Giovanni Gioviano Pontano (1429–1503) served five kings of Naples as a courtier, official, and diplomat, and earned even greater fame as a scholar, prose author, and poet. His Dialogues reflect his diverse interests in religion, philosophy, and literature, as well as in everyday life in fifteenth-century Naples. They are especially important for their vivid picture of the contemporary gatherings of Pontano and his friends in the humanist academy over which he presided from around 1471 until shortly before his death. Volume 2 includes the Actius, named for one of its principal speakers, the great Neo-Latin poet Jacopo Sannazaro, and contains a perceptive treatment of poetic rhythm, the first full treatment of the Latin hexameter in the history of philology. The dialogue continues with a discussion of style and method in history writing, a landmark in the history of historiography. This is a new critical edition of the Actius and the first translation of this dialogue into English.

Giovanni Gioviano Pontano (1429–1503) served five kings of Naples as a courtier, official, and diplomat, and earned even greater fame as a scholar, prose author, and poet. His Dialogues reflect his diverse interests in religion, philosophy, and literature, as well as in everyday life in fifteenth-century Naples. They are especially important for their vivid picture of the contemporary gatherings of Pontano and his friends in the humanist academy over which he presided from around 1471 until shortly before his death. This volume completes the I Tatti edition of Pontano’s five surviving dialogues and features both Aegidius and Asinus. The conversation in Aegidius, named for the Augustinian theologian Giles of Viterbo, ranges over various topics, including creation, dreams, free will, the immortality of the soul, the relation between heaven and earth, language, astrology, and mysticism. The Asinus is less a dialogue than a fantastical autobiographical comedy in which Pontano himself is represented as having gone mad and fallen in love with an ass. This is the first translation of these dialogues into English.

"Donkeys get little enough respect, and to have been made the subject of a comic novel has done little for their reputation or for that of the author, Apuleius. Julia Haig Gaisser follows Apuleius and his donkey through a journey of many centuries--a journey as remarkable as the one recounted in the novel. She is wise, witty, learned, and sharp-eyed: the perfect guide."--James J. O'Donnell, Georgetown University

"This is a terrific book. Julia Gaisser follows the fortunes of the Roman sophist Apuleius and his masterpiece, the "Golden Ass," in the centuries after the author's death. Through a richly learned and imaginative inquiry, she shows us how the text itself survived, first in manuscript and then in print, how scholars tried to understand it, and how it sparked the curiosity and creativity of philosophers, imaginative writers, and artists working in radically different times and contexts. Meticulous in its scholarship, interdisciplinary in its method, and encyclopedic in its erudition, this study can serve as a model for anyone tracing the afterlife of an ancient or modern author."--Anthony T. Grafton, Princeton University

"Gaisser undertakes a comprehensive review of the fortunes of Apuleius' famous Latin novel about a man who is transformed into a donkey. She deploys with elegance and wit her research on the reception of this work from antiquity to the renaissance. Her attention to visual representations of Apuleian episodes is particularly welcome."--Glen W. Bowersock, professor emeritus, Institute for Advanced Study

"This is a superb piece of scholarship that will energize the readership of the "Golden Ass," It gathers and analyzes information that has been hidden fordecades in a labyrinth of German, French, and Italian manuscripts, libraries, and journals. It will transform what kind of readings we can perform on the "Golden Ass" by providing a rich and accurate source for reception theory and intertextual studies."--Benjamin Lee, Oberlin College

Giovanni Pontano (1426-1503), whose academic name was Gioviano, was the most important Latin poet of the fifteenth century as well as a leading statesman who served as prime minister to the Aragonese kings of Naples. His Dialogues are our best source for the humanist academy of Naples which Pontano led for several decades. They provide a vivid picture of literary life in the capital of the Aragonese seaborne empire, based in southern Italy and the Western Mediterranean. This first volume contains the two earliest of Pontano's five dialogues. Charon, set in the underworld of classical mythology, illustrates humanist attitudes to a wide range of topics, satirizing the follies and superstitions of humanity. Antonius, a Menippean satire named for the founder of the Neapolitan Academy, Antonio Beccadelli, is set in the Portico Antoniano in downtown Naples, where the academicians commemorate and emulate their recently-deceased leader, conversing on favorite topics and stopping from time to time to interrogate passersby. This volume contains a freshly-edited Latin text of these dialogues and the first translation of them into English.

Tibullus is considered one of the finest exponents of Latin lyric in the golden age of Rome, during the Emperor Augustus' reign, and his poetry retains its enduring beauty and appeal. Together these works provide an important document for anyone who seeks to understand Roman culture and sexuality and the origins of Western poetry. The new translation by Rodney Dennis and Michael Putnam conveys to students the elegance and wit of the original poems. This title is ideal for courses on classical literature, classical civilization, Roman history, comparative literature, and the classical tradition and reception. The Latin verses will be printed side-by-side with the English text. Explanatory notes and a glossary elucidate context and describe key names, places, and events. An introduction by Julia Haig Gaisser provides the necessary historical and social background to the poet's life and works. This title includes the poems of Sulpicia and Lygdamus, transmitted with the text of Tibullus and formerly ascribed to him.

Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: TITI LIVI HISTORIARUM AB URBE CONDITA LIBER I. 1 FACTURUSNE operae pretium sim, si a primordio urbis res populi Romani perscripserim, nec satis scio, nec, si sciam, 2 dicere ausim, quippe qui cum veterem tum vulgatam esse rem videam, dum novi semper scriptores aut in rebus certius aliquid allaturos se aut scribendi arte rudem vetustatem superaturos 5 3 credunt. utcumque erit, iuvabit tamen rerum gestarum memoriae principis terrarum populi pro virili parte et ipsum consuluisse; et si in tanta scriptorum turba mea fama in obscuro sit, nobilitate ac magnitudine eorum me, qui nomini 4 officient meo, consoler, res est praeterea et immensi operis, ut 10 A somewhat confused opening. The outline is: ?Of the probable value of his work he thinks it trite to make any prediction; two things are against its success, the multitude of previous writers, and the insignificant and half-forgotten character of the primitive history of Rome: in any case he will find his reward in the consciousness of having done something for the glory of his country, and the distraction of his mind from a painful present. I. Facturusne operae pretium sim. Here the archetype had ' sim pretium, ' but we are enabled to correct it by the authority of Quintilian. Inst. Or. 9. 4, 74. According to W., ' whether I shall succeed, ' ' whether my work will be appreciated.' But Livy could not say that it was a trite or common practice for writers to declare at the beginning of their books that those books would be appreciated. The phrase occurs in 25. 30 and 27. 17. In the former of these passages W. would again translate ' succeed.' But if that passage be examined, and it be remarked how ' si operae pretium faciat' stands opposed to ' si malle obsideri pergat, ' it will appear that its sense there is that wh..

Tibullus is considered one of the finest exponents of Latin lyric in the golden age of Rome, during the Emperor Augustus' reign, and his poetry retains its enduring beauty and appeal. Together these works provide an important document for anyone who seeks to understand Roman culture and sexuality and the origins of Western poetry. The new translation by Rodney Dennis and Michael Putnam conveys to students the elegance and wit of the original poems. This title is ideal for courses on classical literature, classical civilization, Roman history, comparative literature, and the classical tradition and reception. The Latin verses will be printed side-by-side with the English text. Explanatory notes and a glossary elucidate context and describe key names, places, and events. An introduction by Julia Haig Gaisser provides the necessary historical and social background to the poet's life and works. This title includes the poems of Sulpicia and Lygdamus, transmitted with the text of Tibullus and formerly ascribed to him.

Oxford Readings in Catullus is a collection of articles that represent a sampling of the most interesting and important work on Catullus from around 1950 to 2000, together with three very short pieces from the Renaissance. The readings, selected for their intrinsic interest and importance, are intended to be thought-provoking (and in some cases provocative) and to challenge readers to look at Catullus in different ways. They demonstrate a number of approaches - stylistic, historical, literary-historical, New Critical, and theoretical (of several flavours). Such hermeneutic diversity is particularly appropriate in the case of Catullus, whose oeuvre is famously - some might say notoriously - varied in length, genre, tone, and subject matter. The collection as a whole demonstrates what has interested Catullus' readers in the last half century and suggests some of the ways in which they might approach his poetry in the future. It is accompanied by an introduction by Julia Haig Gaisser on themes in Catullan criticism from 1950 to 2000.

This is the first general study of the fortunes of Catullus in the Renaissance. After a brief introduction tracing the transmission of the poet from antiquity to the middle of the fifteenth century, the author follows his reception and interpretation by editors, commentators, university lecturers, and poets from the first edition (1472) through the sixteenth century. Their text and interpretations not only influenced the ways in which later generations (including our own) would read the poet, but also provide windows into their own intellectual and historical worlds, which include Poliziano's Florence, Rome under the Medici Pope Leo X and his puritanical successor Adrian VI, the Paris of Ronsard and Marc-Antoine de Muret, post-Tridentine Rome, sixteenth-century Leiden, fifteenth-century Verona, where Catullus was an object of patriotic veneration, and Pontano's Naples, where poets learned to read and imitate him through Martial's imitations.