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Even as the Western Roman empire collapsed, literate men acknowledged that Virgil was a master poet. Gregory of Tours read Virgil, whom he quotes in several places, along with some other Latin poets, though he cautions that "we ought not to relate their lying fables, lest we fall under sentence of eternal death." The Aeneid remained the central Latin literary text of the Middle Ages and retained its status as the grand epic of the Latin peoples, and of those who considered themselves to be of Roman provenance, such as the English. It also held religious importance as it describes the founding of a "Holy City".[citation needed] Virgil's fourth Eclogue was often seen as a prophecy of the coming of Jesus Christ. It has been argued[citation needed] that this originated in a need on the part of medieval scholars to reconcile Virgil's non-Christian background with the high regard in which they held his works, who were thus forced to make him a prophet of sorts. This view is defended by a few scholars today, notably Richard Thomas (see below, under links). Cicero and other classical writers too were declared Christian due to similarities in moral thinking to Christianity.[citation needed] Dante made Virgil his guide in Hell and the greater part of Purgatory in The Divine Comedy. Dante also mentions Virgil in De vulgari eloquentia, along with Ovid, Lucan and Statius, as one of the four regulati poetae (ii, vi, 7). The best-known surviving manuscripts of Virgil's works include the Vergilius Augusteus, the Vergilius Vaticanus and the Vergilius Romanus. Legends In the Middle Ages, Virgil's reputation was such that it inspired legends associating him with magic and prophecy. From at least the 3rd century, Christian thinkers interpreted Eclogues 4, which describes the birth of a boy ushering in a golden age, as a prediction of Jesus' birth. As such, Virgil came to be seen on a similar level as the Hebrew prophets of the Bible as one who had heralded Christianity.[18] Possibly as early as the second century AD, Virgil's works were seen as having magical properties and were used for divination. In what became known as the Sortes Vergilianae (Virgilian Lots), passages would be selected at random and interpreted to answer questions.[19] In the 12th century, starting around Naples but eventually spreading widely throughout Europe, a tradition developed in which Virgil was regarded as a great magician. Legends about Virgil and his magical powers remained popular for over two hundred years, arguably becoming as prominent as his writings themselves.[20] Virgil's legacy in medieval Wales was such that the Welsh version of his name, Fferyllt or Pheryllt, became a generic term for magic-worker, and survives in the modern Welsh word for pharmacist, fferyllydd.[21] Virgil's tomb The verse inscription at Virgil's tomb was supposedly composed by the poet himself: Mantua me genuit, Calabri rapuere, tenet nunc Parthenope. Cecini pascua, rura, duces ("Mantua bore me, the Calabrians snatched me away, now Naples holds me. I sang of pastures, countrysides, leaders") The structure known as "Virgil's tomb" is found at the entrance of an ancient Roman tunnel (also known as "grotta vecchia") in the Parco di Virgilio in Piedigrotta, a district two miles from old Naples, near the Mergellina harbor, on the road heading north along the coast to Pozzuoli. (The site called Parco Virgiliano is some distance further west along the coast.) While Virgil was already the object of literary admiration and veneration before his death, in the following centuries his name became associated with miraculous powers, his tomb the destination of pilgrimages and veneration. The poet himself was said to have created the cave with the fierce power of his intense gaze.[citation needed] It is said that the Chiesa della Santa Maria di Piedigrotta was erected by Church authorities to neutralize this adoration and "Christianize" the site. The tomb, however, is a tourist attraction, and still sports a tripod burner originally dedicated to Apollo, although the tripod is not original to the site.[citation needed] Name in English In the Late Empire and Middle Ages Vergilius was spelled Virgilius. Two explanations are commonly given for this alteration. One deduces a false etymology associated with the word virgo ("maiden" in Latin) due to Virgil's excessive, "maiden"-like (parthenías or παρθενίας in Greek), modesty. Alternatively, some argue that Vergilius was altered to Virgilius by analogy with the Latin virga ("wand") due to the magical or prophetic powers attributed to Virgil in the Middle Ages (this explanation is found in only a handful of manuscripts, however, and was probably not widespread). In Norman schools (following the French practice), the habit was to anglicize Latin names by dropping their Latin endings, hence Virgil. In the 19th century, some German-trained classicists in the United States suggested modification to Vergil, as it is closer to his original name, and is also the traditional German spelling.[citation needed] Modern usage permits both, though the Oxford guide to style recommends Vergilius to avoid confusion with the 8th-century grammarian Virgilius Maro Grammaticus. Some post-Renaissance writers liked to affect the sobriquet "The Swan of Mantua".[citation needed] |
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