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It was to celebrate the opening of the Roman Colosseum in 80 CE that Martial published his first book of poems, "On the Spectacles." Written with satiric wit and a talent for the memorable phrase, the poems in this collection record the broad spectacle of shows in the new arena. The great Latin epigrammist's twelve subsequent books capture the spirit of Roman life—both public and private—in vivid detail. Fortune hunters and busybodies, orators and lawyers, schoolmasters and street hawkers, jugglers and acrobats, doctors and plagiarists, beautiful slaves, and generous hosts are among the diverse characters who populate his verses.Martial is a keen and sharp-tongued observer of Roman society. His pen brings into crisp relief a wide variety of scenes and events: the theater and public games, life in the countryside, a rich debauchee's banquet, lions in the amphitheater, the eruption of Vesuvius. The epigrams are sometimes obscene, in the tradition of the genre, sometimes warmly affectionate or amusing, and always pointed. Like his contemporary Statius, though, Martial shamelessly flatters his patron Domitian, one of Rome's worst-reputed emperors.D. R. Shackleton Bailey now gives us, in three volumes, a reliable modern translation of Martial's often difficult Latin, eliminating many misunderstandings in previous versions. The text is mainly that of his highly praised Teubner edition of 1990.

Relatively little is known of the life of Crinagoras of Mytilene: a Greek epigrammatist and diplomat who lived between the first centuries BC and AD, he was despatched to Rome as part of the embassies to Julius Caesar and Octavian, was held in high regard by his contemporaries, and divided his life between his home of Mytilene and the centre of the Roman Empire, where he was acquainted with the family of the emperor Augustus. Much of the detail we have to flesh out this brief account comes from his poems, which, in keeping with the genre, draw extensively on his personal experience and on the events of the day to provide a key source for the circumstances of his life. They are also eloquent and dynamic in their own right, and as a corpus they cover a wide thematic range: many were inspired by contemporary political or military events or by personal experiences, observations, or contemplation, though they also include several sepulchral epigrams concerning the deaths of persons the poet knew, and many which were composed as notes to be sent with gifts to friends or acquaintances. This new edition collects together all fifty-one of the surviving epigrams which have come down to us as part of the Greek Anthology. Presented here in a new critical text alongside engaging English translations, they are analysed in detail in an incisive introduction and exegetic word-by-word commentary, both as individual poems and as part of the corpus as a whole. With discussion throughout covering not only textual and stylistic matters, but also literary and historical context and Crinagoras' place within his social and cultural milieu, this edition provides a guide to the life and work of this understudied poet which is both authoritative and accessible.

This edition provides an English translation of and detailed commentary on the second book of epigrams published by the Latin poet Marcus Valerius Martialis. The past ten years have seen a resurgence of interest in Martial's writings. But contemporary readers are in particular need of assistance when approaching these epigrams, and until now there has been no modern commentary dedicated to Book II. This new commentary carefully illuminates the allusions to people, places, things, and cultural practices of late first-century Rome that pervade Martial's poetry. It analyzes the epigrammatist's poems as literary creations, treating such topics as the structure of the individual poems and of the book as a whole, and the influence of earlier texts on Martial's language and themes.

This is an introduction to the ancient genre of epigram, short poems literally written or inscribed 'on' an object or figuratively 'on' a topic. The authors set out what epigram means and why it matters, exploring its roots in inscriptions on stone and its literary flourishing in the Hellenistic world after Alexander. They trace its migration from Greece to Rome, where its most famous exponent was Martial, and consider the continuation of Greek epigram under the Roman empire in the so-called 'Second Sophistic'. The final chapter shows how Greek epigram achieved new importance in the nineteenth century as raw material for stories about the classical past.

Written to celebrate the 80 CE opening of the Roman Colosseum, Martial's first book of poems, "On the Spectacles," tells of the shows in the new arena. The great Latin epigrammist's twelve subsequent books capture the spirit of Roman life in vivid detail. Fortune hunters and busybodies, orators and lawyers, schoolmasters and acrobats, doctors and plagiarists, beautiful slaves and generous hosts populate his witty verses. We glimpse here the theater, public games, life in the countryside, banquets, lions in the amphitheater, the eruption of Vesuvius. Martial's epigrams are sometimes obscene, sometimes affectionate and amusing, and always pointed. Like his contemporary Statius, though, Martial shamelessly flatters his patron Domitian, one of Rome's worst-reputed emperors.Shackleton Bailey's translation of Martial's often difficult Latin eliminates many misunderstandings in previous versions. The text is mainly that of his highly praised Teubner edition of 1990 ("greatly superior to its predecessors," R. G. M. Nisbet wrote in Classical Review).These volumes replace the earlier Loeb edition with translation by Walter C. A. Ker (1919).

No tears No markings Yellowing pages as book is old No missing pages

Martial, the father of the epigram, was one of the brilliant provincial poets who made their literary mark on first-century Rome. His Epigrams can be affectionate or cruel, elegiac or playful; they target every element of Roman society, from slaves to schoolmasters to, above all, the aristocratic elite. With wit and wisdom, Martial evokes not â the grandeur that was Rome,â but rather the timeless themes of urban life and society.

It was to celebrate the opening of the Roman Colosseum in 80 CE that Martial published his first book of poems, "On the Spectacles." Written with satiric wit and a talent for the memorable phrase, the poems in this collection record the broad spectacle of shows in the new arena. The great Latin epigrammist's twelve subsequent books capture the spirit of Roman life—both public and private—in vivid detail. Fortune hunters and busybodies, orators and lawyers, schoolmasters and street hawkers, jugglers and acrobats, doctors and plagiarists, beautiful slaves, and generous hosts are among the diverse characters who populate his verses.Martial is a keen and sharp-tongued observer of Roman society. His pen brings into crisp relief a wide variety of scenes and events: the theater and public games, life in the countryside, a rich debauchee's banquet, lions in the amphitheater, the eruption of Vesuvius. The epigrams are sometimes obscene, in the tradition of the genre, sometimes warmly affectionate or amusing, and always pointed. Like his contemporary Statius, though, Martial shamelessly flatters his patron Domitian, one of Rome's worst-reputed emperors.D. R. Shackleton Bailey now gives us, in three volumes, a reliable modern translation of Martial's often difficult Latin, eliminating many misunderstandings in previous versions. The text is mainly that of his highly praised Teubner edition of 1990.

Martial, like many of the Latin poets, was born in Bibilis, Spain, probably around 38-41 AD. He appears to have lived in Rome for nearly thirty-four years, under the patronage of the great Spaniard Senaca, the Younger. He belonged to a class of intellectuals who were in resolute opposition to the emperor Domitian, so many times figures like Cicero, Brutus, and Pompey are used as literary devices against the crazed tyrant. Martial's poems are definitely modelled off of Catullus' epigrams and elegiac verses, although they are different in meaning and theme. These poems are hilarious and audacious, cruel, lewd, charming, spiteful, and creative; and they bring to life the social and political milieu of Rome.

Excerpt from Epigrams, Ancient and Modern: Humorous, Witty, Satirical, Moral, and PanegyricalThe Greek epigrams are said to be valuable as historical inscriptions, as contemporary records of public transactions 5 many Of them, as disclosing to us the still more interesting events of private life In these evidently written from the heart, we have the loves and the enmities, the hopes and the dis appointments, the joys and the sorrows, of that sensitive and intellectual people 5 sometimes chain ing us in astonishment by sublimity of thought, and sometimes subduing the heart by the most pathetic touches Of tenderness. Their inscriptions are well calculated to enlarge the mind, to strengthen the judgment, and to refine the taste. 'they are the sole vehicles Of her earliest history, the sole memorials Of her honoured dead,' and are appealed to by later writers with all the confidence that sure indisputable testimony is calculated to inspire. They serve -to chronicle each great event that in!About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Relatively little is known of the life of Crinagoras of Mytilene: a Greek epigrammatist and diplomat who lived between the first centuries BC and AD, he was despatched to Rome as part of the embassies to Julius Caesar and Octavian, was held in high regard by his contemporaries, and divided his life between his home of Mytilene and the centre of the Roman Empire, where he was acquainted with the family of the emperor Augustus. Much of the detail we have to flesh out this brief account comes from his poems, which, in keeping with the genre, draw extensively on his personal experience and on the events of the day to provide a key source for the circumstances of his life. They are also eloquent and dynamic in their own right, and as a corpus they cover a wide thematic range: many were inspired by contemporary political or military events or by personal experiences, observations, or contemplation, though they also include several sepulchral epigrams concerning the deaths of persons the poet knew, and many which were composed as notes to be sent with gifts to friends or acquaintances. This new edition collects together all fifty-one of the surviving epigrams which have come down to us as part of the Greek Anthology. Presented here in a new critical text alongside engaging English translations, they are analysed in detail in an incisive introduction and exegetic word-by-word commentary, both as individual poems and as part of the corpus as a whole. With discussion throughout covering not only textual and stylistic matters, but also literary and historical context and Crinagoras' place within his social and cultural milieu, this edition provides a guide to the life and work of this understudied poet which is both authoritative and accessible.

This edition provides an English translation of and detailed commentary on the second book of epigrams published by the Latin poet Marcus Valerius Martialis. The past ten years have seen a resurgence of interest in Martial's writings. But contemporary readers are in particular need of assistance when approaching these epigrams, and until now there has been no modern commentary dedicated to Book II. This new commentary carefully illuminates the allusions to people, places, things, and cultural practices of late first-century Rome that pervade Martial's poetry. It analyzes the epigrammatist's poems as literary creations, treating such topics as the structure of the individual poems and of the book as a whole, and the influence of earlier texts on Martial's language and themes.

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Nothing is known of the Greek poet Rufinus other than that he was the author of a collection of thirty-nine epigrams. In fact he is such an insubstantial figure that his date has been placed at various points within nearly half a millennium. Professor Page here presents a text of Rufinus' poems and a concise commentary on them. In his introduction he considers the criteria by which a date may be established and finds evidence in favour of the fourth century AD.

Unread book in perfect condition.

First edition. Octavo. 47pp. Fine in fine dust jacket with small stain on rear cover.

It was to celebrate the opening of the Roman Colosseum in 80 CE that Martial published his first book of poems, "On the Spectacles." Written with satiric wit and a talent for the memorable phrase, the poems in this collection record the broad spectacle of shows in the new arena. The great Latin epigrammist's twelve subsequent books capture the spirit of Roman life—both public and private—in vivid detail. Fortune hunters and busybodies, orators and lawyers, schoolmasters and street hawkers, jugglers and acrobats, doctors and plagiarists, beautiful slaves, and generous hosts are among the diverse characters who populate his verses.Martial is a keen and sharp-tongued observer of Roman society. His pen brings into crisp relief a wide variety of scenes and events: the theater and public games, life in the countryside, a rich debauchee's banquet, lions in the amphitheater, the eruption of Vesuvius. The epigrams are sometimes obscene, in the tradition of the genre, sometimes warmly affectionate or amusing, and always pointed. Like his contemporary Statius, though, Martial shamelessly flatters his patron Domitian, one of Rome's worst-reputed emperors.D. R. Shackleton Bailey now gives us, in three volumes, a reliable modern translation of Martial's often difficult Latin, eliminating many misunderstandings in previous versions. The text is mainly that of his highly praised Teubner edition of 1990.

Callimachus of Cyrene, 3rd century BCE, became after 284 a teacher of grammar and poetry at Alexandria. He was made a librarian in the new library there and prepared a catalogue of its books. He died about the year 240. Of his large published output, only 6 hymns, 63 epigrams, and fragments survive (the fragments are in Loeb no. 421). The hymns are very learned and artificial in style; the epigrams are good (they are also in the Loeb Greek Anthology volumes).Lycophron of Chalcis in Euboea was a contemporary of Callimachus in Alexandria where he became supervisor of the comedies included in the new library. He wrote a treatise on these and composed tragedies and other poetry. We possess Alexandra or Cassandra wherein Cassandra foretells the fortune of Troy and the besieging Greeks. This poem is a curiosity―a showpiece of knowledge of obscure stories, names, and words.Aratus of Soli in Cilicia, ca. 315–245 BCE, was a didactic poet at the court of Antigonus Gonatas of Macedonia, where he wrote his famous astronomical poem Phaenomena (Appearances). He was for a time in the court of Antiochus I of Syria but returned to Macedonia. Phaenomena was highly regarded in antiquity; it was translated into Latin by Cicero, Germanicus Caesar, and Avienus.

Greek epigram is a remarkable poetic form. The briefest of all ancient Greek genres, it is also the most resilient: for almost a thousand years it attracted some of the finest Greek poetic talents as well as exerting a profound influence on Latin literature, and it continues to inspire and influence modern translations and imitations. After a long period of neglect, research on epigram has surged during recent decades, and this volume draws on the fruits of that renewed scholarly engagement. It is concerned not with the work of individual authors or anthologies, but with the complexities of epigram as a genre, and provides a selection of in-depth treatments of key aspects of Greek literary epigram of the Hellenistic, Roman, and early Byzantine periods. Individual chapters offer insights into a variety of topics, from the dynamic interactions between poets and their predecessors and contemporaries, and the relationship between epigram and its sociopolitical, cultural, and literary background from the third century BCE up until the sixth century CE, to its interaction with its origins, inscribed epigram more generally, other literary genres, the visual arts, and Latin poetry, as well as the process of editing and compilation that generated the collections that survived into the modern world. Through the medium of individual studies the volume as a whole seeks to offer a sense of this vibrant and dynamic poetic form and its world, which will be of value to scholars and students of Greek epigram and classical literature more broadly.

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