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Bryn Mawr Commentaries provide clear, concise, accurate, and consistent support for students making the transition from introductory and intermediate texts to the direct experience of ancient Greek and Latin literature. They assume that the student will know the basics of grammar and vocabulary and then provide the specific grammatical and lexical notes that a student requires to begin the task of interpretation. Hackett Publishing Company is the exclusive distributor of the Bryn Mawr Commentaries in North America, the United Kingdom, and Europe.
A chronological guide to influential Greek and Roman writers, Fifty Key Classical Authors is an invaluable introduction to the literature, philosophy and history of the ancient world. Including essays on Sappho, Polybius and Lucan, as well as on major figures such as Homer, Plato, Catullus and Cicero, this book is a vital tool for all students of classical civilization.
This book presents the first commentary on the whole of [Tibullus] 3 in English. It consists of a text, translation, introduction and commentary. The text rests on the author’s autopsy of the most important manuscripts of [Tibullus]. The prose translation is as literal as possible, in order to bring out clearly the meaning of the Latin. The detailed line-by-line commentary serves to clarify the language and literary associations of the poems and to back up the theory that the whole work was composed by a single unitary author. It argues that what were previously thought of as separate sections of the book, composed by different authors at different times, were in fact the product of a single anonymous poet impersonating, or adopting the mask of, different characters in each section: Lygdamus (poems 1-6), a young Tibullus (7), a commentator on Sulpicia’s affair with Cerinthus (8-12), Sulpicia (13-18) and Tibullus (19-20). The close connections and associations between these different sections and their use of the same Augustan intertexts are shown to favour a unitary interpretation of the work. The main literary inspiration for the work, this volume argues, comes from the elegists of the Augustan period, but its date of composition could have been late in the first century AD, linking it with the other pseudepigraphical writings of this century such as the Virgilian and Ovidian Appendices.
Despite a common perception that most writing in antiquity was produced by men, some important literature written by women during this period has survived. Edited by I. M. Plant, Women Writers of Ancient Greece and Rome is a comprehensive anthology of the surviving literary texts of women writers from the Graeco-Roman world that offers new English translations from the works of more than fifty women. From Sappho, who lived in the seventh century B.C., to Eudocia and Egeria of the fifth century A.D., the texts presented here come from a wide range of sources and span the fields of poetry and prose. Each author is introduced with a critical review of what we know about the writer, her work, and its significance, along with a discussion of the texts that follow. A general introduction looks into the problem of the authenticity of some texts attributed to women and places their literature into the wider literary and social contexts of the ancient Graeco-Roman world.
Although Greek society was largely male-dominated, it gave rise to a strong tradition of female authorship. Women poets of ancient Greece and Rome have long fascinated readers, even though much of their poetry survives only in fragmentary form. This pathbreaking volume is the first collection of essays to examine virtually all surviving poetry by Greek and Roman women. It elevates the status of the poems by demonstrating their depth and artistry. Edited and with an introduction by Ellen Greene, the volume covers a broad time span, beginning with Sappho (ca. 630 b.c.e.) in archaic Greece and extending to Sulpicia (first century B.C.E.) in Augustan Rome. In their analyses, the contributors situate the female poets in an established male tradition, but they also reveal their distinctly “feminine” perspectives. Despite relying on literary convention, the female poets often defy cultural norms, speaking in their own voices and transcending their positions as objects of derision in male-authored texts. In their innovative reworkings of established forms, women poets of ancient Greece and Rome are not mere imitators but creators of a distinct and original body of work.
The Augustan period in Rome was a golden age for poetry, and also the age in which the cult of the author began in the west. By examining some early poetic understandings of what it might have meant to be Vergil, Ovid, and Tibullus, Constructing Authors and Readers in the Appendices Vergiliana, Tibulliana, and Ouidiana explores what those authors meant to near-contemporaries, and what the construction of authorship they were a part of meant to the later western tradition. Constructing Authors and Readers in the Appendices Vergiliana, Tibulliana, and Ouidiana takes its starting point from the Appendices attached to three major Augustan poets, exploring how their different conditions of production, and the differences between their authorising authors, result in different notions of what an appendical text 'ought' to contain. So, for instance, Vergil's biography leaves ample room for 'juvenilia', while Ovid's does not; the Tibullan appendix explicitly engages with a wider poetic community. Moving beyond questions of forgery and deception, some chapters ask how we would be able to know the difference between texts of genuine and of disputed authorship, given that most of the stylistic features that distinguish authors are replicable. Other chapters make the case for re-evaluation of poems that have been neglected or disparaged, and still others make sense of individual works in their likely context of composition. The volume is the first to treat in conjunction the majority of the appendical works ascribed to Vergil, Ovid, and Tibullus, and to draw connections across corpora.