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GAVIN DOUGLAS'S DIALOGIC EPIC: TRANSLATION
AND THE NEGOTIATION OF POETIC AUTHORITY IN THE ENEADOS
DISSERTATION
By
* * * * *
ii
ACKNOWLEDGMENTS
iii
VITA
PUBLICATIONS
FIELDS OF STUDY
DEDICATION............................................. ii
ACKNOWLEDGMENTS ..................................... iii
V I T A ................................................... iv
CHAPTER PAGE
I. GAVIN DOUGLAS'S ENEADOS: DIALOGUE AND
AUCTORITAS ................................... 1
II. PROLOGUE AND DIALOGUE IN THE E N E A D O S ......... 32
III. TRANSLATION AND AUTHORITY IN BOOK I OF
THE ENEADOS.................................. 97
IV. ALTER MARO, ALTER MAPHAEUS: DIALOGUE AND
ENEADOS X I I I .................................157
CONCLUSION............................................ 186
LIST OF REFERENCES.................................... 192
V
CHAPTER I
INTRODUCTION
(Exclamatioun 37-45)
Douglas envisioned (and, as I will argue below, took pains
to create by means of his text) the widest possible audience
for his work— namely, an audience made up of people who knew
Virgil in Latin and those who did not, and, perhaps more
importantly, people who could know Virgil in Latin and those
who could not. Those who knew Virgil in the original were
presumably the majority of the "prysaris," ready to judge
the relative merits and shortcomings of the translation
since, of course, "[t]ranslations can only be judged by
people who do not need them" (Lefevere 7). Those with Latin
who had not read (or read thoroughly) Virgil are a likely
but often overlooked group of Douglas's readers; we might
suppose that the "wlgar Virgill" might well obviate many
reasons for them to turn to the Latin, thus reinforcing
Douglas's translation as the canonical Virgil within the
Scots culture.14 The "onletterit folk" here are at the
greatest advantage and the greatest disadvantage, depending
on one's point of view. Virgil is now within their grasp,
but they are most subject to Douglas's interpretation of
Virgil's text. Conceivably, however, they do have a great
deal of individual interpretive power over Douglas's text,
and one of the ways Douglas's discomfort with this situation
is made manifest is in his reiteration, his insistence, here
put in the "mouth" of his book, that the Aeneid has now been
12
(10)16
14
NOTES TO CHAPTER I
32
33
(185-96)
NOTES TO CHAPTER II
97
98
157
158
(490-92)5
(XIII.11.1-6)
NOTES TO CHAPTER IV
NOTES TO CONCLUSION