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    Contents:
  • INTRODUCTION.
  • Book 1: P. VERGILI MARONIS
  • AENEIDOS
  • LIBER PRIMUS.
  • Book 2: P. VERGILI MARONIS
  • AENEIDOS
  • LIBER SECUNDUS.
  • Book 3: P. VERGILI MARONIS
  • AENEIDOS
  • LIBER TERTIUS.
  • Book 4: P. VERGILI MARONIS
  • AENEIDOS
  • LIBER QUARTUS.
  • Book 5: P. VERGILI MARONIS
  • AENEIDOS
  • LIBER QUINTUS.
  • Book 6: P. VERGILI MARONIS
  • AENEIDOS
  • LIBER SEXTUS.
    		•

    John Conington, Commentary on Vergil's Aeneid, Volume 1

    P. VERGILI MARONIS: AENEIDOS: LIBER SEXTUS.

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    "sing" occurs once on this page.

    [645]  Orpheus was one of the mythical fathers of song, and his name was associated with revelations about the lower world, supposed to be preserved by secret societies (Dict. M. Orpheus), so that he is naturally made the harper who plays while the blessed spirits dance and sing. He is called `sacerdos,' as in Hor. A. P. 391 he is called sacer interpresque deorum. The long robe was characteristic of musicians, as Cerda shows, comp. Prop. 3. 23. 16, Pythius in longa carmina veste sonat (of the statue of Apollo in the Palatine temple), and also Hor. A. P. 215, Ov. F. 6. 654, 688, where the long robes of the `tibicines' are mentioned and accounted for. `Cum veste' above v. 359. Elsewhere we have `in veste,' as 12. 169, puraque in veste sacerdos.



    The National Endowment for the Humanities provided support for entering this text.

    This text is based on the following book(s):
    John Conington. P. Vergili Maronis opera. P. Vergili Maronis Opera. The works of Virgil, with a Commentary by John Conington, M.A. Late Corpus Professor of Latin in the University of Oxford. London. Whittaker and Co., Ave Maria Lane. 1876.
    OCLC: 24674386


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