Tibullus's two books of elegies belong to the early part of the reign of Augustus (31-19 B.C.). His themes were love, the countryside and Rome, its gods and traditions. His patron was the great general and orator M. Valerius Messalla Corvinus. One of the four canonical Latin elegiac poets (Gallus, of whom almost nothing survives, Propertius and Ovid being the others), Tibullus has a distinctive voice and an individual approach to the conventional subject matter, bland on the surface but turbulent and passionate on deeper examination. His easy stylistic mastery cloaks vivid intellectual activity and turbulent emotion. This edition, revised in collaboration with Robert Maltby, includes for the first time the third book of the Corpus Tibullianum, a collection of poems by others within Messalla's circle, including the female elegist Sulpicia. Guy Lee's acclaimed verse translation, rhythmically subtle and lively in verbal texture, can be read with delight on its own and enhances our enjoyment and appreciation of Tibullus's Latin. Robert Maltby has provided for the third edition an extensive new commentary, illuminating many aspects of Tibullus' art and literary background.

This is the first report on the finds from K. Kenyon's and J. B. Ward-Perkins' excavations at Sabratha from 1948-1951, and contains full discussion and catalogues. This volume constitutes a landmark in the study of Punic and Roman pottery from Sabratha and Tripolitania, not only covering new dated types but also quantified studies and analysis It will be a lasting reference to the pottry from this area, and invaluable also for what it brings to the historical picture of this city.

A new edition of Beazley's account of twenty-five Athenian vases in the Nicosia museum. Provides a discussion of Athenian vase-painting in which each of the vases introduces a subject that Beazley considers in detail.

Ten papers on Republican and Augustan literature, including Ovid's Tristia , Catullus, Horace, Livy, Cicero and Virgil.

Professor Fehling's important study of source-citations in Herodotus first appeared in German in 1971 ( Die Quellenangaben bei Herodot ). It proved controversial at the time, setting its face as it did against the general trend of Herodotean studies over the preceding few decades. Herodotus and his 'Sources' re-opens the question of the veracity of Herodotus' source-citations, raised in the last century in Britain by A. H. Sayce and in Germany by H. Panofsky. Their view, in essence that Herodotus simply invented most of the sources to which he attributed his information, so that they were without factual basis, met with general disbelief. However, modern arguments in favour of a factual basis are, as Fehling suggests in his Introduction, logically untenable. A rigorous analysis in Chapters 1 and 2 of Herodotus' methods of source-citation, and of his narrative strategies, lays the foundation for chapters on the role of free invention in Herodotus and on Herodotus' use of 'typical numbers'. Some comparative material from other authors, mainly ancient but also medieval, is adduced. A short concluding chapter sketches some of the wider implications of the view adopted in this study. In this English edition, translated by J. G. Howie in close collaboration with the author, numerous small revisions and a few major ones are incorporated. The translator has aimed at clarity and ease of comprehension. This book will be of primary concern to ancient historians and historiographers; narratologists will also find much in it to interest them.

This volume describes the pottery-making depot attached to the pre-Flavian vexillation fortress of Longthorpe near Peterborough and and throws light on the problems of supply of the Roman army during the conquest campaigns. It contains a detailed report on excavations at a group of sites lying east and south-east of the Roman fortress of Longthorpe, Cambridgeshire. A second section reports on the finds from the excavations.

The first volume of this major commentary begins appropriately with Prolegomena, before offering a text of Ovid's Amores . The Prolegomena has eight chapters: Tenerorum Lusor Amorum; Doctrina; Recitation; Chronology; The Arrangement of the Poems; The Title; Metre; The Text. Succinct, clear and learned, these chapters alone form an excellent all-round introduction to Ovid as a love-poet, and touch on many aspects of more general relevance to Augustan and Hellenistic poetry. Even in its incomplete form (the final volume is still in preparation), the Commentary on the Amores of Ovid has become a scholarly standard. The introductions to each elegy are succinct, readable and original, and take careful account of relevant modern discussions. The commentary is full of meticulous detail. McKeown's Ovid retains his lightness of touch, however, and poet and commentator share an interest in the wit arising from situation and word-play.

Phaedra, a disturbing drama of unnatural love, violence, and perverted loyalty, is one of eight surviving tragedies written by the millionaire philosopher and littérateur Lucius Annaeus Seneca (ca 1 B.C. - A. D. 65), chief minister to the Emperor Nero. A.J. Boyle's penetrating introduction and extensive notes show why Seneca so deeply influenced Renaissance drama: psychological insight, vivid and powerful verse, highly effective staging (although the question of performance is controversial), and an intellectually demanding conceptual framework. The translation, printed facing the Latin text, aims at verbal and stylistic fidelity. The book is suitable for class use at senior school and undergraduate level, for students of Latin and of classical civilisation/literature in translation. Students of English and of drama will also find it of value.

Aulus Persius Flaccus (A.D. 34-62) wrote in racy conversational Latin six satires countering contemporary vice with Stoic morality; he died young. This is not easy poetry, with its sudden shifts of tone, switches of speaker and situation, vivid evocation of the everyday roman background, and confident handling of philosophical positions. But it is still a good read. This edition prints the Latin text faced with a brilliant verse translation by Guy Lee. The introduction and commentary provided by William Barr make it a suitable class text.

Arnaldo Momigliano is the greatest contemporary scholar of the history and historiography of classical civilization. M.I. Finley has written in the New Statesman that "there is no one alive today who knows the subject as he does."On Pagans, Jews, and Christians is an important addition to his masterly work, bringing together nineteen essays written in the past five years from sources such as The New York Review of Books, The American Scholar, and the Annali della Scuola Normale Superiore di Pisa. It is written with literate clarity and elegance, humane wisdom, and breadth of intellect. The focus of this book is the secular cultures of pagan Greece and imperial Rome, and the religious cultures of Judaism and Christianity which, in turn, grew from and influenced them and the modern world. For Momigliano, religion, secular ideology, and politics live in and illuminate the present. Chapters include "The Jews of Italy" (history viewed in the autobiographical perspective of the Momigliano family), "The Disadvantages of Monotheism for a Universal State," "How to Reconcile Greeks and Trojans," and "The Theological Efforts of the Roman Upper Classes in the First Century B.C."A new book by Arnaldo Momigliano is always a scholarly event.

In this volume (in Italian), Professor Marco Fantuzzi presents a critical text of the Adonidis Epitaphium by the Hellenistic Greek poet Bion of Smyrna, who worked between 130-120 BC and 57-55 BC. The text is accompanied by the first major commentary on this poet. The Adonidis Epitaphium , a lament for the 'dying god' Adonis, exercised literary influence both in its own time and during the Renaissance and later. In his detailed line-by-line commentary and three Appendixes Marco Fantuzzi examines Bion's language, metrics, literary antecedents (which range from Homer and the lyric poets through tragedy to Callimachus, Apollonius and the epigrammatists), and finally 'generic' aspirations.

Latin is at the cultural and linguistic heart of Western Europe and the Americas. Learning Latin offers senior school and adult beginners access to this shared heritage. John Randall, over two decades of teaching Latin to beginners at Lancaster University, developed techniques to encourage a rapid grasp of Latin sentence-construction without distortion of the natural Latin word-order. The Learning Latin course evolved from his teaching experience. He collaborated in the final stages of its development with two other experienced Latinists, Jonathan Foster and Duncan Kennedy, who gave the course further rigorous testing at Liverpool University. The course uses only the real Latin of classical authors, both prose and poetry, right from the very first sentence: homo hic ebrius est, from the comic playwright Plautus. Where (minimal) adaptations have been made to the Latin, this is signalled and the original form given in an appendix. The grammatical terminology is traditional, with the addition of two concepts from modern linguistics - 'kernelling' and 'metaphrasing'. The forms of nouns, adjectives, pronouns and verbs are listed in tables. Learning Latin consists of 25 chapters, for each of which around two hours instruction is envisaged. Its aim is to enable students to make sure progress in the structure of the language, so that after completing the course they can handle Latin prose and simple Latin verse confidently with the aid of standard reference works.

Volume 5 of PLLS was the last of the Liverpool series of seminar volumes. Between 1975 and 1985 the Liverpool Latin Seminar held 52 ordinary meetings and 4 colloquia, involving altogether 156 papers and participants from all over the world. Although many diverse approaches were represented in the Seminar, it was underpinned by two underlying convictions: first, that ancient literature functions at the highest intellectual level and deserves to be studied at that level; and second, that the ancient literatures can only be understood properly against the background of the societies in which they originated.

Composition is so vast that no single book -- let alone a slender volume like this one -- can cover it exhaustively. The principles and views presented here are representative of a variety of approaches to visual design: some are concerned exclusively with form; others with the psychology of form; and still others with ideological properties thought to be inherent in particular choices of visual pattern.

The turning of biblical texts into Latin poetry - biblical paraphrase - was a significant literary activity in late antiquity (third to sixth centuries AD). The most important surviving examples of this form are Juvencus and Sedulius (of the Gospels), Arator (of Acts), "Cyprianus Gallus" (Genesis to Judges), Claudius Marius Victorius (Genesis) and Avitus (parts of Genesis and Exodus). Generally described as biblical epics because they are written in hexameters and imitate pagan epic (especially Virgil), they have also been widely recognized to have drawn for their technique of composition on the rhetorical school exercise of paraphrase. Dr. Roberts analyses in convincing detail how the epic genre interacted with the biblical text through the medium of paraphrase to produce a distinctively Christian literature. He begins by offering the first modern study of paraphrase; two chapters describe its theory and practice, taking into account the standard rhetorical handbooks and recently discovered papyrological evidence. From this perspective, he analyses the types of alterations biblical epic writers made to the biblical text, thereby demonstrating the literary effects they were trying to achieve.