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Nicholas Horsfall was one of the most recognizable and influential Latinists of his generation. His main legacy is his work on Virgil and the five erudite commentaries on the Aeneid, but he was also a prolific writer of papers, both Virgilian and non-Virgilian. A number of Horsfall's papers, including the important 'Camilla', are translated in this volume for the first time. Stretching from 1971 to 2015, the papers are drawn from his entire output demonstrating his unparalleled ability to connect Roman poetry with history, antiquarianism, and Realien. While showcasing his unique analysis of Virgil, it also highlights Horsfall's work as both a Latinist and a Romanist, illuminating the coherence in his approach. This volume includes many Virgilian papers that have become classics--on Aeneas the colonist, and on the Aeneas-legend, for example. This does not detract from the value of the non-Virgilian papers, many of which--on the collegium poetarum, and on discussions of reading and libraries at Rome, for example--have become standard treatments of their subjects. Throughout all these works there is an astonishing degree of connection, with glimpses in many papers of his other research interests. 'Nicholas Horsfall needs to be approached through his short papers, typically fresh, innovative and stimulating, and he has been so productive that nobody can claim to have had a full view of his scholarship. When it comes to placing a literary text in the frames offered by material culture, documents, landscapes, history, and by religious, legal, military and antiquarian studies, he was unrivalled.' Professor Alessandro Barchiesi, Professor of Classics, New York University.
A series of essays exploring tradition and innovation across the full temporal range of Greco-Roman historiography.
The fruit of a decade’s research, this volume offers a new interpretation of the dense Christological narrative in Philippians 2:6–11, taking inspiration from recent advances in our understanding of the letter’s Greek and Roman setting and from insights made possible by recently created linguistic databases (such as TLG and PHI). The passage’s praise of Christ engages the language of Hellenistic ruler cults, Platonic metaphysics and moral philosophy, popular (Homeric) beliefs about the gods, and Greek love (eros), to articulate a scripturally grounded theology in which God is revealed to be one in two persons (God the Father and LORD Jesus Christ). The volume also explores hitherto unseen ways in which the central Christ Hymn is tightly connected to the rest of Paul’s argument. The hymn presents Christ as an epitome of the ideals of Greek (and Roman) virtue, to support Paul’s summoning his readers to a life of praiseworthy and exemplary civic conduct (in 1:27). New or recently proposed translations are advanced for numerous words and phrases (in, e.g., 1:8, 11, 27; 2:3, 4, 6, 11; 3:2, 4) and a new (non-Stendahlian) approach to Paul’s boasting in 3:4–6, that is Christological rather than biographical, is put forward.
Carpe diem – 'eat, drink and be merry, for tomorrow we die!' – is a prominent motif throughout ancient literature and beyond. This is the first book-length examination of its significance and demonstrates that close analysis can make a key contribution to a question that is central to literary studies in and beyond Classics: how can poetry give us the almost magical impression that something is happening here and now? In attempting an answer, Robert Rohland gives equal attention to Greek and Latin texts, as he offers new interpretations of well-known poems from Horace and tackles understudied epigrams. Pairing close readings of ancient texts along with interpretations of other forms of cultural production such as gems, cups, calendars, monuments, and Roman wine labels, this interdisciplinary study transforms our understanding of the motif of carpe diem.
This volume contains the collected papers of one of the most important and influential scholars of the late 20th/early 21st century, with fundamental contributions to the fields of Cynic philosophy, Greco-Roman historiography and biography, and Roman poetry. This is volume 2.
Book 3 of the Odes completes the lyric trilogy which Horace, who rivals Virgil as the greatest of all Latin poets, published in 23 BC. Arguably his most famous book, it opens with the six so-called 'Roman Odes', those defining texts of the Augustan Age, and concludes with the statement of his achievement: he has produced for his Roman readers a body of lyric poetry to rival the great lyric poets of Greece, a monument which will last as long as Rome itself. The present volume aims to place Horace's Odes in their literary and historical context, to explain his Latin, to articulate his thought, and to attempt to elucidate his brilliance. It presents a new text and adopts an approach independent of that of earlier commentators.
This volume provides a new critical text, translation, and exhaustive commentary on one of Virgil’s most famous books.
Challenging many established narratives of literary history, this book investigates how the earliest known Greek poets (seventh to fifth centuries BCE) signposted their debts to their predecessors and prior traditions – placing markers in their works for audiences to recognise (much like the 'Easter eggs' of modern cinema). Within antiquity, such signposting has often been considered the preserve of later literary cultures, closely linked with the development of libraries, literacy and writing. In this wide-ranging new study, Thomas Nelson shows that these devices were already deeply ingrained in oral archaic Greek poetry, deconstructing the artificial boundary between a supposedly 'primal' archaic literature and a supposedly 'sophisticated' book culture of Hellenistic Alexandria and Rome. In three interlocking case studies, he highlights how poets from Homer to Pindar employed the language of hearsay, memory and time to index their allusive relationships, as they variously embraced, reworked and challenged their inherited tradition.
Working “in the shadow of Eduard Norden” in the author’s own words, Nicholas Horsfall has written his own monumental commentary on Aeneid 6. This is Horsfall’s fifth large-scale commentary on the Aeneid, and as his earlier commentaries on books 7, 11, 3, and 2, this is not a commentary aimed at undergraduates. Horsfall is a commentators’ commentator writing with encyclopedic command of Virgilian scholarship for the most demanding reader. Volume One includes the introduction, text and translation, and bibliography, Volume Two includes the commentary, appendices, and indices.
This book contain the story of fifty years of John Coleman's life as an actor and how the play-house grew into his life. This book is the first volume of two contain the writer's childhood and dreams, accounts of his relationship with the church and his monastery school, moving to London, the first jobs he ever got and the travels that then experienced as his career took off.