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Unlike some other reproductions of classic texts (1) We have not
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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.
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alteste, traditionsreichste und umfangreichste Editionsreihe
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(University of Cambridge) Donald J. Mastronarde (University of
California, Berkeley) Franco Montanari (Universita di Genova)
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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.
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Elegies II (Hardcover)
Tibullus; Edited by Paul Murgatroyd
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R6,917
R6,014
Discovery Miles 60 140
Save R903 (13%)
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Ships in 12 - 17 working days
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This is the first full and detailed commentary on the second book
of Tibullus' elegies since K.F. Smith's edition of 1913. It takes
into account every significant advance in scholarship since then on
Tibullus, elegy in general. The book provides an authoritative
Latin text, based on the definitive Oxford Classical Text, an
Introduction covering such topics as the chronology of Book II, its
completeness and construction, and the main characters of the
poems; and a comprehensive Commentary discussing all aspects of
linguistic and literary interest in the poems: the problems of
reference and the interpretation for instance, as well as notes on
diction, style, themes, and metre. There are also introductory
essays on each poem, discussing the background situation, genre,
and main models. A critical appendix looks at all the textual
points that substantially affect the understanding and appreciation
of the elegies, a structural appendix explores the structure of the
individual poems, and there are full indices.
'Delia, when flames engulf my bier you'll weep for me, and then
you'll mix your kisses with sad tears.' Tibullus (?55-18 BC) was
one of a group of poets known as the Latin elegists, whose number
included Ovid and Propertius. Living in the age of Augustus, his
poems reflect Augustan ideals, but they are above all notable for
their emphasis on the personal, and for their subject-matter, love.
Tibullus' elegies are addressed to two different mistresses, Delia
and Nemesis, and a boy, Marathus. His pious and idealistic love for
Delia is replaced by a more tortured affair with the cruel Nemesis,
and the poet's elegies to Marathus give a broader perspective to
his treatment of the subject. Anguish and betrayal characterize
Tibullus' depiction of love's changing fortunes, in poetry that is
passionate, vivid, and sometimes haunting. In this parallel text
edition, A. M. Juster's eloquent translations are accompanied by an
introduction and notes from Robert Maltby which discuss Tibullus'
work in its literary and historical context. Together they
demonstrate the achievements of this fine Roman poet. ABOUT THE
SERIES: For over 100 years Oxford World's Classics has made
available the widest range 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,
helpful notes to clarify the text, up-to-date bibliographies for
further study, and much more.
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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