scholarly journals Merry's Fragments of Latin Poetry - Selected Fragments of Roman Poetry, from the earliest times of the Republic to the Augustan Age, edited with Introductions and Notes by W. W. Merry, D.D., Rector of Lincoln College, Oxford. Clarendon Press. Pp. 260. Price 6s. 6d.

1892 ◽  
Vol 6 (5) ◽  
pp. 219-221
Author(s):  
A. S. Wilkins
Keyword(s):  
Latin Poetry ◽  
Roman Poetry ◽  
Augustan Age ◽  
The Republic ◽  
Lincoln College

Caesar’s Mistakes and Horace’s Errores

2021 ◽  
pp. 199-230
Author(s):  
Basil Dufallo
Keyword(s):  
Latin Poetry ◽  
Julius Caesar ◽  
Main Concern ◽  
Civil Conflicts ◽  
Attitudes And Behaviors ◽  
Its Analysis ◽  
Roman Culture ◽  
And Behaviors ◽  
Augustan Age ◽  
The Republic

Although the book’s main concern is with Latin poetry of the Republic proper, Chapter 5 extends its analysis into the “Triumviral Period” (44–29 BCE) and thus closer to the Augustan Age. As Rome fell into a new round of bloody civil conflicts through which two essentially monarchic rulers—first Julius Caesar and then Octavian/Augustus—sought dominion over the whole empire, the poetic conceit of making one’s way through disorienting circumstances became freighted with new meaning. Vergil in the Aeneid was not the only poet to adopt this conceit in response to these events. But recognizing as much requires a different understanding of how the theme of becoming lost relates to the expansion of Roman power and the interplay between Greek and Roman culture. Rather than use the motif to figure travel in far-flung areas of the empire, Horace’s Satires, book 1, with its Epicurean satirist personae vulnerable to some of the same charges of queer attitudes and behaviors as Lucretius, limits its ramblings geographically to Rome and Italy. In doing so, however, it makes them into a means of suggesting the stable—and potentially universal—power of the man already dominant in the whole of the Western empire: Octavian. Horace’s presentation involves a skillful handling of Octavian’s links to the divine, particularly the divinity of his deceased adoptive father, Julius Caesar, whose worship Octavian himself had already introduced into state-sponsored cult. Satires 1 thus reveals awareness of the empire-wide projection of power on which Octavian’s position of leadership was coming to depend.

The Literary Substrata to Juvenal's Satires

1973 ◽  
Vol 63 ◽  
pp. 148-160 ◽  
Author(s):  
G. B. Townend
Keyword(s):  
Essential Element ◽  
Old Comedy ◽  
Basic Meaning ◽  
Roman Poetry ◽  
Augustan Age

In Roman poetry of the late Republic and the Augustan age, allusiveness was an essential element in poetic technique. In Virgil in particular there is an immense debt to earlier writers for words, phrases and rhythms, all contributing to the poet's effect; although the reader's understanding of the basic meaning of the lines suffers little from his limited awareness of the more erudite allusions. The same thing is true of Horace, with the added consideration that in satire, as in Athenian Old Comedy, burlesque and parody play an important part. Only occasionally is there reason to suspect that our ignorance of Lucilius or other lost writers, Greek or Latin, prevents us from recognizing the whole tone of a passage. It is difficult to ascertain whether Lucilius himself had made literary borrowing an essential element in the satirist's technique; but it must be accepted as such from Horace onwards.

scholarly journals The River Araxes in the Roman Poetry

2020 ◽  
Vol 22 ◽  
pp. 7-46
Author(s):  
Tomasz Babnis
Keyword(s):  
Great Majority ◽  
Classical Literature ◽  
Roman Domination ◽  
Clear Cut ◽  
Roman Poetry ◽  
Augustan Age ◽  
Recurrent Motif

The River Araxes In the Roman Poetry The Araxes flowing through the Armenian Highlands was one of the rivers mentioned quite often in Roman poetry from the Augustan Age up to the 5th century. In line with the traditional tendency of classical literature, the Araxes was usually shown as a pars pro toto of a country, in this case Armenia, which was one of the aims of the Roman eastern policy and the object of rivalry between the Empire and Parthia/Persia. The great majority of references to the Araxes was connected with the theme of Roman expansion in the East (especially with the campaign of Tiberius in 20 BC and later with the Roman-Parthian war 58–63 AD), which can be observed best in the recurrent motif of a bridge across this river, a clear-cut symbol of Roman domination over Armenia and – more generally – over all of the East.

Dichtung der augusteischen Epoche und der frühen Kaiserzeit

2021 ◽  
Author(s):  
Niklas Holzberg
Keyword(s):  
Self Reflection ◽  
University Of Munich ◽  
Roman Poetry ◽  
Augustan Age ◽  
The University ◽  
First Time

Niklas Holzberg, who until his retirement in 2011 was a professor of Classics at the University of Munich, of-fers a collection of twenty-three papers on Roman poetry of the Augustan age and the early imperial era. Published between 1997 and 2019 in periodicals and anthologies, fifteen of them were originally written in English or Italian and are published here in German for the first time. They discuss works by Virgil, Horace, Ovid, the elegists, Martial, Ps.-Virgil, Ps.-Tibullus and Ps.-Seneca. The interpretations of the texts focus on self-reflection as expressed by intertextuality and implicit metapoetics, sequential reading of poetry books and the recognition of pseudepigraphs as literary games played by anonymous authors impersonating classical poets.

Ancient Rome: The Republic and the Augustan Age

2019 ◽  
pp. 85-105
Author(s):  
Derek Attridge
Keyword(s):  
Ancient Rome ◽  
Skilled Readers ◽  
Latin Verse ◽  
Augustan Era ◽  
Augustan Age ◽  
The Republic

This chapter begins with earliest form of Latin verse, the Saturnian, dating from the early centuries after Rome’s founding; little is known about it, however. A native tradition of written verse was established when Ennius created a Latin equivalent of the Greek hexameter, and there is evidence of public performances of his epic verse. During the Late Republic, the two major poets were Lucretius and Catullus, the former inviting a reader imbibing versified philosophy on the page, the latter inviting performance in a convivial setting—but also incorporating performance in the verse itself. Cicero, in the same period, provides testimony to the practice of having skilled readers at symposia. The two poets who dominate the Augustan era, Virgil and Horace, also represent opposing attitudes to performance, the former embracing it, the latter professing to abhor it. Allusions by Ovid and Propertius to poetic performance are also discussed.

Vergil, Horace, Tibullus: Three Collections of Ten

Ramus ◽  
1978 ◽  
Vol 7 (2) ◽  
pp. 79-105 ◽  
Author(s):  
Eleanor Winsor Leach
Keyword(s):  
Latin Poetry ◽  
Central Figure ◽  
History Of ◽  
Roman Poetry ◽  
Close Friendship ◽  
Compositional Design

As examples of the Roman poetry book composed of ten poems, Vergil's Eclogues, Horace's Sermones 1 and Tibullus' first book of Elegies are conspicuous for their similarity of form, all three containing poems of uniform metre and comparable length. Although we cannot be certain that these were the first or only ten poem books in the history of Latin poetry, we cannot help but notice the circumstances that draw them together: their close succession within the space of a decade, their identical positions as the first major publication of each author's career and the well-documented personal association between Horace as central figure of the succession and his two fellow poets, especially his close friendship with Vergil at the time he was composing the Satire Book. While inconclusive in themselves, these circumstances are an inducement to look closely at such similarities of compositional design as the books themselves may show.

Promoting Civility in the Republic of Letters: Three Sedan Scholars and the Secular Muse

2018 ◽  
Vol 3 (2) ◽  
pp. 113-154
Author(s):  
Alexander J.K. Farquhar
Keyword(s):  
Seventeenth Century ◽  
Strong Sense ◽  
Latin Poetry ◽  
Republic Of Letters ◽  
Classical World ◽  
The World ◽  
The Republic

In the Reformed academy of Sedan in the early seventeenth century a manuscript was compiled containing poems which have remained largely understudied, despite the manuscript’s publication in 1913. The poems were the work of Arthur Johnston, Andrew Melville, and Daniel Tilenus, two Scots and a Silesian; all were professors in the Huguenot Academy. As teachers there they operated in the world of Reformed scholasticism, and historiography has understandably tended to view their lives, therefore, through a religious lens. The poems in this manuscript suggest, however, that such a perspective is misleading. Intertwined with the Reformed context of their lives in Sedan was a strong sense of humanist community, focusing upon the classical world; the writing of neo-Latin poetry allowed these men, who could be at variance in the confessional world, to share concerns and offer supportive advice to each other. The poems reveal a friendship among them which was public enough for their poems to be grouped as the spine of this manuscript.

The Roman Poetry Book

2019 ◽  
pp. 109-140
Author(s):  
Stephanie Ann Frampton
Keyword(s):  
Latin Poetry ◽  
The World ◽  
Roman Poetry

After discussing the now famous papyrus fragment discovered in 1979 in Lower Nubia and covered with lines of poetry identified with the elegist Cornelius Gallus, this chapter focuses on reconstructing the material habitus of Latin poetry within the Roman bookroll. Reviewing programmatic passages in Ennius, Plautus, Catullus, Ovid, and especially Horace and Virgil, the chapter shows many of the ways that Roman authors made reference to writing and textual materiality within their work to signal and often to resist intimacy with readers in the world outside of their poems. Focusing on the symbolic importance of the special copies that authors may have had prepared for friends and patrons, known now as “presentation copies,” these readings ultimately help to illuminate the surprising rarity of explicit references to writing in Virgil, an author, like others, exquisitely concerned with managing relationships with elite readers by way of his texts.

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