Kategoria BISAC: Foreign Language Study >> Latin

"The Odes of Horace" are the lyric masterpieces of the golden age of Latin literature. They speak of the politics of the time, of the return to peace after the agony of civil war; they are imbued with consciousness of the brevity of life and the inevitability of death; but they are also filled with the pleasures of friendship, wine and love. The English have always responded to their humanity and humour, and have translated and quoted them more than any other Latin poetry, so that they are woven into the fabric of English literature. This new verse translation departs from the vogue for...

The Roman statesman Lucius Licinius Murena led legions in the Mithridatic Wars and subsequently became administrator of Transalpine Gaul. On his election as consul in 62 BC he was accused of bribery and defended by (among others) Cicero, in this famous speech. Murena was acquitted, though the balance of opinion is that he was probably guilty. This school edition includes introduction, the Latin text, notes and vocabulary.

This edition, first published by Macmillan in 1943, has the straightforward utilitarian aims of all those prepared by H.E. Gould and J.L. Whiteley: a basic introduction, reliable text, suitable illustrations, and a vocabulary that gives only those meanings that are required. Last and perhaps most important of all, adequate assistance is provided in the notes, so that the student may feel capable of translating with confidence and accuracy.

'A systematic study of all the Satires, this book includes] for each Satire an exposition of argument and structure illustrated by pieces of either idiomatic translation of paraphrase, a description ofhistorical and social background, and comments on the quality of the poem ... this happy blend of historical scholarship and literary criticism is aimed at a wide audience.' Michael Coffey, Classical Review

Book I of Caesar's Commentaries on the Gallic War starts with an account of Gaul and goes on to cover Caesar's defeat of first the Helvetians and then the Germans under Ariovistus. The Introduction to this edition of the Latin text, first published in 1957, gives background information on the Rome of Caesar's time, on Caesar himself and on the composition and reliability of his commentaries, on Gaul, and on the Roman Army. Useful maps are provided, along with Notes on the text, Index of names, and a Vocabulary.

This impeccable edition still stands the test of time for students at
school and university who wish to approach Cicero's major speeches
against Mark Antony after the assassination of Julius Caesar.
Denniston's commentary gives assistance with grammatical matters but
concentrates on presenting plainly, yet fully, the evidence bearing on
problems of the historical background and features of Roman life and
institutions to which the text alludes. There is a clear introduction
which sets out the speeches' historical context and provides an analysis of their content.

This study appraises the work of all the Roman satirists, from the 2nd century BC, to the end of the reign of Hadrian in AD 138. The satirists' work is shown to reflect the constantly changing society in which they lived, and its topics range from the morally earnest to the bawdy. Certain themes are examined which are common to some degree to all the satirists - autobiographical revelation, personal invective, political and ethical judgements and literary criticism. The book provides an exposition of the tradition of verse satire from Lucilius through Horace and Persius to Juvenal, with an...

This edition comprises the Roman historian Suetonius' lives of the first three emperors of AD 69, the Year of the Four Emperors. The Latin text is accompanied by an introduction and useful historical commentary.

Starting from the conviction that Latin literature gains from being viewed as performance, the author sees the creation of different characters or "masks" in Latin literature as a result of the Greco-Roman training in rhetoric. She treats the texts of Roman satire as drama and focuses on the characters whose voices are heared in these performances: the angry satirist, the mocking satirist and the smiling satirist. She goes on to explore the implications of the use of these "masks" for authors and audiences of satire.