By Leah Kronenberg
During this booklet Professor Kronenberg indicates that Xenophon's Oeconomicus, Varro's De Re Rustica and Virgil's Georgics aren't easily works on farming yet belong to a convention of philosophical satire which makes use of allegory and irony to query the which means of morality. those works metaphorically attach farming and its similar arts to political lifestyles; yet rather than featuring farming in its conventional guise as a good image, they use it to version the deficiencies of the lively lifestyles, which in flip is juxtaposed to a popular contemplative lifestyle. even if those 3 texts should not often taken care of jointly, this booklet convincingly connects them with an unique and provocative interpretation in their allegorical use of farming. It additionally fills a huge hole in our figuring out of the literary affects at the Georgics through exhibiting that it's formed not only via its poetic predecessors yet by way of philosophical discussion.
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Additional resources for Allegories of Farming from Greece and Rome: Philosophical Satire in Xenophon, Varro, and Virgil
As Hundert (1994) notes, the Augustan moralists were fiercely opposed to “vices” like greed and luxury, and “[f]or the Augustans, the primary language of political opposition engaged a vocabulary that opposed virtue to corruption, the dignity of landed to mobile property, and public service to self-interest” (9). 86 While there were many differences between the moral and political climates of Mandeville’s England and the Greece and Rome of Xenophon, Varro, and Virgil, there were also some interesting similarities that provide further possible connections between these writers’ political and moral allegories.
I know of no convincing proof that such an unusual, unsocial society exists” (40). Williams’ (1985) distinction between “ethics” and “morality” has been influential (on 6–14). He reserves the terms “moral” or “morality” for a narrower subset of ethics that is usually associated with Kant, and focuses on moral obligation or duty (see 174–96). Myles (2006) 110–13 makes a similar distinction between ethics and morality but reverses the terms and uses “moral” to indicate behavior that is right according to prevailing social standards and “ethical” to indicate behavior that is judged against absolute standards of right and wrong.
When this happens, an ironic consequence may be that the parody helps in the revival of its object at a time when readers react against the parodist’s point of view and identify the target as their forerunner: for example, the romantic revival of medieval literature, a process that often involved ‘amadisizing’ the Quixote itself” (67–68). ” (131–32). Booth (1974) 44 and 81, respectively. ” Thomas’ article has further bibliography on debates among classicists about ambiguity and irony, particularly as relates to the study of Virgil.