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Catullus is one of the most popular poets to survive from classical
antiquity. Above all others he seems to speak to modern readers
with a modern voice. The distinguished contributors to this
Companion discuss the principal subjects which drew Catullus'
affection and disgust, above all his famous affair with the woman
he calls 'Lesbia', and situate him in the social, historical and
intellectual context of first-century BC Rome. One of the so-called
'new poets', Catullus had a profound effect on subsequent Latin
poetry, and this is explored especially for the Augustan age and
the late first century AD. A significant part of the volume is
concerned with Catullus' survival into the modern world. There are
discussions both of the manuscript tradition and of the
interpretative scholarship which has been devoted to his poetry, as
well as his reception by renaissance and later poets. Students in
particular will appreciate this book.
In this book, a sequel to Traditions and Contexts in the Poetry of
Horace (Cambridge University Press, 2002), ten leading Latin
scholars provide specially commissioned in-depth discussions of the
poetry of Catullus, one of ancient Rome's most favourite and best
loved poets. Some chapters focus on the collection as a whole and
the interrelationship of various poems; others deal with
intertextuality and translation and Catullus' response to his Greek
predecessors, both classical and Hellenistic. Two of the key
subjects are the communication of desire and the presentation of
the real world. Some chapters provide analyses of individual poems,
others discuss how Catullus' poetry was read by Virgil and Ovid. A
wide variety of critical approaches is on offer, and in the
Epilogue the editors provide a provocative survey of the issues
raised by the volume.
Catullus is one of the most popular poets to survive from classical
antiquity. Above all others he seems to speak to modern readers
with a modern voice. The distinguished contributors to this
Companion discuss the principal subjects which drew Catullus'
affection and disgust, above all his famous affair with the woman
he calls 'Lesbia', and situate him in the social, historical and
intellectual context of first-century BC Rome. One of the so-called
'new poets', Catullus had a profound effect on subsequent Latin
poetry, and this is explored especially for the Augustan age and
the late first century AD. A significant part of the volume is
concerned with Catullus' survival into the modern world. There are
discussions both of the manuscript tradition and of the
interpretative scholarship which has been devoted to his poetry, as
well as his reception by renaissance and later poets. Students in
particular will appreciate this book.
In this book, a sequel to Traditions and Contexts in the Poetry of
Horace (Cambridge, 2002), ten leading Latin scholars provide
specially commissioned in-depth discussions of the poetry of
Catullus, one of ancient Rome's most favourite and best loved
poets. Some chapters focus on the collection as a whole and the
interrelationship of various poems; others deal with
intertextuality and translation, and Catullus' response to his
Greek predecessors, both classical and Hellenistic. Two of the key
subjects are the communication of desire and the presentation of
the real world. Some chapters provide analyses of individual poems,
while others discuss how Catullus' poetry was read by Virgil and
Ovid. A wide variety of critical approaches is on offer, and in the
Epilogue the editors provide a provocative survey of the issues
raised by the volume.
Originally published in 1974, these studies of Latin poetry were
commissioned with two main purposes in mind: to encourage a fresh
reading of several Latin poets from the time of Catullus to Horace,
and to illustrate various, critical approaches to literature. As
the literary study of Latin developed in schools and universities
there was a proliferation of critical techniques, which were
greeted with bewilderment by some, with hostility by others. This
book does not attempt to adjudicate finally between them. There can
be no one 'prescription' for interpreting poetry; but this does not
mean that there are no valid standards of judgement. Criticism must
be flexible, imaginative and sympathetic, but it must also be
rigourous. To counteract feelings of disorientation the editors
tried to provide samples of the best critical work in progress at
the time of publication.
The poets and prose-writers of Greece and Rome were acutely
conscious of their literary heritage. They expressed this
consciousness in the regularity with which, in their writings, they
imitated and alluded to the great authors who had preceded them.
Such imitation was generally not regarded as plagiarism but as
essential to the creation of a new literary work: imitating one's
predecessors was in no way incompatible with originality or
progress. These views were not peculiar to the writers of Greece
and Rome but were adopted by many others who have written in the
'classical tradition' right up to modern times. Creative Imitation
and Latin Literature is an exploration of this concept of
imitation. The contributors analyse selected passages from various
authors - Greek, Latin and English - in order to demonstrate how
Latin authors created new works of art by imitating earlier
passages of literature.
The relationship between the author and his audience has received
much critical attention from scholars in non-classical disciplines
yet the nature of much ancient literature and of its 'publication'
meant that audiences in ancient times were more immediate to their
authors than in the modern world. This book contains essays by
distinguished scholars on the various means by which Latin authors
communicated effectively with their audiences. The authors and
works covered are Cicero, Catullus, Lucretius, Propertius, Horace's
Odes, Virgil's Aeneid, Ovid's Metamorphoses, Senecan tragedy,
Persius, Pliny's letters, Tacitus' Annals and medieval love lyric.
Contributors have provided detailed analyses of particular passages
in order to throw light on the many different ways in which authors
catered for their audiences by fulfilling, manipulating and
thwarting their expectations; and in an epilogue the editors have
drawn together the issues raised by these contributions and have
attempted to place them in an appropriate critical context.
This book explores the whole range of the output of an
exceptionally versatile and innovative poet, from the Epodes to the
literary-critical Epistles. Distinguished scholars of diverse
background and interests introduce readers to a variety of critical
approaches to Horace and to Latin poetry. Close attention is paid
throughout to the actual text of Horace, with many of the chapters
focusing on reading a single poem. These close readings are then
situated in a number of different political, philosophical and
historical contexts. The book sheds light not only on Horace but on
the general problems confronting Latinists in the study of Augustan
poetry, and it will be of value to a wide range of upper-level
Latin students and scholars.
This collection of freshly commissioned essays covers the entire range of the works of an exceptionally versatile and innovative poet. The essays introduce readers to a variety of critical approaches to Horace and to Latin poetry, as well as a number of different contexts--political, philosophical, historical. The collection sheds light not only on Horace but on Augustan poetry in general.
The relationship between the author and his audience has received
much critical attention from scholars in non-classical disciplines
yet the nature of much ancient literature and of its 'publication'
meant that audiences in ancient times were more immediate to their
authors than in the modern world. This book contains essays by
distinguished scholars on the various means by which Latin authors
communicated effectively with their audiences. The authors and
works covered are Cicero, Catullus, Lucretius, Propertius, Horace's
Odes, Virgil's Aeneid, Ovid's Metamorphoses, Senecan tragedy,
Persius, Pliny's letters, Tacitus' Annals and medieval love lyric.
Contributors have provided detailed analyses of particular passages
in order to throw light on the many different ways in which authors
catered for their audiences by fulfilling, manipulating and
thwarting their expectations; and in an epilogue the editors have
drawn together the issues raised by these contributions and have
attempted to place them in an appropriate critical context.
The poets and prose-writers of Greece and Rome were acutely
conscious of their literary heritage. They expressed this
consciousness in the regularity with which, in their writings, they
imitated and alluded to the great authors who had preceded them.
Such imitation was generally not regarded as plagiarism but as
essential to the creation of a new literary work: imitating one's
predecessors was in no way incompatible with originality or
progress. These views were not peculiar to the writers of Greece
and Rome but were adopted by many others who have written in the
classical tradition right up to modern times. Creative Imitation
and Latin Literature is an exploration of this concept of imitatio.
The contributors analyze selected passages from various authors -
Greek, Latin and English - in order to demonstrate both how Latin
authors created new works of art by imitating earlier passages of
literature (sometimes resorting even to self-imitation) and how
English poets accomplished the same task by imitating passages of
Latin literature.
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