<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0185-3058</journal-id>
<journal-title><![CDATA[Nova tellus]]></journal-title>
<abbrev-journal-title><![CDATA[Nova tellus]]></abbrev-journal-title>
<issn>0185-3058</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Filológicas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0185-30582015000200251</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Virgilio y el orfismo]]></article-title>
<article-title xml:lang="en"><![CDATA[Virgil and the Orphism]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Bauzá]]></surname>
<given-names><![CDATA[Hugo Francisco]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Buenos Aires  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Argentina</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2015</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2015</year>
</pub-date>
<volume>32</volume>
<numero>2</numero>
<fpage>251</fpage>
<lpage>269</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0185-30582015000200251&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0185-30582015000200251&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0185-30582015000200251&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: Si bien Virgilio deja entrever huellas de diferentes sistemas filosófico-religiosos, es el orfismo el que parece imponerse como eje articulador. Según sus primeros biógrafos, antes de emprender su viaje a Grecia, el poeta encargó a su amigo L. Vario que, en caso de que algo le sucediera, quemara la Eneida. Por tanto, si atendemos a ese incumplido deseo, el corpus que habría querido legar a la posteridad estaría constituido sólo por Églogas y Geórgicas, pero no se hace mención de la Appendix Vergiliana. El vate escoge la égloga de Títiro y Melibeo como pórtico de su vasto corpus aun cuando no es la primera de las Églogas por él compuesta. Tal composición remite a una imagen órfica cuando explica que el canto de uno de los pastores tiene efecto taumatúrgico cuya dýnamis conmueve la natura toda. La última Geórgica se cierra igualmente con una referencia al orfismo expresada en el epýllion de Orfeo y Eurídice; vemos así que la figura de Orfeo abraza a manera de símbolo la totalidad de sus composiciones. Más aún, si consideráramos la Eneida, en la katábasis del héroe al mundo de ultratumba, también encontramos al vate tracio en un sitio de preferencia.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: Even though Virgil suggests traces of different philosophical and religious systems, Orphism seems to prevail as central theme. According to his first biographer, before traveling to Greece the poet commissioned his friend L. Varius to burn the Aeneid, in case something happened to him. Therefore, if we consider that unfulfilled desire, the corpus he would have wanted to bequeath to posterity would consist only in Eclogues and Georgics, no reference of the Appendix Vergiliana. The poet chooses the eclogue of Tityrus and Meliboeus as a gateway of his vast work even if it is not the first of the Eclogues composed by him. This composition refers to an Orphic image when he explains that the singing of one of the pastors has thaumaturgic effect that moves the whole nature. The last Georgic also ends with a reference to Orphism expressed in the epýllion of Orpheus and Eurydice; thus we see that the figure of Orpheus embraces all his compositions as an important symbol. Moreover, if we consider the Aeneid in the hero&#8217;s katábasis to the underworld, the Thracian bard is also found in a preferential place.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Virgilio]]></kwd>
<kwd lng="es"><![CDATA[Orfeo]]></kwd>
<kwd lng="es"><![CDATA[orfismo]]></kwd>
<kwd lng="en"><![CDATA[Virgil]]></kwd>
<kwd lng="en"><![CDATA[Orpheus]]></kwd>
<kwd lng="en"><![CDATA[Orphism]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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<source><![CDATA[rel]]></source>
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<source><![CDATA[Fuentes del pensamiento europeo]]></source>
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</article>
