Winner, AAP/PSP Award for Excellence, Classics and Ancient History, 2006
Anyone who has even a passing acquaintance with Latin knows "Gallia est omnis divisa in partes tres" ("All Gaul is divided into three parts"), the opening line of De Bello Gallico, Julius Caesar's famous commentary on his campaigns against the Gauls in the 50s BC. But what did Caesar intend to accomplish by writing and publishing his commentaries, how did he go about it, and what potentially unforeseen consequences did his writing have? These are the questions that Andrew Riggsby pursues in this fresh interpretation of one of the masterworks of Latin prose.
Riggsby uses contemporary literary methods to examine the historical impact that the commentaries had on the Roman reading public. In the first part of his study, Riggsby considers how Caesar defined Roman identity and its relationship to non-Roman others. He shows how Caesar opens up a possible vision of the political future in which the distinction between Roman and non-Roman becomes less important because of their joint submission to a Caesar-like leader. In the second part, Riggsby analyzes Caesar's political self-fashioning and the potential effects of his writing and publishing the Gallic War. He reveals how Caesar presents himself as a subtly new kind of Roman general who deserves credit not only for his own virtues, but for those of his soldiers as well. Riggsby uses case studies of key topics (spatial representation, ethnography, virtus and technology, genre, and the just war), augmented by more synthetic discussions that bring in evidence from other Roman and Greek texts, to offer a broad picture of the themes of national identity and Caesar's self-presentation.
In 1912 a young scholar published a slim volume investigating the social structure of the late Roman Republic, which was in due course to transform the study of Roman history. The author, Mattias Gelzer, went on to hold the Chair of Ancient History at Frankfurt and to become the greatest German-speaking historian of the Roman Republic since Mommsen. In 1921 he published his Caesar, which has by now gone through six editions in Germany and is still the standard account, in any language, of Caesar and his age. It amply fulfills the author’s intent “to give the educated public a lively picture of the complete political career of one of the great statesmen of the past.”
Based on a conscientious evaluation of the abundant source materials—primarily the writings of Caesar and his contemporaries—Professor Gelzer’s portrait renders Caesar in heroic proportions, destined and determined from the beginning to overthrow a corrupt aristocracy. The sixth edition (1960), brought up to date and provided with full annotations by the author, is the basis of this translation, which for the first time makes the work available in English.
With Professor Gelzer’s approval, some minor errors have been corrected, both in the text and in the chronological table and the map at the end of the book, and an analytical index of names has been added.
Polymetric gems, wistful elegies, and a lover’s prayer.
Catullus (Gaius Valerius, 84–54 BC), 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’ poems have no rival in Latin literature.
Tibullus (Albius, ca. 54–19 BC), 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 honor 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.
A Chronicle of the Last Pagans is a history of the triumph of Christianity in the Roman Empire as told from the perspective of the defeated: the adherents of the mysteries, cults, and philosophies that dominated Greco–Roman culture.
With a sovereign command of the diverse evidence, Pierre Chuvin portrays the complex spiritual, intellectual, and political lives of professing pagans after Christianity became the state religion. While recreating the unfolding drama of their fate—their gradual loss of power, exclusion from political, military, and civic positions, their assimilation, and finally their persecution—he records a remarkable persistence of pagan religiosity and illustrates the fruitful interaction between Christianity and paganism. The author points to the implications of this late paganism for subsequent developments in the Byzantine Empire and the West. Chuvin's compelling account of an often forgotten world of pagan culture rescues an important aspect of our spiritual heritage and provides new understanding of Late Antiquity.
While Cicero’s Use of Judicial Theater will be of interest primarily to professional scholars and students studying the speeches of Cicero, its wider analyses, both of Roman cultural customs and the idiosyncratic practices of the courts, will prove relevant also to social historians, as well as historians of legal procedure.
The struggle that ended the Roman Republic.
Caesar (C. Iulius, 102–44 BC), statesman and soldier, defied the dictator Sulla; served in the Mithridatic wars and in Spain; entered Roman politics as a “democrat” against the senatorial government; was the real leader of the coalition with Pompey and Crassus; conquered all Gaul for Rome; attacked Britain twice; was forced into civil war; became master of the Roman world; and achieved wide-reaching reforms until his murder. We have his books of commentarii (notes): eight on his wars in Gaul from 58–52 BC, including the two expeditions to Britain in 55–54, and three on the civil war of 49–48. They are records of his own campaigns (with occasional digressions) in vigorous, direct, clear, unemotional style and in the third person, the account of the civil war being somewhat more impassioned.
This edition of the Civil War replaces the earlier Loeb Classical Library edition by A. G. Peskett (1914) with new text, translation, introduction, and bibliography. In the Loeb Classical Library edition of Caesar, Volume I is his Gallic War; Volume III consists of Alexandrian War, African War, and Spanish War, commonly ascribed to Caesar by our manuscripts but of uncertain authorship.
Epic history.
Lucan (M. Annaeus Lucanus, AD 39–65), son of wealthy M. Annaeus Mela and nephew of Seneca, was born at Corduba (Cordova) in Spain and was brought as a baby to Rome. In AD 60 at a festival in Emperor Nero’s honor Lucan praised him in a panegyric and was promoted to one or two minor offices. But having defeated Nero in a poetry contest he was interdicted from further recitals or publication, so that three books of his epic The Civil War were probably not issued in 61 when they were finished. By 65 he was composing the tenth book but then became involved in the unsuccessful plot of Piso against Nero and, aged only twenty-six, by order took his own life.
Quintilian called Lucan a poet “full of fire and energy and a master of brilliant phrases.” His epic stood next after Virgil’s in the estimation of antiquity. Julius Caesar looms as a sinister hero in his stormy chronicle in verse of the war between Caesar and the Republic’s forces under Pompey, and later under Cato in Africa—a chronicle of dramatic events carrying us from Caesar’s fateful crossing of the Rubicon, through the Battle of Pharsalus and death of Pompey, to Caesar victorious in Egypt. The poem is also called Pharsalia.
Caesar (C. Iulius, 10244 BCE), statesman and soldier, defied the dictator Sulla; served in the Mithridatic wars and in Spain; pushed his way in Roman politics as a 'democrat' against the senatorial government; was the real leader of the coalition with Pompey and Crassus; conquered all Gaul for Rome; attacked Britain twice; was forced into civil war; became master of the Roman world; and achieved wide-reaching reforms until his murder. We have his books of Commentarii (notes): eight on his wars in Gaul, 5852 BC, including the two expeditions to Britain 5554, and three on the civil war of 4948. They are records of his own campaigns (with occasional digressions) in vigorous, direct, clear, unemotional style and in the third person, the account of the civil war being somewhat more impassioned.
The Loeb Classical Library edition of Caesar is in three volumes. Volume I is his Gallic War. The Alexandrian War, the African War and the Spanish War, commonly ascribed to Caesar by our manuscripts but of uncertain authorship, are collected in Volume III.
With the full panorama of her life forever lost, Cleopatra touches us in a series of sensational images: floating through a perfumed mist down the Nile; dressed as Venus for a tryst at Tarsus; unfurled from a roll of linens before Caesar; couchant, the deadly asp clasped to her breast. Through such images, each immortalizing the Egyptian queen's encounters with legendary Romans--Julius Caesar, Mark Antony, and Octavian Augustus--we might also chart her rendezvous with the destiny of Rome. So Diana Kleiner shows us in this provocative book, which opens an entirely new perspective on one of the most intriguing women who ever lived. Cleopatra and Rome reveals how these iconic episodes, absorbed into a larger historical and political narrative, document a momentous cultural shift from the Hellenistic world to the Roman Empire. In this story, Cleopatra's death was not an end but a beginning--a starting point for a wide variety of appropriations by Augustus and his contemporaries that established a paradigm for cultural conversion.
In this beautifully illustrated book, we experience the synthesis of Cleopatra's and Rome's defining moments through surviving works of art and other remnants of what was once an opulent material culture: religious and official architecture, cult statuary, honorary portraiture, villa paintings, tombstones, and coinage, but also the theatrical display of clothing, perfume, and hair styled to perfection for such ephemeral occasions as triumphal processions or barge cruises. It is this visual culture that best chronicles Cleopatra's legend and suggests her subtle but indelible mark on the art of imperial Rome at the critical moment of its inception.
Byron and Hitler were equally entranced by Rome’s most famous monument, the Colosseum. Mid-Victorians admired the hundreds of varieties of flowers in its crannies and occasionally shuddered at its reputation for contagion, danger, and sexual temptation. Today it is the highlight of a tour of Italy for more than three million visitors a year, a concert arena for the likes of Paul McCartney, and a national symbol of opposition to the death penalty. Its ancient history is chock full of romantic but erroneous myths. There is no evidence that any gladiator ever said “Hail Caesar, those about to die…” and we know of not one single Christian martyr who met his finish here.
Yet the reality is much stranger than the legend as the authors, two prominent classical historians, explain in this absorbing account. We learn the details of how the arena was built and at what cost; we are introduced to the emperors who sometimes fought in gladiatorial games staged at the Colosseum; and we take measure of the audience who reveled in, or opposed, these games. The authors also trace the strange afterlife of the monument—as fortress, shrine of martyrs, church, and glue factory. Why are we so fascinated with this arena of death?
John D'Arms explores here a question of central importance for the social economic history of the Roman world: which sectors of society were actively engaged in trade?
In the late Roman Republic and early Empire senators were prohibited by law from direct participation in seaborne commerce; trade was not considered a respectable pursuit. Yet large fortunes were amassed by men of rank through a variety of lucrative enterprises. Exploiting the evidence of literature, archaeology, and inscription, D'Arms constructs case histories which reveal how senators realized commercial profits by indirect involvement: freedmen, municipal notables, and "friends" often served as the equivalent of partners or agents of aristocrats with large holdings in land. In demonstrating a flexibility in upper-class attitudes toward commercial activity, he offers a study in the adaptation of a social system to economic realities.
Latin epics such as Virgil’s Aeneid, Lucan’s Civil War, and Statius’s Thebaid addressed Roman aristocrats whose dealings in gifts, favors, and payments defined their conceptions of social order. In The Commerce of War, Neil Coffee argues that these exchanges play a central yet overlooked role in epic depictions of Roman society.
Tracing the collapse of an aristocratic worldview across all three poems, Coffee highlights the distinction they draw between reciprocal gift giving among elites and the more problematic behaviors of buying and selling. In the Aeneid, customary gift and favor exchanges are undermined by characters who view human interaction as short-term and commodity-driven. The Civil War takes the next logical step, illuminating how Romans cope once commercial greed has supplanted traditional values. Concluding with the Thebaid, which focuses on the problems of excessive consumption rather than exchange, Coffee closes his powerful case that these poems constitute far-reaching critiques of Roman society during its transition from republic to empire.
An imperial historian and an emperor’s history.
Velleius Paterculus, who lived in the reigns of Augustus and Tiberius (30 BC–AD 37), served as a military tribune in Thrace, Macedonia, Greece, and Asia Minor, and later, from AD 4 to 12 or 13, as a cavalry officer and legatus in Germany and Pannonia. He was quaestor in AD 7, praetor in 15. He wrote in two books “Roman Histories,” a summary of Roman history from the fall of Troy to AD 29. As he approached his own times he becomes much fuller in his treatment, especially between the death of Caesar in 44 BC and that of Augustus in AD 14. His work has useful concise essays on Roman colonies and provinces and some effective compressed portrayals of characters.
Res Gestae Divi Augusti. In his 76th year (AD 13–14) the emperor Augustus wrote a dignified account of his public life and work of which the best preserved copy (with a Greek translation) was engraved by the Galatians on the walls of the temple of Augustus at Ancyra (Ankara). It is a unique document giving short details of his public offices and honors; his benefactions to the empire, to the people, and to the soldiers; and his services as a soldier and as an administrator.
Catullus’ life was akin to pulp fiction. In Julius Caesar’s Rome, he engages in a stormy affair with a consul’s wife. He writes her passionate poems of love, hate, and jealousy. The consul, a vehement opponent of Caesar, dies under suspicious circumstances. The merry widow romances numerous young men. Catullus is drawn into politics and becomes a cocky critic of Caesar, writing poems that dub Julius a low-life pig and a pervert. Not surprisingly, soon after, no more is heard of Catullus.
David Mulroy brings to life the witty, poignant, and brutally direct voice of a flesh-and-blood man, a young provincial in the Eternal City, reacting to real people and events in a Rome full of violent conflict among individuals marked by genius and megalomaniacal passions. Mulroy’s lively, rhythmic translations of the poems are enhanced by an introduction and commentary that provide biographical and bibliographical information about Catullus, a history of his times, a discussion of the translations, and definitions and notes that ease the way for anyone who is not a Latin scholar.
Conspiracy is a thread that runs throughout the tapestry of Roman history. From the earliest days of the Republic to the waning of the Empire, conspiracies and intrigues created shadow worlds that undermined the openness of Rome's representational government. To expose these dark corners and restore a sense of order and safety, Roman historians frequently wrote about famous conspiracies and about how their secret plots were detected and the perpetrators punished. These accounts reassured readers that the conspiracy was a rare exception that would not happen again—if everyone remained vigilant.
In this first book-length treatment of conspiracy in Roman history, Victoria Pagán examines the narrative strategies that five prominent historians used to disclose events that had been deliberately shrouded in secrecy and silence. She compares how Sallust, Livy, and Tacitus constructed their accounts of the betrayed Catilinarian, Bacchanalian, and Pisonian conspiracies. Her analysis reveals how a historical account of a secret event depends upon the transmittal of sensitive information from a private setting to the public sphere—and why women and slaves often proved to be ideal transmitters of secrets. Pagán then turns to Josephus's and Appian's accounts of the assassinations of Caligula and Julius Caesar to explore how the two historians maintained suspense throughout their narratives, despite readers' prior knowledge of the outcomes.
Conspiracy theory as a theoretical framework has emerged only in the last twenty years; commentators are finding it a productive way to explain the actions and thoughts of individuals and societies. In this compelling exploration of Latin literature, Pagán uses conspiracy theory to illuminate the ways that elite Romans invoked conspiracy as they navigated the hierarchies, divisions, and inequalities in their society. By seeming to uncover conspiracy everywhere, Romans could find the need to crush slave revolts, punish rivals with death or exile, dismiss women, denigrate foreigners, or view their emperors with deep suspicion. Expanding on her earlier Conspiracy Narratives in Roman History, Pagán here interprets the works of poets, satirists, historians, and orators—Juvenal, Tacitus, Suetonius, Terence, and Cicero, among others—to reveal how each writer gave voice to fictional or real actors who were engaged in intrigue and motivated by a calculating worldview.
Delving into multiple genres, Pagán offers a powerful critique of how conspiracy and conspiracy theory can take hold and thrive when rumor, fear, and secrecy become routine methods of interpreting (and often distorting) past and current events. In Roman society, where knowledge about others was often lacking and stereotypes dominated, conspiracy theory explained how the world worked. The persistence of conspiracy theory, from antiquity to the present day, attests to its potency as a mechanism for confronting the frailties of the human condition.
This study of the Roman Empire in the age of Constantine offers a thoroughly new assessment of the part Christianity played in the Roman world of the third and fourth centuries.
Timothy D. Barnes gives the fullest available narrative history of the reigns of Diocletian and Constantine. He analyzes Constantine’s rise to power and his government, demonstrating how Constantine’s sincere adherence to Christianity advanced his political aims. He explores the whole range of Eusebius’ writings, especially those composed before Constantine became emperor, and shows that many attitudes usually deemed typical of the “Constantinian revolution” were prevalent before the new Christian empire came into existence. This authoritative political and cultural history of the age of Constantine will prove essential to students and historians of the ancient world.
Letters of an imperial tutor.
The literary remains of the rhetorician Marcus Cornelius Fronto (ca. AD 100–176) first came to light in 1815, when Cardinal Mai, then prefect of the Ambrosian Library in Milan, discovered that beneath an account of the Acts of the first Council of Chalcedon in 451 had originally been written a copy of the correspondence between Fronto and members of the imperial family, including no less than three who were to wear the purple. The letters possess an extraordinary fascination as giving an authentic record of the relationship between the foremost teacher of his time and his illustrious student Marcus Aurelius, his chief correspondent. Apart from small-talk (but even that is replete with interest) the principal subject is Latin prose style. Fronto practices to excess the cultivation of trendy mannerisms, but sees clearly enough the sterility of a slavish imitation of classical models.
The Loeb Classical Library edition of Fronto is in two volumes.
Letters of an imperial tutor.
The literary remains of the rhetorician Marcus Cornelius Fronto (ca. AD 100–176) first came to light in 1815, when Cardinal Mai, then prefect of the Ambrosian Library in Milan, discovered that beneath an account of the Acts of the first Council of Chalcedon in 451 had originally been written a copy of the correspondence between Fronto and members of the imperial family, including no less than three who were to wear the purple. The letters possess an extraordinary fascination as giving an authentic record of the relationship between the foremost teacher of his time and his illustrious student Marcus Aurelius, his chief correspondent. Apart from small-talk (but even that is replete with interest) the principal subject is Latin prose style. Fronto practices to excess the cultivation of trendy mannerisms, but sees clearly enough the sterility of a slavish imitation of classical models.
The Loeb Classical Library edition of Fronto is in two volumes.
This important new volume examines archaeological evidence of Roman colonization of the Middle Republican period. Themes of land use, ethnic accommodation and displacement, colonial identity, and administrative schemes are also highlighted. In delving deeply into the uniqueness of select colonial contexts, these essays invite a novel discussion on the phenomenon of colonialism in the political landscape of Rome’s early expansion. Roman urbanism of the Middle Republican period brought to the Italian peninsula fundamental changes, an important example of which, highlighted by a wealth of studies, is the ebullience of a dense network of colonies, as well as a mix of senatorial tactics and individual initiatives that underpinned their foundation. Whether Latin, Roman, or Maritimae, colonies created a new mesh of communities and imposed a new topography; more subtly, they signified the mechanisms of the rising hegemony. This book brings to the fore the diversity, agendas, and overall impact of a “settlement device” that changed the Italian landscape and introduced a new idea of Roman town.
In the late Roman Republic, acts of wrongdoing against individuals were prosecuted in private courts, while the iudicia publica (literally "public courts") tried cases that involved harm to the community as a whole. In this book, Andrew M. Riggsby thoroughly investigates the types of cases heard by the public courts to offer a provocative new understanding of what has been described as "crime" in the Roman Republic and to illuminate the inherently political nature of the Roman public courts.
Through the lens of Cicero's forensic oratory, Riggsby examines the four major public offenses: ambitus (bribery of the electorate), de sicariis et veneficiis (murder), vis (riot), and repetundae (extortion by provincial administrators). He persuasively argues that each of these offenses involves a violation of the proper relations between the state and the people, as interpreted by orators and juries. He concludes that in the late Roman Republic the only crimes were political crimes.
A master of ancient Greek prose styles.
Dionysius of Halicarnassus had migrated to Rome by 30 BC, where he lived until his death some time after 8 BC, writing his Roman Antiquities and teaching the art of rhetoric and literary composition.
Dionysius’ purpose, both in his own work and in his teaching, was to re-establish the classical Attic standards of purity, invention, and taste in order to reassert the primacy of Greek as the literary language of the Mediterranean world. He advocated the minute study of the styles of the finest prose authors of the fifth and fourth centuries BC, especially the Attic orators. His critical essays on these and on the historian Thucydides represent an important development from the somewhat mechanical techniques of rhetorical handbooks to a more sensitive criticism of individual authors. Illustrating his analysis with well-chosen examples, Dionysius preserves a number of important fragments of Lysias and Isaeus.
The essays on those two orators and on Isocrates, Demosthenes, and Thucydides comprise Volume I of this edition. Volume II contains three letters to his students; a short essay on the orator Dinarchus; and his finest work, the essay On Literary Composition, which combines rhetoric, grammar, and criticism in a manner unique in ancient literature.
The Loeb Classical Library also publishes a seven-volume edition of Roman Antiquities, by Dionysius of Halicarnassus, a history from earliest times to 264 BC.
A master of ancient Greek prose styles.
Dionysius of Halicarnassus had migrated to Rome by 30 BC, where he lived until his death some time after 8 BC, writing his Roman Antiquities and teaching the art of rhetoric and literary composition.
Dionysius’ purpose, both in his own work and in his teaching, was to re-establish the classical Attic standards of purity, invention, and taste in order to reassert the primacy of Greek as the literary language of the Mediterranean world. He advocated the minute study of the styles of the finest prose authors of the fifth and fourth centuries BC, especially the Attic orators. His critical essays on these and on the historian Thucydides represent an important development from the somewhat mechanical techniques of rhetorical handbooks to a more sensitive criticism of individual authors. Illustrating his analysis with well-chosen examples, Dionysius preserves a number of important fragments of Lysias and Isaeus.
The essays on those two orators and on Isocrates, Demosthenes, and Thucydides comprise Volume I of this edition. Volume II contains three letters to his students; a short essay on the orator Dinarchus; and his finest work, the essay On Literary Composition, which combines rhetoric, grammar, and criticism in a manner unique in ancient literature.
The Loeb Classical Library also publishes a seven-volume edition of Roman Antiquities, by Dionysius of Halicarnassus, a history from earliest times to 264 BC.
The works of the second-century satirist Lucian--of which about seventy survive--have had a marked influence on western literature since the Renaissance. Translated by Erasmus, and called "inimitable" by Gibbon, Lucian is the first to tell the famous story of the Sorcerer's Apprentice. His subjects range from the hypocrisy of philosophers to fantastic voyages in space. He is often thought the true father of science fiction and, at the same time, is one of the most important witnesses to early Christianity. C. P Jones examines Lucian's work, setting this brilliant writer in the social and intellectual context of an age that proved pivotal in Greco-Roman history.
Lucian's art has been widely considered bookish, concerned with people and customs he and his readers knew only from literature. Jones argues that on the contrary his attacks on such targets as mercenary Stoics and the snake-god Glycon were aimed with mischievous precision. The result is a fresh portrait of Lucian and a vivid picture of a society whose outward assurance masked uncertainty and the onset of profound change.
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