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Michael Verancius greatly criticized the historical work of Valentinus Polidamus, one of his contemporaries in his satirical elegy in 1536. He did so in a rather unique way. The main aim of the present paper is to outline the classical allusions of this elegy to a great extent (primarily the parallels with Volusius and Choerilus). Moreover, Polyhymnia and Clio appear in a quite unusual description in his elegy. Although the background of his criticism (namely that Polidamus was an untalented historian) might also have been valid, it is not outlined here in details since it would be a separate topic.

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At the beginning of the 19th century, there was an intensive productive reception of the Corpus Tibullianum in Russian poetry, particularly of Tibullus’ elegy I 1. By analyzing the titles, the notes, and selected aspects of the main text of the six Russian translations of the elegy, Oraić Tolić’s Romantic notion of the paradigm shift from “illustrative” to “illuminative” quotation can be seen. However, this change does not take place in a linear fashion: Although the change in the titles and notes occurs in a consequential manner, the main texts meander between the stated poles.

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Simónidés Plataia-elégiája a communis opinio szerint ünnepi költemény. Minthogy e nyilvánosan elő-adott vers dicsérőleg említi a plataiai csata győztes hadvezérét, Pausaniast, az ő Kr. e. 478-as politikai bukása miatt a kutatás kizártnak tartja, hogy a költemény ezt követően születhetett volna. A dolgozat a vers sym-potikus történő előadása mellett érvel, s ezzel összhangban megalkotásának lehetséges idejét egészen Simónidés haláláig, a Kr. e. 460-as évek első feléig tolja ki. Az elégia kései megszületése esetén számolnunk kell a lehetőséggel, hogy benne a költő Pausanias 470 körüli halálára reflektált, párhuzamba állítva a spártai hadvezért a prooemiumban szereplő Achilleus alakjával.

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This paper tries to develop the characteristics of Roman love elegy from the scanty remains of Greek Hellenistic elegy. The most important Hellenistic predecessors of love elegy are poems mourning a deceased partner, like the Lyde of Antimachos of Kolophon and the Epikedeion Aretes of Parthenios of Nikaia. These poems seem to have contained at least some subjective passages, even if they are difficult to verify in the fragmentary tradition. The novelty of Roman love elegy seems to consist not only in the intensivation of such subjective elements, but mainly in a change of direction of the mourning element still present there: the love elegist mourns not a beloved partner's external death, but his own death-like desolation because of the partner's infidelity. The motive of mourning death used literally in Hellenistic Elegy is metaphorized in Roman love elegy.

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In his poetic collection, Tibullus often refers to the ancient household gods Lares. In this paper we will show that the prominent position Tibullus reserves for the Lares in his elegies proves that the poet agrees with Augustus’ programme of political and moral renovatio. Also we will point out how traditional worship in Augustan Rome is revived in order to serve both the religious and the political objectives of the Princeps.

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Propertius Kr. e. 16-ban keletkezett actiumi elégiája (IV 6) — az Aeneis pajzsleírásának egy utalását leszámítva — az első szöveg, amely a Kr. e. 28-ban fölszentelt palatiumi épületegyüttest az actiumi csata eseményéhez köti. A tanulmány azt vizsgálja, hogy a Propertius-költemény hogyan kapcsolódik a templom és könyvtár épületéhez, az elégia hogyan építi föl a kulturális-politikai emlékezet terét. Először a verset meghatározó gyűrűs szerkezet pontos föltárására tesz kísérletet, majd a propertiusi Augustus-kép néhány vonását tárja föl, végül pedig azt kutatja, hogy Propertius, illetve Horatius szövegeiben hogyan jelenik meg a kor kánonteremtő igénye, az irodalmi nyilvánosság kérdése, a Bibliotheca Apollinis Palatini kulturális üzenete.

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9 22 West, M. L. (1974): Studies in Greek elegy and iambus. Berlin/New York, 65-71. Studies in Greek elegy and iambus

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Bloom 1994 = Bloom H. An Elegy for the Canon. In: The Western Canon . New York, 1994. 15–42. Iordanova 1999 = Iordanova D.: East Europe’s Cinema

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Astrology plays a significant role in the Neo-Latin poetry of Janus Pannonius (1434–1472), the most renowned humanist of Hungary. The article investigates the various forms of astrological ideas in that part of his oeuvre where a specific interest in astrological topics can be witnessed: the works concerned are letters, elegies and epigrams composed in Hungary. Previous research into this topic has neglected to face the problem of the heterogeneity of astrology and to explore in detail the biographicalhistorical context, and some scholars have argued that Janus deeply believed in astrology. Instead, I will conclude that the appearance of astrological ideas can simply be explained by biographical, literary historical, intellectual historical factors. The argument concerns not only one particular person but also the intellectual life of mid-fifteenth century Hungary, and the habits of the Renaissance mind in general.

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Ovid’s representation of Orpheus is strictly related to Virgil’s texts. A wide range of studies have proved so far that the 10 th book of Metamorphoses follows the Georgics as far as narrative structure and use of vocabulary are concerned. Nevertheless it has been omitted, that Ovid’s work contains a number of patterns derived not from the Georgics but the Eclogues . Important textual parallelisms — such as Orpheus as being the representative of the elegy in contrast to epic, recusatio, the descent into the nether world, the motif of mourning nature, Hyacinthus, Adonis et Eurydice, the problem of a poet’s immortality, the mourning nature — attest that both Virgil’s and Ovid’s view of Orpheus is rooted in Epitaphios Bionos consequently this work is one of the most significant literary sources of both texts.

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