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  • Cited by 5
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    This article has been cited by the following publications. This list is generated based on data provided by CrossRef.

    Heinen, Dustin 2013. Poetics of Elision in theSiluae. Illinois Classical Studies, Issue. 38, p. 159.


    2013. The Virgil Encyclopedia.


    1998. IV. The Aeneid. New Surveys in the Classics, Vol. 28, p. 53.


    Fowler, D. P. 1991. Narrate and Describe: The Problem of Ekphrasis. Journal of Roman Studies, Vol. 81, p. 25.


    Stewart, A. F. 1977. To Entertain an Emperor: Sperlonga, Laokoon and Tiberius at the Dinner-Table. Journal of Roman Studies, Vol. 67, p. 76.


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The Pictures on Dido's Temple: (Aeneid I. 450–93)

  • R. D. Williams (a1)
  • DOI: http://dx.doi.org/10.1017/S0009838800003906
  • Published online: 01 February 2009
Abstract

Shortly after his arrival at Carthage, while he is waiting for Dido to meet him, Aeneas finds that the walls of her temple are adorned with pictures of the Trojan War. Sunt hie etiam sua praemia laudi, he cries to Achates, sunt lacrimae rerum et mentem mortalia tangunt. The description of the pictures which follows is a remarkable example of Virgil's ability to use a traditional device in such a way as to strengthen and illuminate the main themes of his poem. It is my object here first to reinterpret one of the scenes which has been misunderstood, and then to discuss how Virgil has chosen and arranged his episodes so that the description of a picture gallery becomes a part of an epic poem.

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The Classical Quarterly
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  • EISSN: 1471-6844
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