Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Propertius, though his works are small in volume, is one of the foremost poets of the Augustan age and his writing has a certain appeal to modern tastes. Book II is especially suitable for the reader wanting a representative selection of Propertius" poetry. It stands on its own, having appeared in the first place as a separate collection; it reflects a distinct phase of the poet"s activity (and of his emotional development); and it is the book which made his reputation. This edition is designed for the pocket of the university student, but it should find a wider audience among classicists of all ages. The introduction provides the necessary historical and critical background and relates Book II to the rest of the elegies; the notes are helpful and to the point; and the text has a reasonable minimum of apparatus. There are no modern editions of this size and scope.

This edition of Propertius Book III follows the general style and arrangement of Camps' editions of Books I and IV. Camps presents, without concealing difficulties and uncertainties, a fairly conservative but readable and coherent text, together with such annotation as may help the modern reader of Latin to understand the language and follow the thought of this difficult, much disputed, but very rewarding poet. While the book may be of interest to students and amateurs of Latin in general, the editor has had in mind the particular needs of undergraduates and of sixth forms. Of the twenty-five elegies which compose this book, all but two are related to the theme of love: but the treatment has become curiously remote and impersonal. After the first two books the touch is light, even cynical - except on the last two elegies, where the poet takes an embittered farewell of Cynthia. In his introduction Camps writes of the literary qualities of the poems and suggests some valid critical approaches for the modern reader.

In this edition of Propertius Book IV, Camps follows the general lines of his earlier edition of Book I (Cambridge, 1960). He has presented, without concealing difficulties and uncertainties, a fairly conservative but readable and coherent text, together with such annotation as may help the modern reader of Latin to understand the language and follow the thought of this difficult, much disputed, but very rewarding poet. While the book may be of interest to students and amateurs of Latin in general, the editor has had in mind the particular needs of undergraduates and of sixth forms. The notes are weighted differently from those in Butler and Barber's edition of 1933 and the text of that edition and from the Oxford text of 1960. As far as we know, this is the poet's last work. He has moved away from his earlier preoccupation with the theme of love and the eleven careful elegies that compose the present book are on a variety of subjects. Most are concerned with Roman antiquities. The last is an elaborate and celebrated epitaph on a lady of Roman nobility. But perhaps the poems likely to appeal most to a modern reader are the two in which Propertius recalls and exhibits in a new light, the figure of Cynthia, the declared inspiration of the elegies of Book I.

Propertius" fourth book is his most challenging and innovative. It disrupts genre; dislocates time and order; and meditates on gender, perception and history. A sort of postmodernism combines with narrative and structural verve, incisively physical writing and a gallery of colourful characters. This edition makes a demanding and rewarding text more accessible and more intelligible. The text is new; help and fresh ideas are offered on the text and meaning of words. A wide range of literary, inscriptional and archaeological material is used to illuminate this many-sided poetry. Much more space is given than in previous editions to literary interpretation and historical contextualization, in the light of modern work. The book is approached as a dynamic sequence of poems rather than a collection. The edition should be valuable to both students and scholars.

Propertius, though his works are small in volume, is one of the foremost poets of the Augustan age, and his writing has a certain appeal to modern tastes (witness the admiration of Ezra Pound). Book I is especially suitable for the reader wanting a representative selection of Propertius' poetry. It stands on its own, having appeared in the first place as a separate collection; it reflects a distinct phase of the poet's activity (and of his emotional development); and it is the book which made his reputation. This edition is designed for the pocket of the university student, but it should find a wider audience among classicists of all ages. The introduction provides the necessary historical and critical background and relates Book I to the rest of the elegies; the notes are helpful and to the point; and the text has a reasonable minimum of apparatus. There are no modern editions of this size and scope.

Die Bibliotheca Teubneriana, gegrundet 1849, ist die weltweit alteste, traditionsreichste und umfangreichste Editionsreihe griechischer und lateinischer Literatur von der Antike bis zur Neuzeit. Pro Jahr erscheinen 4-5 neue Editionen. Samtliche Ausgaben werden durch eine lateinische oder englische Praefatio erganzt. Die wissenschaftliche Betreuung der Reihe obliegt einem Team anerkannter Philologen: Gian Biagio Conte (Scuola Normale Superiore di Pisa) Marcus Deufert (Universitat Leipzig) James Diggle (University of Cambridge) Donald J. Mastronarde (University of California, Berkeley) Franco Montanari (Universita di Genova) Heinz-Gunther Nesselrath (Georg-August-Universitat Goettingen) Oliver Primavesi (Ludwig-Maximilians Universitat Munchen) Michael D. Reeve (University of Cambridge) Richard J. Tarrant (Harvard University) Vergriffene Titel werden als Print-on-Demand-Nachdrucke wieder verfugbar gemacht. Zudem werden alle Neuerscheinungen der Bibliotheca Teubneriana parallel zur gedruckten Ausgabe auch als eBook angeboten. Die alteren Bande werden sukzessive ebenfalls als eBook bereitgestellt. Falls Sie einen vergriffenen Titel bestellen moechten, der noch nicht als Print-on-Demand angeboten wird, schreiben Sie uns an: [email protected] Samtliche in der Bibliotheca Teubneriana erschienenen Editionen lateinischer Texte sind in der Datenbank BTL Online elektronisch verfugbar.

The Roman poet Propertius is best known as the writer who perfected the Latin love elegy, a technical as much as a psychological and cultural feat. Propertius has been admired for both his metrical genius and the modernity of his narrative flow.

Many of the poems here pay tribute to Cynthia, Propertius's romantic obsession, but the scope of these 107 elegies is broad. Propertius's poetry offers a fascinating look into life in the Augustan age, addressing social, political, and historical subjects. A contemporary of Virgil and Horace, Propertius has influenced scores of poets--from Ovid to Housman to Pound.

His poetry appears here for the first time in a dual-language edition with the translations facing the original Latin. Rendered into English by a poet who is also one of the nation's pre-eminent Propertius experts, the volume brings Propertius's difficult mix of vernacular and high literary allusion into contemporary language.

"Cynthia was the first. She caught me with her eyes, a fool
who had never before been touched by desires.
Love cast down my look of constant pride,
and he pressed on my head with his feet,
until he taught me to despise chaste girls,
perversely, and to live without plan.
Already, it's been a whole year that the frenzy hasn't stopped,
when, for all that, the gods are against me."

Of all the great classical love poets, Propertius (c. 50-10 BC) is surely one of those with most immediate appeal for readers today. His helpless infatuation for the sinister figure of his mistress Cynthia forms the main subject of his poetry and is analyzed with a tormented but witty grandeur in all its changing moods, from ecstasy to suicidal despair.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.