Lee Fratantuono
Datos Biográficos
| ID | 1491760 |
|---|---|
| NOMBRE | Lee Fratantuono |
| NOMBRES | Lee |
| APELLIDO | Fratantuono |
| FIRMA | FRATANTUONO L |
| AFILIACIONES | National University of Ireland, Maynooth |
| ORCID | 0009-0002-1828-2678 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 35 |
| TOTAL DE CITAS | 31 |
| TOTAL COMO AUTOR | 34 |
| TOTAL COMO EDITOR | 1 |
| PRIMER AÑO DE PUBLICACIÓN | 2007 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 4 |
Catullus’ Troy
Troy and Trojan lore plays an appreciable role in the extant poetry of Catullus, though to date there has been no systematic study of all of the allusions to Priam’s city and Phrygian mythology in his corpus. Close examination of the references to Troy in Catullus reveals a noteworthy concern with the Trojan element in the foundation lore of Rome, of interest both for a better understanding of the poet and as a precursor to Virgil’s more systemat…
Bee Swarms and New Polities
The influence of Plato on Virgil has been the subject of research into the sources for the Aeneid. Plato’s longest work, the Nomoi or Laws, has not received attention as a possible inspiration for Virgil. Close study of certain passages will demonstrate that Plato’s use of bee imagery in particular as part of his metaphorical description of the process by which new polities are established may have been influential on Virgil’s artistic presentati…
The Shadow of Sextus Pompeius in Virgil’s Aeneid
The article argues that Virgil's Aeneid contains subtle allusions to Sextus Pompeius, a rival of Octavian. These references appear in several key episodes, including the storms faced by Aeneas's fleet, which mirror Octavian's naval disasters against Sextus. The deaths of Aeneas's companions, Palinurus and Misenus, are also seen as symbolic of Octavian's losses, given their names are tied to real-world locations from the conflict. Furthermore, the…
Virgil's Snatcher She-Wolf
Harpalyce is referenced but once in Virgil's Aeneid, though in the significant context of the goddess Venus' disguised visit to her shipwrecked son Aeneas in Carthage. 1 The brief and passing mention of this mysterious figure has elicited a modest bibliography. 2 We shall consider closely the Virgilian presentation and employment of this shadowy mythological character, with the aim of exploring both (in general) the poet's introduction of lycanth…
Virgil’s Hercules
Hercules is cited relatively frequently in Virgil’s Aeneid, especially in the second, Italian half of the epic. Close consideration of the progression of the references to Hercules in the poem reveals a deliberate arrangement of passages that relate typologically to the characterization of both Aeneas and Augustus, in particular with respect literarily to the decision of the Trojan hero to slay his foe Turnus, and historically to the civil war wi…
Teaching Vergil to write
The influence of the Greek scholars Philodemus and Parthenius on their contemporary Vergil remains understudied. Close examination of selected passages from the Aeneid demonstrates the poet’s reception of Philodemus’ theory of poetry and of Parthenius’ collection of mythological summaries, the Erotica Pathemata. Investigating the intertextual connections between Philodemus, Parthenius, and Vergil offers a chance to explore how an Augustan poet ma…
Serpentine Bonds
In the sixth book of the Aeneid, Virgil’s description of Aeneas’ approach to the threshold of the underworld contains both vivid imagery and an interesting textual controversy: the story that four verses on the Gorgon Medusa were deleted by Virgil’s emendatores, presumably the enigmatic Varius and Tucca. These verses have languished for centuries in the grammatical tradition, posing a mystery not unlike the puzzle of the more famous Helen episode…
Marrying Apollo and Diana
The anonymous Historia Apollonii Regis Tyri has attracted significant critical commentary in recent years, not the least on questions of authorship and date, and on its relationship to other extant Greek and Latin romances and novels. Close study of certain aspects of its plot reveals a carefully wrought, intertextual engagement with Books I and IV of Virgil’s Aeneid and the poet’s comparison of Dido and Aeneas to Diana and Apollo
Camilla's myrtle and Roman Ovations
One of the perplexing aspects of the depiction of Virgil's Volscian heroine Camilla is her association with the myrtle. Close study of evidence from Aulus Gellius as well as passages from Virgil's epic will reveal the poet's intention to recall the Roman tradition of an ovation in his presentation of Camilla's entry to war
Virgil, Aeneid 4
The fourth book of Virgil’s Aeneid is the shortest of his epic, and yet it has had an inestimable influence. The tragedy of Dido is replete with allusions to the Medeas of Euripides, Apollonius, and Ennius, as well as to Catullus’ Ariadne and the historical Cleopatra of Virgil’s Augustan Age. The book has intratextual connections to the poet’s own fourth Georgic (as he revisits the topic of apian regeneration and the loss of Eurydice), even as it…
The Head of Medusa
The poet Virgil in his Aeneid employs Gorgon imagery and its attendant connection to the goddess Minerva as part of his explication of one of the key themes of his Augustan epic, namely the progress from a Trojan past to a Roman future. Close analysis of the references to the Perseus myth and related Gorgon legends in the Aeneid reveals a carefully constructed web of intratextual allusions that serve in part to underscore the end of the Trojan or…
Virgil's Rival Sororities
Virgil carefully arranges the appearances of the pairs Dido and Anna, Camilla and Acca as an integral part of his commentary on the Trojan progression from Carthage to Italy, and as part of his allegorical reminiscence of Cleopatra at Alexandria and at Actium
Pallasne Exurere Classem
The goddess Minerva is a key figure in the theology of Virgil's Aeneid, though there has been relatively little written to explicate all of the scenes in the epic in which she plays a part or receives a reference. 1The present study seeks to provide a commentary on every mention of Pallas Athena/Minerva in Virgil's poetic corpus, with the intention of illustrating how the goddess plays a crucial role in the unfolding drama of the transition from …
Brutus
BOOKREVIEWS 249 competition in the way that Pindar does; the poems as effects exceed their cause, and they do so massively” (266). Writing this review at the time of the World Cup, I note that fanaticism is perfectly at home in sport. And what use is it to question whether Pindar is “normal”? The contribution is full of inferential thinking (much tangential to Greek lyric), and readers will have to decide for themselves whether theyare along for …
Virgil, Aeneid 8
This volume provides the first full-scale commentary on the eighth book of Virgil's Aeneid, the book in which the poet presents the unforgettable tour of the site of the future Rome that the Arcadian Evander provides for his Trojan guest Aeneas, as well as the glorious apparition and bestowal of the mystical, magical shield of Vulcan on which the great events of the future Roman history are presented – culminating in the Battle of Actium and the …
Necdum orbem medium
The appearances of the goddess Night in Virgil’s Aeneid can be profitably studied as a cipher to appreciating better certain key elements of the poet’s epic presentation of Troy’s fall and the rise of the future Rome. Detailed consideration of every epiphany of the goddess in the poem offers insight into Virgil’s rationale for how he presents the ultimate resolution of the conflict in Latium and the quelling of Juno’s rage against the Trojans
Actoris Aurunci Spolium
Juvenal’s second satire is a carefully crafted response to Virgil’s Aeneid, in which the satirist offers the reflection that the final ethnographic identity of Rome that had been decreed by Jupiter to Juno at the end of Virgil’s epic may not, in fact, be the reality that had emerged by Juvenal’s day. The Actoris Aurunci spolium or the “spoils of Auruncan Actor”, which is transferred from Virgil’s Turnus to Juvenal’s Otho becomes a symbol of how t…
Virgil, Aeneid 5
Virgil's Aeneid 5 has long been among the more neglected sections of the poet's epic of Augustan Rome. Book 5 opens the second movement of the poem, the middle section of the Aeneid that sees the Trojans poised between the old world of Phrygia and the new destiny in Italy. The present volume fills a significant gap in Virgilian studies by offering the first full-scale commentary in any language on this key book in the explication of the poet's gr…
Lethaeum ad fluvium
The significance of the god Mercury to the drama of the Virgilian Aeneid has not been fully appreciated. Careful consideration of the several appearances of the god in the epic reveals that Mercury is a key figure not only in the Virgilian evocation of the rebellion of the giants against Jupiter, but also in the development of the poet’s presentation of the triumph of the Italian over the Trojan in the final ethnic disposition of affairs in Latiu…
Ovid
Metamorphoses is an epic-style, narrative poem written in hexameters. Original, inventive and charming, the poem tells the stories of myths featuring transformations, from the creation of the universe to the death and deification of Julius Caesar. Book X contains some of Ovid's most memorable stories: Orpheus and Eurydice, Pygmalion, Atalanta and Hippomenes (with the race for the golden apples), Venus and Adonis, and Myrrha. This edition contains…
Select Bibliography
And Now the Wrath of the Gods
Thus Did Fortune Preserve
Slower Than the Eternal Law
Index
Madness Triumphant
Madness Triumphant: A Reading of Lucan’s Pharsalia offers the most detailed and comprehensive analysis of Lucan’s epic poem of the civil war between Caesar and Pompey to have appeared in English. In the manner of his previous books on Virgil and Ovid, Professor Fratantuono considers the Pharsalia as an epic investigation of the nature of fury and madness in Rome, this time during the increasing insanity of Nero’s reign. The volume proceeds chapte…
Madness Unchained
Madness Unchained is a comprehensive introduction to and study of Virgil's Aeneid. The book moves through Virgil's epic scene by scene and offers a detailed explication of not only all the major (and many minor) difficulties of interpretation, but also provides a cohesive argument that explores Virgil's point in writing this epic of Roman mythology and Augustan propaganda: the role of fury or madness in Rome's national identity. There have been o…
Brutus
BOOKREVIEWS 249 competition in the way that Pindar does; the poems as effects exceed their cause, and they do so massively” (266). Writing this review at the time of the World Cup, I note that fanaticism is perfectly at home in sport. And what use is it to question whether Pindar is “normal”? The contribution is full of inferential thinking (much tangential to Greek lyric), and readers will have to decide for themselves whether theyare along for …
Virgil, Aeneid 8
This volume provides the first full-scale commentary on the eighth book of Virgil's Aeneid, the book in which the poet presents the unforgettable tour of the site of the future Rome that the Arcadian Evander provides for his Trojan guest Aeneas, as well as the glorious apparition and bestowal of the mystical, magical shield of Vulcan on which the great events of the future Roman history are presented – culminating in the Battle of Actium and the …
Virgil, Aeneid 5
Virgil's Aeneid 5 has long been among the more neglected sections of the poet's epic of Augustan Rome. Book 5 opens the second movement of the poem, the middle section of the Aeneid that sees the Trojans poised between the old world of Phrygia and the new destiny in Italy. The present volume fills a significant gap in Virgilian studies by offering the first full-scale commentary in any language on this key book in the explication of the poet's gr…
Virgil, Aeneid 4
The fourth book of Virgil’s Aeneid is the shortest of his epic, and yet it has had an inestimable influence. The tragedy of Dido is replete with allusions to the Medeas of Euripides, Apollonius, and Ennius, as well as to Catullus’ Ariadne and the historical Cleopatra of Virgil’s Augustan Age. The book has intratextual connections to the poet’s own fourth Georgic (as he revisits the topic of apian regeneration and the loss of Eurydice), even as it…
Madness Unchained
Madness Unchained is a comprehensive introduction to and study of Virgil's Aeneid. The book moves through Virgil's epic scene by scene and offers a detailed explication of not only all the major (and many minor) difficulties of interpretation, but also provides a cohesive argument that explores Virgil's point in writing this epic of Roman mythology and Augustan propaganda: the role of fury or madness in Rome's national identity. There have been o…
Select Bibliography
And Now the Wrath of the Gods
Thus Did Fortune Preserve
Slower Than the Eternal Law
Index
After the Leaders Pitched Their Camps
But Not in Pharian Ash
As Soon As Caesar Trampled
Wars Worse Than Civil
And Now, Beyond the Gorges of Hercules
But the Very Edge of the Earth
As the South Wind Drove the Fleet
Communis Erinys
Fratantuono Lee, Braff Johanna. Communis Erinys: The Image of Helen in the Latin Poets. In: L'antiquité classique, Tome 81, 2012. pp. 43-60
Madness Triumphant
Madness Triumphant: A Reading of Lucan’s Pharsalia offers the most detailed and comprehensive analysis of Lucan’s epic poem of the civil war between Caesar and Pompey to have appeared in English. In the manner of his previous books on Virgil and Ovid, Professor Fratantuono considers the Pharsalia as an epic investigation of the nature of fury and madness in Rome, this time during the increasing insanity of Nero’s reign. The volume proceeds chapte…
Ovid
Metamorphoses is an epic-style, narrative poem written in hexameters. Original, inventive and charming, the poem tells the stories of myths featuring transformations, from the creation of the universe to the death and deification of Julius Caesar. Book X contains some of Ovid's most memorable stories: Orpheus and Eurydice, Pygmalion, Atalanta and Hippomenes (with the race for the golden apples), Venus and Adonis, and Myrrha. This edition contains…
Actoris Aurunci Spolium
Juvenal’s second satire is a carefully crafted response to Virgil’s Aeneid, in which the satirist offers the reflection that the final ethnographic identity of Rome that had been decreed by Jupiter to Juno at the end of Virgil’s epic may not, in fact, be the reality that had emerged by Juvenal’s day. The Actoris Aurunci spolium or the “spoils of Auruncan Actor”, which is transferred from Virgil’s Turnus to Juvenal’s Otho becomes a symbol of how t…
Virgil, Aeneid 5
Virgil's Aeneid 5 has long been among the more neglected sections of the poet's epic of Augustan Rome. Book 5 opens the second movement of the poem, the middle section of the Aeneid that sees the Trojans poised between the old world of Phrygia and the new destiny in Italy. The present volume fills a significant gap in Virgilian studies by offering the first full-scale commentary in any language on this key book in the explication of the poet's gr…
Lethaeum ad fluvium
The significance of the god Mercury to the drama of the Virgilian Aeneid has not been fully appreciated. Careful consideration of the several appearances of the god in the epic reveals that Mercury is a key figure not only in the Virgilian evocation of the rebellion of the giants against Jupiter, but also in the development of the poet’s presentation of the triumph of the Italian over the Trojan in the final ethnic disposition of affairs in Latiu…
Necdum orbem medium
The appearances of the goddess Night in Virgil’s Aeneid can be profitably studied as a cipher to appreciating better certain key elements of the poet’s epic presentation of Troy’s fall and the rise of the future Rome. Detailed consideration of every epiphany of the goddess in the poem offers insight into Virgil’s rationale for how he presents the ultimate resolution of the conflict in Latium and the quelling of Juno’s rage against the Trojans
Pallasne Exurere Classem
The goddess Minerva is a key figure in the theology of Virgil's Aeneid, though there has been relatively little written to explicate all of the scenes in the epic in which she plays a part or receives a reference. 1The present study seeks to provide a commentary on every mention of Pallas Athena/Minerva in Virgil's poetic corpus, with the intention of illustrating how the goddess plays a crucial role in the unfolding drama of the transition from …
Brutus
BOOKREVIEWS 249 competition in the way that Pindar does; the poems as effects exceed their cause, and they do so massively” (266). Writing this review at the time of the World Cup, I note that fanaticism is perfectly at home in sport. And what use is it to question whether Pindar is “normal”? The contribution is full of inferential thinking (much tangential to Greek lyric), and readers will have to decide for themselves whether theyare along for …
Virgil, Aeneid 8
This volume provides the first full-scale commentary on the eighth book of Virgil's Aeneid, the book in which the poet presents the unforgettable tour of the site of the future Rome that the Arcadian Evander provides for his Trojan guest Aeneas, as well as the glorious apparition and bestowal of the mystical, magical shield of Vulcan on which the great events of the future Roman history are presented – culminating in the Battle of Actium and the …
Virgil's Rival Sororities
Virgil carefully arranges the appearances of the pairs Dido and Anna, Camilla and Acca as an integral part of his commentary on the Trojan progression from Carthage to Italy, and as part of his allegorical reminiscence of Cleopatra at Alexandria and at Actium
The Head of Medusa
The poet Virgil in his Aeneid employs Gorgon imagery and its attendant connection to the goddess Minerva as part of his explication of one of the key themes of his Augustan epic, namely the progress from a Trojan past to a Roman future. Close analysis of the references to the Perseus myth and related Gorgon legends in the Aeneid reveals a carefully constructed web of intratextual allusions that serve in part to underscore the end of the Trojan or…
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