Showing posts with label in the mediterranean. Show all posts
Showing posts with label in the mediterranean. Show all posts

A Sallust Reader: Selections from Bellum Catilinae and Bellum Iugurthinum, and Historiae (Latin Readers) Review

A Sallust Reader:  Selections from Bellum Catilinae and Bellum Iugurthinum, and Historiae (Latin Readers)
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From her opening line in the preface to the end of the book, Pagan confidently and competently outfits her readers and guides them through the dazzling world of that brilliant artist-historian, Sallust. Pagan's words come from the heart and ring out. "...I am amazed at the clarity..." "...the brilliance of his language..." "...one is struck by the frightfully honest content..." - well, I had no choice - compelled by Pagan's overpowering enthusiasm and respect for Sallust I had to see for myself just what all the excitement is about.

I find I love Sallust and I love this book! Sallust's style, subject matter, and his sense of virtus and morality combine to create a compelling, dramatic narrative. He lived through the events he wrote about. He was a tribune and had a seat in the senate. Sallust was an "outside-insider" - that is, he had a seat in the senate but was not from a noble family. He deeply loved the Republic and knew he was watching it die. As I read about the debates in the senate I was struck by how familiar the arguments were - we are still hearing some of them today. Anyone interested in today's politics should read Sallust.
"A Sallust Reader" features selections from "Bellum Catilinae," "Bellum Iugurthinum," and "Historiae." It begins with a concise, useful introduction. I must confess I often skip through the introduction to a book, but this one flows so well and steps along so lively, it is a great read! Pagan has picked up Sallust's "Brevitas" and made good use of it. It is also very accessible. Pagan's comments are to-the-point, succinct, easily understood, and engaging. She not only easily guides readers through complex grammatical sentence structure, she makes it an adventure. The selections Pagan has taken from Sallust and woven together with her commentary make for a fast-paced, gripping narrative. Her comments are refreshingly balanced in this day of political agendas, informative, interesting, and bespeak a professional steeped in her discipline and in love with Sallust. This book is a "must have" for anyone beginning to explore the writings of Sallust.


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This reader aims to introduce advanced Latin students to the works of Sallust, unique among Roman historians for several reasons. Because he uses standard vocabulary and uncomplicated syntax, Sallust is an accessible author at this level. Unlike other Roman historians whose subject matter was a distant past, Sallust writes about events that occurred in his lifetime. His roller-coaster career afforded him a unique opportunity to critique the inner mechanisms of contemporary Roman politics from the vantage of an outsider.
Complete with introduction, text, commentary, vocabulary, and bibliography, this volume contains selections (556 lines) from the Bellum Catilinae, the Bellum Iugurthinum, and the Historiae. Selections include character sketches, conspiracy and its betrayal, ethnography, a political speech, and a description of a lavish banquet. Students are prepared for an eventual reading of the monographs in their entirety and become acquainted with the fragmentary Historiae. This reader teaches the rudiments of Latin prose by reinforcing transferable skills that can be applied to other prose authors. While attention is given to Sallusts distinctive style, emphasis is placed on general structures so that students achieve comprehension and appreciation of Latin prose as a distinct-and majestic-art form in its own right.
Special Features
* Introduction to Sallusts life, work, and style * Latin text selections (556 lines) from Sallusts Bellum Catilinae (232 lines: 3.3-4.2; 4.3-5.8, 15; 22-25; 27.2-29; 40-41; 53-54), the Bellum Iugurthinum (304 lines: 6-7; 17-19; 84-86), and Historiae (20 lines: 2.70) * Grammatical and historical commentary printed at the back of the book
For over 30 years Bolchazy-Carducci Publishers has produced the highest quality Latin and ancient Greek books. From Dr. Seuss books in Latin to Plato's Apology, Bolchazy-Carducci's titles help readers learn about ancient Rome and Greece; the Latin and ancient Greek languages are alive and well with titles like Cicero's De Amicitia and Kaegi's Greek Grammar. We also feature a line of contemporary eastern European and WWII books.
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The Villas of Pliny from Antiquity to Posterity Review

The Villas of Pliny from Antiquity to Posterity
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Rarely, perhaps once in a generation, does an enterprising scholar step forth with a truly novel research idea and the capacity to see it through. Du Prey''s Villas of Pliny is just this: an utterly fascinating, deliciously composed, and copiously illustrated treatment of a neglected theme in architectural history. Although it is the author's object to document the perennial allure for post-medieval architects of Pliny the Younger's literary picture of villa life in ancient Rome, the book's overall theme could be equally understood as the enduring architectural potency of one man's idea of 'the good life.' Du Prey succeeds triumphantly both in the close compass of the historian's exercise and in broader quality-of-life issues.
The book opens with a leisurely literary examination of Pliny's Como letters and proceeds to articulate the four 'cardinal points' of a villa described in the epistles to Gallus (bk. 2, ep. 17) and Apollinaris (bk. 5, ep. 6). Judiciously, Du Prey furnishes translations of these missives as appendices; the translation upon which he relies is John Boyle's unsurpassed mid-eighteenth century text. After setting forth some of the basic themes that unite various projects across the centuries, the author proceeds through a historical sequence of reconstruction exercises and built designs each determined by a conscious reflection upon Pliny's descriptions of his Laurentine and Tuscan villas. From the Medici's documented interest through various 'ruins and restitutions' and 'emulations,' Du Prey offers the reader an engaging tour through one of the most imaginatively fertile corridors of architectural history.

Although some of this material will be familiar to reader's of James S. Ackerman's recent study , Du Prey's fidelity to the literary exigencies of his topic keeps him from wandering back to familiar stylistic comparisons with survey material. In fact, it is Du Prey's tenacity in seeking out new imagery that keeps one eagerly turning the pages to digest the projects of Francesco Lazzari, William Newton, Stanislas Potocki, Friedrich August Krubsacius, Karl Friedrich Schinkel, Louis-Pierre Haudebourt, Jules-Fr'd'ric Bouchet, and Hubert Stier. Not only has Du Prey expanded our understanding of historically well-established figures like Palladio and F'libien, he has also tilled the fields of relatively obscure talents to great advantage. The author dedicates the majority of one closing chapter to detailed discussions of several designs for a 1982 exhibition and colloquium in Paris; this amounts to a sustained essay in architectural criticism, and many readers will agree that, compared to his historical labors, this section constitutes the least successful portion of the book. Nevertheless, one hopes this study will generate an increased awareness of the significance of the Pliny theme and that other treatments ' such as Constantin Lipsius's 1889 project in the archive of Dresden's Academy of Fine Arts ' will find their way into future editions.

The opportunity to survey such a rich thematic vein as Pliny's legacy invites one to make new connections and associations. One such thought isThe Villas of Pliny should be regarded as a signal contribution to a growing awareness that, in terms of the History of Ideas, the overall continuity of much of nineteenth century art and architectural theory with what has been called the 'Renaissance'Baroque system' is more in evidence than ever before. In other words, while generations of scholars have tended to locate the formal sources of 'modernity' in the late-eighteenth century , the strands linking nineteenth-century ideas about art and creativity to much earlier periods are increasingly difficult to deny. Although such a perspective tends to attenuate the rupture of the 'High Modernism' of the 1920s, the conceptual lineaments of historicism are perhaps better served.

Regardless of the book's manifold historiographic value, its significance as a stirring, unforgettable read is impossible to deny.

[This review originally appeared in The New Criterion.]

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Pierre de la Ruffinière du Prey traces the influence of Pliny the Younger as a continuous theme throughout the history of architecture. First he looks at what Pliny considered to be the essential qualities of a villa. He then discusses the many buildings Pliny inspired: from the Renaissance estates of the Medici, to papal summer residences near Rome, to Thomas Jefferson's Monticello, and the home of former Canadian prime minister Pierre Elliott Trudeau. Equally important to du Prey's study are the many designs by architects past and present that remain on paper. These imaginary restitutions of Pliny's villas, each representative of its own epoch, trace in microcosm the evolution of the classical tradition in domestic architecture. In analyzing each project, du Prey illuminates the work of such great masters as Michelozzo, Raphael, Palladio, and Schinkel, as well as such well-known modern architects as Léon Krier, Jean-Pierre Adam, and Thomas Gordon Smith.

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Italian Journey: 1786-1788 (Penguin Classics) Review

Italian Journey: 1786-1788 (Penguin Classics)
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In preparation for a trip to Italy, I began reading the accounts of famous travellers to that land: D.H. Lawrence, Charles Dickens, Tobias Smollett, and now Johann Wolfgang von Goethe. I had no great expectations but was knocked for a loop from page one.
Never before had I encountered a questing mind quite like Goethe's. Almost from the moment to left Carlsbad in September 1786, he was noticing the geological structures underlying the land and the flora and fauna above it. He sits down and talks with ordinary people without an attitude -- and this after he had turned the heads of half of Europe with his SORROWS OF YOUNG WERTHER. Here he was journeying incognito, apparently knowing the language well enough to communicate with peasants, prelates, and nobility.
One who abhors marking books I intend to keep, I found myself underlining frequently. "In this place," he writes from Rome, "whoever looks seriously about him and has eyes to see is bound to become a stronger character." In fact, Goethe spent over a year in Rome learning art, music, science, and even sufferings the pangs of love with a young woman from Milan.
Bracketing his stay in Rome is a longish journey to Naples and Sicily, where he becomes acquainted with Sir Warren Hamilton and his consort Emma, the fascinating Princess Ravaschieri di Satriano, and other German travelers. One of them, Wilhelm Tischbein, painted a wonderful portrait of Goethe the traveller shown on the cover of the Penguin edition.
The translation of W.H. Auden and Elizabeth Mayer is truly wonderful. My only negative comments are toward the Penguin editors who, out of some pennywise foolishness, have omitted translating the frequent Latin, Greek, and French quotes. I am particularly upset about the lack of a translation of the final quote from Ovid's "Tristia." In every other respect, this book is a marvel and does not at all read like a work written some 215 years ago. It is every bit as fresh and relevant as today's headlines, only ever so much more articulate!

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In 1786, when he was already the acknowledged leader of the Sturm und Drang literary movement, Goethe set out on a journey to Italy to fulfil a personal and artistic quest and to find relief from his responsibilities and the agonies of unrequited love. As he travelled to Venice, Rome, Naples and Sicily he wrote many letters, which he later used as the basis for the Italian Journey. A journal full of fascinating observations on art and history, and the plants, landscape and the character of the local people he encountered, this is also a moving account of the psychological crisis from which Goethe emerged newly inspired to write the great works of his mature years.

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The Ancient Roman World (The World in Ancient Times) Review

The Ancient Roman World (The World in Ancient Times)
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I got this book for my 10 year old son for his study of Ancient Rome. What a wonderful book. It has the depth of an adult book, yet is written at a young person's level. The Latin and Greek roots and primary source quotes are an added bonus.

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