The two readers for Cambridge University Press will recognize my debt to them, as will Beatrice Rehl, as demanding and yet supportive an editor as any author could wish. Comedy was performed and appreciated in several milieus, theater, recitations or after-dinner performances, and schools. What emerges from Goldberg's study is a fresh perspective on Vergil's achievement, with new insights into the cultural dynamics of Republican Rome. The analysis, which offers evidence of Witmore's impressive familiarity with a wide range of Baconian texts, convincingly demonstrates that the recombinatory potential implicit in Bacon's doctrine of Formae bears some kinship with nature's capacity to produce monsters. Best known for domesticating Greek epic and drama, Ennius also pursued a wide range of literary endeavors and found success in almost all of them.
Goldberg treats the creators of these now-fragmentary works not simply as predecessors of Vergil, but as pioneers and poets in their own right. This book is a major new study of the epic poetry of Republican Rome. Goldberg treats the creators of these now-fragmentary works not simply as predecessors of Vergil, but as pioneers and poets in their own right. American Journal of Philology 119. Leigh follows La Penna in taking topoi seriously as markers of shifting cultural preoccupations. A certain embarrassment about the story of Livius Andronicus inaugurating Latin literature with a play in 240 b.
Library of Congress Cataloging in Publication Data Goldberg, Sander M. Goldberg treats the creators of these now-fragmentary works not simply as predecessors of Vergil, but as pioneers and poets in their own right. Finally, there are the many debts to individuals whose advice and encouragement, suggestions and objections, have not just made this study possible, but even made it fun. What emerges from Goldberg's study is both a fresh perspective on Vergil's achievement and new insights into the cultural dynamics of second-century Rome. This two-volume edition of Ennius, which inaugurates the Loeb series , replaces that of Warmington in Remains of Old Latin, Volume I and offers fresh texts, translations, and annotation that are fully current with modern scholarship.
The Muse Arrives 20 2. Nationalism and literature — Rome. The fourth chapter has a similarly ambiguous estimation of its subject. Arguments are well supported, manifesting not only familiarity with the comic corpus but also wide reading in pertinent scholarship. Aspects of its argument have over the years excited — the verb is deliberately ambiguous — audiences from St. Fantham's book is a significant start on a project which, I dare predict, others in coming generations will be inspired to continue.
Since the first literary material was tragedy and comedy, it was aimed at the audience which attended performances in Rome's makeshift theatres. First published 2005 Printed in the United States of America A catalog record for this publication is available from the British Library. Overviews reflect cover-to-cover reading of primary sources, rather than sampling. Join Our Mailing List: to receive information about forthcoming books, seasonal catalogs, and more, in newsletters tailored to your interests. The process of reading and reception in antiquity was of course continuous, but the evidence left of those activities is only intermittent.
The book's accurate and lengthy index locorum indicates Leigh's approach: long entries for Appian, Aristophanes, Aristotle, Cato, Cicero, the Digest, Livy, all of Plautus, Plutarch, Polybius, and Valerius Maximus, among many others. I would argue that drama at Rome was, from the start, a double or multiple experience as it was from Aristotle on. Behind the early literary experiments of Andronicus and Naevius, Ennius and Cicero, lie issues of poetry and patronage, and of cultural assimilation and national ideology, that not only come to characterize Roman literature of all periods, but continue to shape modern responses to that literature. In his account of the booking of drama into literature, Goldberg finds surprising Varro's interest in drama and his use of Plautus as an authority for the investigation of Latinity. How often did men use their literary presentation to turn their backs on their socially inferior or non-Roman background? The book combines traditional literary and philological methods with modern techniques of cultural studies and contemporary inquiries into the formation of national literatures.
Scholarly opinions come and go and sometimes come again , but the evidence endures. Goldberg's suggestion that the lack of moral purpose in comedy restricted its influence on later Latin literature abuts an argument that the intensive sound effects of early poetry in service of structural and syntactic purposes affected later verse. Goldberg is Professor of Classics at the University of California, Los Angeles. Latin poetry — History and criticism. The author of The Making of Menander's Comedy, Understanding Terence, and Epic in Republican Rome, he has held fellowships from the American Council of Learned Societies, the National Endowment for the Humanities, and the Fulbright-Hays Commission.
The focus is on Roman military culture and the economic and social transitions to empire. As inevitable with a project of this scale, my debts to individuals and institutions are considerable, and they are a pleasure to recall. A young man whose family destined him for a political career and who one day might retire to write history, like Sallust or later Tacitus, would be unlikely to become as thoroughly bilingual and bicultural as a poet like Vergil, Horace, or Ovid, whose entire career was centered on poetry and achieving effective intertextuality with the great poets of Classical Greece and the Hellenistic world. Mid-second-century readers, more sophisticated thanks to Crates, understood better the allusive, sonorous style of the earlier epic and, in keeping with Cato's ideology of service to the state, appreciated the collective, nationalist effort of empire presented in epic. My presentation reflects that priority, quoting and discussing Roman sources in the text and being as clear as possible about why I read them as I do, but relegating the majority of my scholarly debts, disagreements, and suggestions to the notes.
But Goldberg goes beyond practical criticism, exploring in the literary experiments of Andronicus, Naevius, Ennius, and Cicero issues of poetry and patronage, cultural assimilation and national ideology, modeling and originality that both come to characterize Roman literature of all periods and continue to shape modern responses to that literature. Andrews and Exeter to Dunedin and Hobart, Freiburg and Pisa to Charlottesville and Seattle, and I have learned a great deal, though perhaps not always enough, from the resulting exchanges. One consequence of this decision is a privileging of poetry over prose. Constructing Literature in the Roman Republic Cambridge University Press 052185461X - Constructing Literature in the Roman Republic - Poetry and Its Reception - by Sander M. One other oddity deserves mention.
Similarly, the fifth chapter describes how the Phormio and comedy in general had no influence on Cicero's Pro Quinctio and that Lucilius' scene of the attack upon a house has no comic subtext. Secondary sources go well beyond the usual suspects see particularly on Emilio Gabba, 13—15, and on Antonio La Penna, 157. In The Comedy of Errors, which Witmore reads as an extension, not necessarily intentional, of the philosophical traditions he has earlier discussed, the multiple coincidence and accidents of nature, all displayed for comic misapprehension, offer a reminder that random actions do not always have a purpose higher than the farce that ensues. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new. The accident, precisely because of its contingency, would seem to be unavailable for use as an epistemological category; yet Witmore's study shows how adventitious events were gradually absorbed in, and became indexes to, a Christian view of divine providence. Epic in Republican Rome discusses authors of now-fragmentary epic poetry not simply as predecessors of Vergil, but as pioneers and poets in their own rights.