Farrell, Joseph
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Publication Reading and Writing the Heroides(1998) Farrell, JosephA more accurate title for this paper might have been "Reading, Writing, Editing, and Translating the Heroides" because it will treat not only of the polar relationship between reader and writer but also of the mediating roles represented by those sometimes troublesome interpreters who stand between them. Accordingly, I will be drawing attention to certain more or less traditional literary issues as well as to a set of philological problems that have tended to inhibit the appreciation of these poems as literature-namely, those problems that crop up in the debate over the authenticity of certain poems and parts of poems in the collection.Publication Philosophy in Vergil(2014-01-01) Farrell, JosephPublication II Commento Virgiliano di Domizio Calderini(2008-01-01) Farrell, JosephPublication Review of R.A.B. Mynors (Ed.), Virgil Georgics(1991) Farrell, JosephPublication Aeneid 5: Poetry and Parenthood(1999) Farrell, JosephThe main events and themes of Book 5 relate powerfully to the motif of generations. The hero holds memorial celebrations on the anniversary of his father's death; in the games that mark these celebrations, Trojan contestants are linked by their names and characters to the prominent Roman families that they will found; and the hero's son leads the other boys, who recall by name and appearance their distinguished Trojan ancestors, in a performance of what future Roman generations will call the "Troy game." The games of Book 5 are also notable for having occasioned at least one classic critical assessment in modern times of Vergil's epic technique vis a vis that of his greatest model, Homer; and in recent years, students of epic have come almost reflexively to figure the relationship between Homer and Vergil as one between father and son, full of anxiety and Oedipal overtones. Thus the dominant theme of the poetry itself finds its parallel in a leading theme of the critical discourse that has grown up around it. As a result, the fifth book of the Aeneid offers an ideal opportunity to study the mutually defining relationship between poetry and interpretation.Publication The Vergilian Century(2001-01-01) Farrell, JosephThe turn of the century seems an opportune moment to take stock, to look back and to look forward. And like many other students of Latin literature, I have felt for a number of years that our discipline is in the midst of an important change. As a Vergilian, I reflexively think about these matters in terms of the author to whom I am most committed. But as someone with interests in the motifs and processes that shape scholarly discourse, I recognize that Vergilian terms may not be sufficient to account for the changes in which we are all involved.Publication Apuleius and the Classical Canon(2010-04-01) Farrell, JosephI begin with the question, “Is Apuleius a canonical author?” Any answer that one might give would of course raise other questions; and in the context of this volume, the most important of these would be whether Apuleius’ African origin enters into it. But before confronting that question, I have to address a few others that are more basic. For one can hardly get started on this problem until asking, what is the canon and what forces govern its formation?Publication Introduction: On Vergilian Intertextuality(1991) Farrell, JosephPublication Review of B. P. Reardon, The Form of Greek Romance(1992) Farrell, JosephPublication The Poet in an Artificial Landscape: Ovid at Falerii(2014-01-01) Farrell, JosephFor Ovid, erotic elegy is a quintessentially urban genre. In the Amores, excursions outside the city are infrequent. Distance from the city generally equals distance from the beloved, and so from the life of the lover. This is peculiarly true of Amores, 3.13, a poem that seems to signal the end of Ovid’s career as a literary lover and to predict his future as a poet of rituals and antiquities. For a student of poetry, it is tempting to read the landscape of such a poem as purely symbolic; and I will begin by sketching such a reading. But, as we will see, testing this reading against what can be known about the actual landscape in which the poem is set forces a revision of the results. And this revision is twofold. In the first instance, taking into account certain specific features of the landscape makes possible the correction of the particular, somewhat limited interpretive hypothesis that a purely literary reading would most probably recommend, and this is valuable in itself. But paying more general attention to what can be known about this landscape over its long history raises some larger questions, most of which could hardly arise from a conventional literary reading. Nor, I should add, are such questions likely to arise from a consideration of landscape alone: it is the way in which literary and landscape studies seem to contradict one another, both superficially and on a deeper level, that makes this poem so fascinating. These contradictions cannot, in my view, be entirely resolved; and for this reason they give us an opportunity to reflect on certain theoretical issues that I will raise here only briefly, reserving them for fuller exploration elsewhere.