylic hexameter. It is fun to hear Horace describe the city mouse and the country mouse going to Rome in the kind of night that falls in Roman epic (Horace, Sermones 2.6.98-101). It is amusing to see a decadent Roman aristocrat as a “boy Automedon” (Achilles' charioteer, Juvenal 1.61), or to see the admirable Pyrrha, who helps repopulate the earth after the flood by throwing stones over her shoulder, through Juvenal’s jaundiced eyes, looking like a procuress setting out her girls (Juvenal 1.84). And of course everyone enjoys a nice swipe at bad epic poets now and then. But the function of epic allusion in Roman satire should not be understood as exclusively decorative. In many genres, poets use allusions to define their poetic projects and to articulate important themes. It is well understood that the Roman satirists use allusions to or descriptions of their satiric predecessors to articulate their poetic projects. What has been less appreciated is how precisely each poet chooses his allusions to epic to define his poetic project and its political dimension.