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In this lively and very readable history of the Roman Empire from its establishment in 27 BC to the barbarian incursions and the fall of Rome in AD 476, Kershaw draws on a range of evidence, from Juvenal's Satires to recent archaeological finds. He examines extraordinary personalities such as Caligula and Nero and seismic events such as the conquest of Britain and the establishment of a 'New Rome' at Constantinople and the split into eastern and western empires. Along the way we encounter gladiators and charioteers, senators and slaves, fascinating women, bizarre sexual practices and grotesque acts of brutality, often seen through eyes of some of the world's greatest writers. He concludes with a brief look at how Rome lives on in the contemporary world, in politics, architecture, art and literature.
In the early 1300s, Dante Alighieri set out to write the three volumes which make the up The Divine Comedy. Purgatorio is the second volume in this set and opens with Dante the poet picturing Dante the pilgrim coming out of the pit of hell. Similar to the Inferno (34 cantos), this volume is divided into 33 cantos, written in tercets (groups of 3 lines). The English prose is arranged in tercets to facilitate easy correspondence to the verse form of the Italian on the facing page, enabling the reader to follow both languages line by line. In an effort to capture the peculiarities of Dante's original language, this translation strives toward the literal and sheds new light on the shape of the poem. Again the text of Purgatorio follows Petrocchi's La Commedia secondo l'antica vulgata, but the editor has departed from Petrocchi's readings in a number of cases, somewhat larger than in the previous Inferno, not without consideration of recent critical readings of the Comedy by scholars such as Lanza (1995, 1997) and Sanguineti (2001). As before, Petrocchi's punctuation has been lightened and American norms have been followed. However, without any pretensions to being "critical", the text presented here is electic and being not persuaded of the exclusive authority of any manuscript, the editor has felt free to adopt readings from various branches of the stemma. One major addition to this second volume is in the notes, where is found the Intercantica - a section for each canto that discusses its relation to the Inferno and which will make it easier for the reader to relate the different parts of the Comedy as a whole.
This volume, a festschrift for Professor A, H. Diverres, has been included in the Arthurian Studies series because it contains highly important new work on the medieval aspects of Arthurian legend, ranging from Rachel Bromwich's essay on the Celtic elements in Arthurian romance and A.O.H Jarman's study of Arthurian allusions in the Black Book of Carmarthen to examinations of the Spanish and French romances of the 15th century. There are five papers on the romances of Chretien de Troyes, including pieces by Tony Hunt, Kenneth Varty and Charles Foulon, two on Welsh and German romances associated with Chretien's work, while other studies are on the Breton lais and on the English romances. In all, this is a wide-ranging and valuable collection, and a welcome addition to the series.
Claudius Claudianus may be called the last poet of classical Rome. He was born about the year 370A.D. and died within a decade of the sack of the city by Alaric in 410. The thirty to forty odd years which comprised his life were some of the most momentous in the history of Rome. Valentinian and Valens were emperors respectively of the West and the East when he was born, and while the former was engaged in constant warfare with the northern tribes of Alamanni, Quadi and Sarmatians, whose advances the skill of his general, Theodosius, had managed to check, the latter was being reserved for unsuccessful battle with an enemy still more deadly. It is about the year 370 that we begin to hear of the Huns. The first people to fall a victim to their eastward aggression were the Alans, next came the Ostrogoths, whose king, Hermanric, was driven to suicide; and by 375 the Visigoths were threatened with a similar fate. Hemmed in by the advancing flood of Huns and the stationary power of Rome this people, after a vain attempt to ally itself with the latter, was forced into arms against her. An indecisive battle with the generals of Valens (377) was followed by a crushing Roman defeat in the succeeding year (August 9, 378) at Adrianople, where Valens himself, but recently returned from his Persian war, lost his life. Gratian and his half-brother, Valentinian II., who had become Augusti upon the death of their father, Valentinian I., in 375, would have had little power of themselves to withstand the victorious Goths and Rome might well have fallen thirty years before she did, had it not been for the force of character and the military skill of that same Theodosius whose successes against the Alamanni have already been mentioned. Theodosius was summoned from his retirement in Spain and made Augustus (January 19, 379). During the next three years he succeeded, with the help of the Frankish generals, Bauto and Arbogast, in gradually driving the Goths northward, and so relieved the barbarian pressure on the Eastern Empire and its capital. In 381 Athanaric, the Gothic king, sued in person for peace at Constantinople and there did homage to the emperor. In the following year the Visigoths became allies of Rome and, for a time at least, the danger was averted. Meanwhile the West was faring not much better. Gratian, after an uneasy reign, was murdered in 383 by the British pretender, Magnus Maximus. From 383 to 387 Maximus was joint ruler of the West with Valentinian II., whom he had left in command of Italy rather from motives of policy than of clemency; but in the latter year he threw off the mask and, crossing the Alps, descended upon his colleague whose court was at Milan. Valentinian fled to Thessalonica and there threw himself on the mercy of Theodosius. Once more that general was to save the situation.
Published originally in 1809-1810, The Friend was revised in 1812, by public demand. In 1818, a three-volume rifacimento appeared in which Coleridge attempted to dispel obscurity, tie up loose threads of reasoning, and provide more mature apercus. Now, in the Collected Works, The Friend has been re-edited to return to Coleridge's 1818 text. His emendations, cuts, and marginal comments noted in six copies of the work, as well as manuscript additions and deletions, have been included as footnotes. The editor’s footnotes also elucidate sources and themes and provide translations of the many Latin and Greek passages. The entire periodical Friend is given as an appendix, with the 1812 revisions. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
A revealing look at how the Orpheus myth helped Renaissance writers and thinkers understand the force of eloquence In ancient Greek mythology, the lyrical songs of Orpheus charmed the gods, and compelled animals, rocks, and trees to obey his commands. This mythic power inspired Renaissance philosophers and poets as they attempted to discover the hidden powers of verbal eloquence. They wanted to know: How do words produce action? In The Trials of Orpheus, Jenny Mann examines the key role the Orpheus story played in helping early modern writers and thinkers understand the mechanisms of rhetorical force. Mann demonstrates that the forms and figures of ancient poetry indelibly shaped the principles of sixteenth- and seventeenth-century scientific knowledge. Mann explores how Ovid's version of the Orpheus myth gave English poets and natural philosophers the lexicon with which to explain language's ability to move individuals without physical contact. These writers and thinkers came to see eloquence as an aesthetic force capable of binding, drawing, softening, and scattering audiences. Bringing together a range of examples from drama, poetry, and philosophy by Bacon, Lodge, Marlowe, Montaigne, Shakespeare, and others, Mann demonstrates that the fascination with Orpheus produced some of the most canonical literature of the age. Delving into the impact of ancient Greek thought and poetry in the early modern era, The Trials of Orpheus sheds light on how the powers of rhetoric became a focus of English thought and literature.