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| Introduction | |
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| Preface to the First Edition | |
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| The Vergil of Literary Tradition | |
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| Importance for Vergil's reputation of the Aeneid | |
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| Predilection of the Romans for Epic Poetry | |
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| National character of the Aeneid, and its connection with the Roman sentiment | |
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| First impressions produced by the Poem | |
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| Value of the grammatical, rhetorical and erudite elements in the Poem, and importance of these features from the conteemporary point of view | |
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| Nature of the earliest critical works on Vergil, and character of the first judgments passed on him | |
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| Proofs of the Poet's popularity in the best days of the Empire | |
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| Vergil in the schools and the grammatical treatises | |
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| Vergil in the rhetorical schools | |
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| Reaction in favour of the earlier writers; effect of this upon Vergil; Fronto and his followers, Aulus Gellius | |
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| Veneration felt for Vergil; the Sortes Vergilianae | |
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| Popularity of Vergil | |
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| The Centos | |
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| The Commentators, Aelius, Donatus and Servius | |
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| Philosophical interpretations | |
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| Exaggerations of the historical allegory in the Bucolics | |
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| Vergil regarded as a rhetorician; the rhetorical commentary of Tib. Cl. Donatus | |
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| Macrobius, the idea of Vergil's omniscience and infallibility | |
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| Vergil as an authority on grammar; Donatus and Priscian | |
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| Nature of Vergil's reputation at the downfall of the Empire | |
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| Christianity and the Middle Ages | |
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| Survival of the ancient scholastic traditions; the limits of this | |
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| Vergil as the incarnation of grammar | |
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| Position of Vergil and the other classical pagan writers in the midst of enthusiasm for christianity | |
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| Vergil as prophet of Christ | |
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| The philosophical allegory | |
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| Nature and causes of the allegorical interpretation of Vergil; Fulgentius; Bernard de Chartres; John of Salisbury; Dante | |
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| Grammatical and rhetorical studies in the Middle Ages; use made of Vergil in these | |
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| The Vergilian biography; its vicissitudes; literary legends as to his life; distinction betwen these and the popular legends | |
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| Rhetorical exercises in verse on Vergilian themes | |
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| Medieval Latin poetry in classical form | |
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| Small success of the monks in this kind of poetry | |
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| Rhythmical poetry | |
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| Clerical conception of antiquity in the Middle Ages | |
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| Vergil's position in this conception | |
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| The causes that led to the Renaissance | |
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| The reawakening of the Laity | |
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| Popular literature | |
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| The features in this peculiar to Italy | |
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| Dante | |
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| Character and tendency of his intellectual activity | |
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| Limits of his classical culture | |
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| The points in this where he approaches the medieval monks and where he differs from them | |
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| Consideration of the degree to which he was a forerunner of the Renaissance | |
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| His felling for classical poetry | |
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| The ancient Roman Empire and Dante's Italian partriotism | |
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| Reason of the sympathy between Dante and Vergil | |
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| The bello stile of Dante and Vergil | |
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| Vergil in the Divina Commedia | |
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| Historical and symbolical reasons for his appearance there | |
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| Why Vergil, and not Aristotle, is Dante's guide | |
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| Points of difference between Dante's type of Vergil and that usual in the Middle Ages | |
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| Elimination of certain features, idealisation of others | |
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| Vergil and Christianity in Dante's poem | |
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| The nature of Vergil's omniscience there | |
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| The prophecy of Christ | |
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| The relation between Vergil and Statius | |
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| Vergil and Dante's ideal Empire | |
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| Vergil in the Dolopathos | |
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| The merging of the scholastic tradition in the popular | |
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| THE VERGIL OF POPULAR LEGEND | |
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| Relation of romantic literature to the classical tradition | |
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| Classical antiquity romanticised | |
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| The Romance of Aeneas | |
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| The Dolopathos | |
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| The Magician and t | |