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Recent scholars rightly believe that the fifteen poems transmitted under the title "Catalepton" and attributed to Virgil are 'pseudepigrapha', which were deliberately com- posed to appear as a youthful work by him. However, direct connections with Virgil are only present in some poems (1, 4, 5, 7, 8, 9, 11, 14, 15) and are missing in others (2, 3, 6, 10, 12, 13), which instead refer, often polemically, to other people. The article argues that this latter series of poems may have initially circulated anonymously and only later been attributed to Virgil. The other poems, whose author clearly wears Virgil’s mask, interact with these texts, and were perhaps composed from them. Therefore, the poems of "Catalepton" hardly appear to have all been written by the pen of a single author.

The Culex, a poem from the Appendix Vergiliana, is an epyllion that the literary tradition has been attributing since Antiquity to the youth of Publius Vergilius Maro. Despite all the doubts related to this attribution, the work composed of 414 dactylic hexameters is a rich example of the poetry produced during the 1st century AD, and portrays the main aspects of neoteric aesthetics, with influences from Lucretius and Catullus. Considered by most scholars a spurious work, it is analyzed by some as a parody, by others as a complement to Virgil's biography, or as a resource to compose the fictional biography of the Homerus Romanus. Thus, the exegesis of this poem has been proved inexhaustible. Its translation into Portuguese dodecasyllablic verses, proposed here by the first time, is followed by a minimum critical apparatus, which allows the understanding and intends to achieve some reverberation of the original Latin text, Vergilian or not, in contemporaneity, despite all the challenges regarding the translator's task. O Culex, poema da Appendix Vergiliana, é um epílio que a tradição literária atribuiu desde a Antiguidade à juventude de Públio Virgílio Marão. Apesar de todas as incertezas relacionadas a essa atribuição, a obra composta de 414 hexâmetros dactílicos é, provavelmente, um exemplo rico da poesia do século I d.C., podendo ser encontrados nela os principais aspectos da produção neotérica, com influências de Lucrécio e Catulo. Considerado majoritariamente uma obra espúria, é analisado por alguns como uma paródia, por outros, como uma forma de complemento da biografia de Virgílio, por outros ainda, como um recurso para compor a biografia fictícia do Homerus Romanus. Assim, seu estudo tem se mostrado inesgotável. Sua tradução em versos dodecassílabos, aqui proposta pela primeira vez em língua portuguesa, vem acompanhada do aparato crítico mínimo para a compreensão pelo leitor atual e pretende permitir alguma reverberação do texto original latino, virgiliano ou não, na contemporaneidade, apesar de todos os desafios que se apresentam na tarefa do tradutor.

Due testi dell'"Appendix Vergiliana", "Ciris" e "Catalepton" 9, alludono a una relazione di patronato letterario tra Virgilio e Messalla Corvino, che non è attestata in altre fonti. Passando in rassegna le ragioni che suggeriscono di interpretare questi testi come impersonazioni post-augustee di un "giovane Virgilio", si propone di datarli all'età tiberiana. Non solo le due opere sarebbero per molti aspetti conformi ai gusti letterari di Tiberio (testimoniati da Suet. Tib. 70), ma la stessa scelta di Messalla come mecenate potrebbe essere legata all'influenza politica e culturale dei suoi figli Messalino e Cotta.

Recent scholarship on the pseudo-Virgilian Moretum has discussed more than its authorship. Nowadays, it focuses instead on the poem's intertextual relationships with other classical texts. This paper aims to offer a general view of these recent studies, addressing some possible interpretations for the interrelationships between the Moretum and authors such as Vergil and Ovid. It enumerates a few common features of the Appendix Vergiliana poem and Vergil's works and compares other characteristics to a theoxenia scene in Ovid. At the end we present the Latin text, discuss some of its corrupt passages and give a translation of the poem into Portuguese. In this translation, we use the so-called “hexameter in Portuguese” model, which tries to emulate the rhythm of the Latin hexameters through the contrast between stressed and unstressed syllables in Portuguese. O poema pseudo-virgiliano Moretum tem sido cada vez mais abordado pela crítica contemporânea não apenas em relação à questão da autoria, mas sim das suas relações intertextuais com outros textos clássicos. O artigo busca traçar um breve panorama desses estudos mais recentes, apontando para o leitor quais as possíveis interpretações das relações entre Moretum e os autores Virgílio e Ovídio. Para isso, são elencadas brevemente algumas características comuns ao poema do Apêndice Virgiliano e às obras de Virgílio, assim como outras são comparadas a uma cena de theoxenia em Ovídio. Ao fim, apresenta-se o texto original em latim, problematizando algumas de suas passagens mais incertas, e uma proposta de tradução do poema para o português. Nessa tradução, utilizamos o modelo chamado “hexâmetro datílico em português”, que busca emular através de oposição entre sílabas átonas e tônicas na língua portuguesa o ritmo dos hexâmetros datílicos.

FRAENKEL, E. The Dirae. The Journal of Roman Studies, Society for the Promotion of Roman Studies, v. 56, parts 1 and 2, p. 142-155, 1966.

FRAENKEL, E. The Dirae. The Journal of Roman Studies, Society for the Promotion of Roman Studies, v. 56, parts 1 and 2, p. 142-155, 1966.

Este artículo ofrece una visión renovada sobre los aspectos poéticos del poema pseudovirgiliano Etna, explicando su estructura cuidadosamente pensada y ejecutada, que se asienta en una ordenación deliberada de los términos clave del poema, así como también en una cadena de referencias verbales cruzadas. This article offers a fresh view on the poetics of the pseudo-Vergilian poem Aetna, proposing a carefully planned and executed structure which is supported through a deliberate arrangement of key terms in the poem as well as a network of verbal cross-references.

This paper deals with the word-play Lyde ~ ludit at HOR.Carm.3.11-8-10 and its linguistic and cultural background (§ 1); it also conjectures the symbolic meaning of the pun, while reflecting on its relevance for the discussion on the relationship between Carm.2.11.21-24, 3.11 and 3.28 as items of a poetic cycle (§ 2); in connection to this, attention is given to Horace’s farewell to the game of love and lyric poetry (§ 3); some possible echoes of Horace’s word-play in later literature are also considered (§ 4). Temas de este articulo son el juego verbal Lyde ~ ludit en HOR.Carm.3.11.8-10 y su trasfondo linguistico (§ 1); la posible relevancia de ese juego verbal y de su presumible simbolismo para la consideración de Carm.2.11.21-24, 3.11 y 3.28 como ciclo poetico (§ 2); la despedida horaciana del ludus lirico-amoroso en Epístolas y Odas 4 (§ 3); posibles repercusiones del juego verbal Lyde ~ ludit en la tradicion literaria posterior (§ 4).

Temas de este artículo son el juego verbal Lyde ~ ludit en HOR.Carm.3.11.8-10 y su trasfondo lingüístico (§ 1); la posible relevancia de ese juego verbal y de su presumible simbolismo para la consideración de Carm.2.11.21-24, 3.11 y 3.28 como ciclo poético (§ 2); la despedida horaciana del ludus lírico-amoroso en Epístolas y Odas 4 (§ 3); posibles repercusiones del juego verbal Lyde ~ ludit en la tradición literaria posterior (§ 4). This paper deals with the word-play Lyde ~ ludit at HOR.Carm.3.11-8-10 and its linguistic and cultural background (§ 1); it also conjectures the symbolic meaning of the pun, while reflecting on its relevance for the discussion on the relationship between Carm.2.11.21-24, 3.11 and 3.28 as items of a poetic cycle (§ 2); in connection to this, attention is given to Horace’s farewell to the game of love and lyric poetry (§ 3); some possible echoes of Horace’s word-play in later literature are also considered (§ 4).

This article investigates Catalepton, a juvenilia attributed to Virgil, emphasizing: its technical and thematic aspects; its particular anthropological representation; its epigrammatic structure; humor and irony; sarcasm and realistic presentation; parody and education; and decadence discourse. Este artigo investiga o Catalepton, atribuído a Virgílio, enfatizando: seus aspectos técnicos e temáticos; sua particular representação antropológica; sua estrutura epigramática; humor e ironia; sarcasmo e notação realística; paródia e educação; e o discurso da decadência.

The paper deals with the complex problem of the datation of the Ciris attributed to Virgil. After a short presentation of the text, the analysis focuses on the astronomical similitude at the end of the poem (vv. 533-537), followed by the struggle between the ciris and the sea-eagle (vv. 538-541=Verg. georg. 1.406-409). A circumstantial reading of the similitude in its astronomical details gives important clues for dating the poem. The author, in fact, does not speak only of the apparent sunset of Scorpion and Orion constellations, but he also mentions at v. 534 a double constellation (duplici... sidere), that is the constellation of Scorpion and of Libra. This constellation was ‘created’ at Rome in the first century AD, as the astronomical and literary sources clearly show. The connection established between the Libra and the horoscope of Augustus made the constellation the seat of Princeps’ catasterism, as already alluded by Virgil (Georg. I 32-35) and showed by a series of literary and iconographic sources. The author of the Ciris clearly knows this tradition: we can therefore assume as terminus post quem for his poem the 31 BC (the same as for the prologue of Georgics). In addition to that, the analysis of verses 87-88 may offer a further clue. The adjective Palaepahia indicates precisely ‘ancient Paphos’: perhaps we have here another encomiastic allusion, since Augustus restored Aphrodite’s temple after the earthquake of 15 BC. As a result, we could not assign in any case the Ciris to the young Virgil.

International audience; Textual fragments from the Georgics and the Aeneid are woven into Catalepton XIV, an epigram which displays itself as an invocation to Venus supposedly said by Vergil back at the time when the Aeneid was not finished yet. Until now, these fragments have only been commented on for their ‘vergilian’ connotation. On the basis of the critical distinction between allusion and intertextuality, this paper’s aim is to show how these quotations – taken as references to the texts they evoke through the reader’s poetic memory rather than mere intersubjective allusions to Vergil – create meaning. By its systematical conflation of passages from the Aeneid about the hero’s deeds and metapoetic passages from the Georgics, the epigram motivates its explicit use of Aeneas’ voyage as the metaphor for the composition of the work. Intertextuality creates two extra-meanings, the hero’s marine voyage representing both the epic genre’s hazards and the literary deductio; L’épigramme XIV du Catalepton – qui se présente comme la prière que l’auteur d’une Enéide encore inachevée aurait adressée à Vénus pour que la déesse favorise son œuvre – est tissée de fragments empruntés aux Géorgiques et à l’Enéide. Jusqu’à présent, ces reprises textuelles n’ont été commentées que pour la ‘couleur virgilienne’ qu’elles confèrent au poème de l’Appendix ; en nous fondant sur la distinction théorique entre allusion et intertextualité, nous nous proposons d’étudier le surcroît de sens qu’apportent ces citations dès lors qu’elles convoquent, à la mémoire du lecteur, non pas la seule figure de Virgile mais des contextes précis auxquels elle font référence. Se dégage alors un véritable système de références intertextuelles qui, en superposant par le biais de la citation des passages de l’Enéide toujours centrés sur la mission du héros et des passages métapoétiques des Géorgiques, permet de remotiver la métaphore topique sur laquelle joue l’épigramme, par laquelle le voyage d’Enée placé sous la protection de Vénus figure la composition de l’œuvre. Le travail de l’intertextualité enrichit alors le poème d’une polysémie subtile mais prégnante, en faisant également de la traversée nautique du héros l’image à la fois des dangers de l’épopée et de la deductio littéraire.

Análisis comparativo del poema 4 de Catulo y el Epigrama 10 de la llamada Appendix Vergiliana, modelado sobre aquél. La integración de éste en la tradición literaria grecolatina de la invectiva. Traducción rítmica al español. Comparative analysis of Catullus' 4th poem and the 10th epigram of the socalled Appendix Vergiliana, based on that one. The integration of the former in the literary grecolatin tradition of the invective. Rhythmic translation into Spanish.