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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.
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.
Catullus (Gaius Valerius, 84-54 BCE), of Verona, went early to
Rome, where he associated not only with other literary men from
Cisalpine Gaul but also with Cicero and Hortensius. His surviving
poems consist of nearly sixty short lyrics, eight longer poems in
various metres, and almost fifty epigrams. All exemplify a strict
technique of studied composition inherited from early Greek lyric
and the poets of Alexandria. In his work we can trace his unhappy
love for a woman he calls Lesbia; the death of his brother; his
visits to Bithynia; and his emotional friendships and enmities at
Rome. For consummate poetic artistry coupled with intensity of
feeling Catullus's poems have no rival in Latin literature.
Tibullus (Albius, ca. 54-19 BCE), of equestrian rank and a friend
of Horace, enjoyed the patronage of Marcus Valerius Messalla
Corvinus, whom he several times apostrophizes. Three books of
elegies have come down to us under his name, of which only the
first two are authentic. Book 1 mostly proclaims his love for
"Delia," Book 2 his passion for "Nemesis." The third book consists
of a miscellany of poems from the archives of Messalla; it is very
doubtful whether any come from the pen of Tibullus himself. But a
special interest attaches to a group of them which concern a girl
called Sulpicia: some of the poems are written by her lover
Cerinthus, while others purport to be her own composition. The
Pervigilium Veneris, a poem of not quite a hundred lines
celebrating a spring festival in honour of the goddess of love, is
remarkable both for its beauty and as the first clear note of
romanticism which transformed classical into medieval literature.
The manuscripts give no clue to its author, but recent scholarship
has made a strong case for attributing it to the early
fourth-century poet Tiberianus.
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