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By Robinson Ellis

This 1876 paintings is the magisterial remark by way of the Oxford pupil Robinson Ellis (1834-1913) at the lifestyles and oeuvre of the Roman poet Catullus, whose paintings illuminates the final years of the Roman Republic. Our wisdom of Catullus' lifestyles derives nearly solely from his personal writings. 3 manuscripts live to tell the tale which comprise a suite of poems which are ascribed to him, and all 3 date from the fourteenth century. Ellis considers the learn that has already been undertaken at the poet and his atmosphere yet generally attracts on his personal paintings in assessing the price of the Renaissance Italian commentators who proven the widely authorized poetic canon. He strains the Greek affects that Catullus used to be uncovered to and discusses his use of other metres, whereas additionally speculating at the id of his loved Lesbia, a arguable query nonetheless unresolved within the twenty-first century.

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Extra resources for A Commentary on Catullus

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3. A villa at Sirmio, a projection in the centre of the southern coast of Benacus (Garda), XXXI. Sirmio is at no great distance from Verona, where the poet's father was probably living at the time when he entertained J. Caesar, as he did often, and continued to do even after Catullus' attacks on Mamurra (Suet. Jul. 73). His BROTHER. Catullus mentions none of his relatives except a brother, who seems to have been the only other child, and to have died without leaving heirs LXVIII. 22. This death probably took place in the Troad, where he was certainly buried LXVIII.

Catullus mentions none of his relatives except a brother, who seems to have been the only other child, and to have died without leaving heirs LXVIII. 22. This death probably took place in the Troad, where he was certainly buried LXVIII. 97-100. The event completely overpowered Catullus for the time LXVIII. 19-26, and drove him from xlviii PROLEGOMENA. Rome with only a few books ib. 36 to Verona: to his retirement there we owe LXVIII. 1-40, the Coma Beronices translated from Callimachus, the poem accompanying it sent to Hortalus (LXV) and later the conclusion of LXVIII, vv.

To their contemporaries Catullus Calvus Cinna represented a completely new poetical creed, the foremost article of which was to ignore Ennius and the early versifiers, and to write in rigid subordination to the strictest canons of Greek criticism as expounded by the grammarians and teachers of the race. In this connexion the word doctus now acquired a special meaning; it implied not only that poetry was written on new rules, but that these rules were in distinct opposition to the old. Hence Lucretius, though Statius calls him doctus, would hardly have been included in the docti by the exquisites of his own time; and on the other hand the Lydia of Valerius Cato ranked with the really excellent Zmyrna of Cinna as the favorite study of the learned and the despair of the unlearned (Suet.

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