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378:. Paperback. With notes and facing translation in Italian. This new edition, with Latin text based largely on Shackelton Bailey, includes a brief anthology of commentary – from Voltaire to contemporary criticism (pp. 51–60) and an up-to-date bibliography (pp. 61–72). There is also an appendix (pp. 155–65) of texts and Italian translations of some of the most famous poems of late antiquity devoted to the theme of the rose – many from the so-called
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87:" goddess, which contrasts with the tragic isolation of the silent "I" of the poet/speaker, against the desolate background of a ruined city, a vision that prompts Andrea Cucchiarelli to note the resemblance of the poem's construction to the cruelty of a dream. It is notable for its
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and of the symbolism associated with it, which spread from the ancient world into
European literature of all ages, and it offers the reader a welcome opportunity for reading and appreciating, this time in an Italian translation, a series of poems scarcely studied or
190:, one of whom was turned into a nightingale and the other into a swallow. In the myth, Procne was unable to speak, having had her tongue cut out; but when she was transformed into a swallow, she found her voice again.
382:, a collection of poems from the imperial age thought to have been assembled at Carthage "during the cultural renaissance of Vandalic Africa in the 5th century CE. This appendix highlights the vitality of the rose
225:, made a law that no one was to speak of the Spartans' approach; so that when the Spartans came to attack the city in the 8th century BC, no one gave a warning; hence the proverb
359:, G. P. Goold, editor, translated by Francis Warre Cornish, John Percival Postgate, John William Mackail, second edition, revised (Harvard University Press, 1988)
642:
662:
75:, and yet others find no sufficient evidence for any attribution. It was written professedly in early spring on the eve of a three-night festival of
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ends indeterminately with the vigil's refrain, a passage to which he often directed readers wishing greater clarity about the novel's conclusion.
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as "The Feast of Love", for baritone and chamber orchestra, text translated by himself (1964); and by
83:. The poem describes the annual awakening of the vegetable and animal world through the "benign post-
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115:"Let the one love tomorrow who has never loved, and let the one who has loved love tomorrow."
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The poem ends with the nightingale's song, and a poignant expression of personal sorrow:
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Tomorrow let him love, who has never loved; and who has loved, let him love tomorrow."
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482:"la benigna dea post-Lucreziana" (i.e., the Venus genetrix derived from Lucretius's
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The poem has appealed to 20th-century composers and has been set to music by
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Vandals, Romans and
Berbers: new perspectives on late antique North Africa
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The
Pervigilium Veneris: A New Critical Text, Translation and Commentary
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The nightingale and swallow motif refers to the myth of the two sisters
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of uncertain date, variously assigned to the 2nd, 4th or 5th centuries.
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for chorus and orchestra (first performance, Leeds
Festival, 1931); by
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When shall I become like the swallow, so that I may cease to be silent?
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There are translations into
English verse by the 17th-century poet
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This article incorporates text from a publication now in the
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550:, and this is the text in earlier editions; but in the 1936
157:"She sings, but we are silent; when is my springtime coming?
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which marks a transition between
Classical Roman poetry and
651:. Vol. 21 (11th ed.). Cambridge University Press.
492:(Milano: BUR Classici Greci e Latini, Rizzoli: 2003), p. 7.
449:"Sicily in the Roman Imperial period: Language and society"
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The reference at the end is to a legend that the people of
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Gaius
Valerius Catullus, Tibullus and Pervigilium veneris
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Cras amet qui nunqu(am) amavit; quiqu(e) amavit cras amet.
455:. Cambridge: Cambridge University Press. p. 360.
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Cras amet qui nunquam amavit; quique amavit cras amet.
175:, when it would not speak, was destroyed by silence.
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End of the poem in a humanistic manuscript (codex V)
79:(probably April 1–3) in a setting that seems to be
299:for soprano, tenor, chorus, and orchestra (1980).
453:Language and Linguistic Contact in Ancient Sicily
370:. Biblioteca Universale (Milano: Rizzoli, 2003)
231:("more unwilling to speak than Amyclae itself").
63:It is sometimes thought to have been by the poet
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140:illa cantat; nos tacemus; quando ver venit meum?
123:Let those who always lov'd, now love the more."
144:Perdidi Musam tacendo, nec me Phoebus respicit.
67:, because of strong similarities with his poem
146:Sic Amyclas, cum tacerent, perdidit silentium.
142:Quando fi(am) uti chelidon, ut tacere desinam?
355:in volume six of the Loeb classical library:
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121:"Let those love now who never loved before,
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257:The Vigil of Venus and Other Poems by "Q"
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602:Bryn Mawr Classical Review, June 3, 2004
490:La Veglia di Venere: Pervigilium Veneris
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364:La veglia di Venere. Pervigilium Veneris
95:. It consists of ninety-three verses in
71:, though other scholars attribute it to
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664:The Pervigilium Veneris. A Latin text
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25:Beginning of the poem in the
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451:. In Tribulato, Olga (ed.).
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16:Latin poem of uncertain date
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685:Translation by David Camden
670:Another site with the Latin
267:, Cambridge, 1948); and by
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552:Collected Poems, 1909–1935
531:The myth is told in Ovid,
501:Cucchiarelli (2003), p. 7.
390:William M. Barton (2018).
235:English verse translations
208:in the ending of his poem
165:by being silent, nor does
228:Amyclis ipsis taciturnior
447:Korhonen, Kalle (2012).
263:(1939; reprinted in his
204:were famously quoted by
648:Encyclopædia Britannica
544:Eliot originally wrote
368:Classici Greci e Latini
353:D. R. Shackleton Bailey
171:It is in this way that
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73:Publius Annius Florus
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606:Andrew H. Merrills,
435:Journal of Philology
431:John William Mackail
253:Arthur Quiller-Couch
251:(1679-1718); by Sir
161:I have destroyed my
97:trochaic septenarius
643:Pervigilium Veneris
600:Tiziana Privitera,
44:Pervigilium Veneris
437:(1888), Vol. xvii.
245:"graveyard school"
50:The Vigil of Venus
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554:he changed it to
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28:Codex Salmasianus
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323:Alexander Riese
310:Editio princeps
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273:Collected Poems
271:(1947; see his
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196:Quando fiam uti
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261:F. L. Lucas
206:T. S. Eliot
169:respect me;
89:Romanticism
694:Categories
535:6.424–674.
418:References
343:S. G. Owen
333:E. Bahrens
269:Allen Tate
193:The words
129:The ending
69:Amnis ibat
65:Tiberianus
566:recording
411:The Magus
401:Influence
265:Aphrodite
201:chelidon?
184:Philomela
85:Lucretian
570:chelidon
349:) (1893)
347:Catullus
101:strophes
636::
591:10.564.
387:known."
366:in BUR
219:Amyclae
173:Amyclae
53:) is a
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345:(with
339:(1877)
329:(1869)
319:(1859)
313:(1577)
223:Sparta
188:Procne
167:Apollo
81:Sicily
586:Serv.
564:on a
468:2 May
384:topos
325:, in
259:; by
247:poet
77:Venus
55:Latin
470:2014
457:ISBN
372:ISBN
186:and
163:Muse
58:poem
47:(or
645:".
562:uti
520:ceu
518:or
516:uti
433:in
335:in
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255:in
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