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After a brief critique, in a first part (pp. 507-510), of previous scholars' biographical approach to the politics of translating Virgil, this paper proceeds to offer an alternative approach by looking at the "linguistic ideology" underpinning translations (especially of the Aeneid) (parts II and III [pp. 510-512 and 512-517]). What emerges is a contradictory tension between the idea of a single, unifying national vernacular and competing varieties or kinds of English. Inherent to this tension is the question of whose English (and consequently who) was to be included in the constituency of the "our" in "our English tongue"-a recurring phrase in translators' comments on their work. In a fourth and final part (pp. 517-527), these linguistic--and political--stakes are shown to have accrued around a critique, by George Puttenham in The Arte of English Poesie (1589), of Richard Stanyhurst's translation of the opening lines of the Aeneid. Specifically, this critique is taken up in the following decade (the 1590s), and the politics of its hierarchical and exclusive linguistic ideology opposed, on the one hand, by Richard Carew, in an important essay on the English language, and, on the other, by William Shakespeare, in two of his early plays, most importantly, The Merry Wives of Windsor, a play unique in the Shakespearean canon for its focus on "our English tongue," a focus which is here precisely placed in its intertextual relation to contemporary debate surrounding Richard Stanyhurst's translation of Virgil's Aeneid. [ABSTRACT FROM AUTHOR]

The article discusses the influence of the poem "Metamorphoses," by Ovid, on sculptor Gianlorenzo Bernini's works. Topics include the presence of a dolphin in the sculpture Neptune and Triton, the relationship between classical poetry and art, and the influence of Ovid on Bernini's sculpture Apollo and Daphne.

In 1633 and again in 1639, Lelio Guidiccioni, a priest and poet of the day, published in Rome poems celebrating the dedication of Bernini's baldacchino over the Tomb of St. Peter, a generally setting out the claims to pre-eminence as sun-king of Bernini's patron, Urban VIII. Just a few weeks before the first of these poems was published, Urban's inquisitors had condemned Galileo, and the later piece was written in the very year that the English Puritan poet, John Milton, visited the Palazzo Barberini. The protests of Galileo and Milton against a dying ideology are familiar. Guidiccioni's poems are valuable for the light they throw on the other side of the case, and for the clash they illustrate between two views of truth. [ABSTRACT FROM AUTHOR]