Hermann Broch began writing this book under extraordinary circumstances as a prisoner in a German concentration camp in World War II. What emerged from that horrifying experience is one of the preeminent literary works of the 20th century.

The book is about Virgil's infamous deathbed request that his magnum opus, The "Aeneid," be burned because it was imperfect. Most of the book is told in a dazzling but recondite stream-of-consciousness mode, but the best section is Virgil's deathbed discussion with Caesar Augustus.

Broch invokes 20th century ideals such as the "authenticity" of art as a mirror to the natural world. We also encounter the dilemma of works of art that are incomplete & not polished completely. Aristotle said that in a perfect art work, every word contributes to the organic whole. Arbitrarily remove or add one word, says Aristotle, and the whole work comes crumbling down. Virgil uses this motif as his justification for wishing his beloved poem burned. Juxtaposed with this paradigm are the pleadings of Augustus that it is Virgil's duty as a Roman citizen to let his poem be read by all the world. After all, the literary excursion was to be Rome's national epic. The scene is, unmistakably, magnificent.

A considerable amount of background reading is required before attempting to take on this work. At a bare minimum, read the entire canon of Virgil, especially the "Aeneid." A workable familiarity of Roman history up until and including Augustus is necessary and a biography of Virgil (I would recommend Peter Levi's) would also be helpful. I am a fairly well-read guy, but some of the allusions went over my head.

The stream-of-consciousness style is interesting, but can make the book rather dense. Many of the sentences go on for pages and pages. The book attempts to capture the free-thought attributes of the machinery of Virgil's mind. An engrossing work of prose.

"Burn the Aeneid" Virgil instructs his friends from his deathbed. Broch, as Dante did before him, uses Virgil as a spiritual guide in this exploration of the metaphysical and moral imagination. Here, the dying poet, reflects feverishly, consciously transcending his decaying form into the infinite universe-- and despairs of hope, as his sheltering idealism is confronted with the reality of human existence, the limits and futility of his understanding. Virgil's trust in a civilized humane society, one that, at its source, springs from the individual's seeking of beauty, freedom and wisdom, disintegrates, into one represented by the predations of the mob of the streets of Rome, as does his confidence in the Aeneid, his opus. A dialogue on the fate of the Aeneid ensues between Virgil and Augustus, forming a complex debate on art and government. Virgil defends the purity of the perceived world as metaphor, free of the allusions of art; Augustus proposes the nobility of art as symbol for government. A delicate lattice of oppositions and constructive contradictions braces the book. This is, though, ultimately, a story of the human journey, a struggle with darkness and doubt, reconciliation, and a rise to salvation. The remarkable final section has the celestial translucence of 'Paradiso'. The Death of Virgil is among a handful of true literary masterpieces this century whose reach, that of the entire compass of human impulse, consciousness and conscience, has equalled its grasp. It is a work of intellectual and spiritual adventure. Broch orchestrates an inquiry and fugue, sombre and passionate, into life, encompassed in a sensuous poetic oration-- and Virgil continues to cast his spell on the divine and the aesthetic order, employed by masters to illuminate our deepest perplexities and aspirations.

A magnificent book by a true master. A journey into human soul, combining the novel with the symphony (note the parts of the book and the difference in the sentences for start). Do not miss it.