This newly annotated, free verse translation conveys the full force of Lucan's writing and his grimly realistic view of the subject. The work is a powerful condemnation of civil war, emphasizing the stark, dark horror of the catastrophies which the Roman state inflicted upon itself. Both the introduction and glossary set the scene for readers unfamiliar with Lucan and explore his relationship with earlier writers of Latin epic, and his interest in the sensational.

    With black and white illustrations and detailed explanations, this comprehensive and visual resource is perfect for young readers interested in history, architecture, and Roman civilization.

    Michael Crawford's highly praised history is now expanded and revised to accommodate recent discoveries and current thinking.

    As politician and diplomat, writer and lover, but above all as a military genius, Julius Caesar is one of the perennially fascinating figures in history -- Boswell called him "the greatest man of any age." Christian Meier's authoritative and accessible biography is the definitive modern account of Caesar's life and career, setting Caesar's life story against the rich political and social background of the Late Roman Republic.

    Only one man was determined to kill the killers. From the spring of 44 BC through one of the most dramatic and influential periods in history, Caesar's adopted son, Octavian, the future Emperor Augustus, exacted vengeance on the assassins of the Ides of March, not only on Brutus and Cassius, immortalized by Shakespeare, but all the others too, each with his own individual story.The last assassin left alive was one of the lesser-known: Cassius Parmensis was a poet and sailor who chose every side in the dying Republic's civil wars except the winning one, a playwright whose work was said to have been stolen and published by the man sent to kill him. Parmensis was in the back row of the plotters, many of them Caesar's friends, who killed for reasons of the highest political principles and lowest personal piques. For fourteen years he was the most successful at evading his hunters but has been barely a historical foot note--until now.The Last Assassin dazzlingly charts an epic turn of history through the eyes of an unheralded man. It is a history of a hunt that an emperor wanted to hide, of torture and terror, politics and poetry, of ideas and their consequences, a gripping story of fear, revenge, and survival.

    Cato grappled with homegrown terrorists, a public and private debt crisis, a yawning gap between rich and poor, and a fractious ruling class whose lives took on the dimensions of soap opera.This is the story of this uncompromising man’s formation in a time of crisis and his lifelong battle to save the Republic.

    According to ancient sources, she achieved her success by plotting against her brother, the emperor Caligula, murdering her husband, the emperor Claudius, and controlling her son, the emperor Nero, by sleeping with him. Modern scholars tend to accept this verdict. But in his dynamic biography—the first on Agrippina in English—Anthony Barrett paints a startling new picture of this influential woman.Drawing on the latest archaeological, numismatic, and historical evidence, Barrett argues that Agrippina has been misjudged. Although she was ambitious, says Barrett, she made her way through ability and determination rather than by sexual allure, and her political contributions to her time seem to have been positive. After Agrippina's marriage to Claudius there was a marked decline in the number of judicial executions and there was close cooperation between the Senate and the emperor; the settlement of Cologne, founded under her aegis, was a model of social harmony; and the first five years of Nero's reign, while she was still alive, were the most enlightened of his rule. According to Barrett, Agrippina's one real failing was her relationship with her son, the monster of her own making who had her murdered in horrific and violent circumstances. Agrippina's impact was so lasting, however, that for some 150 years after her death no woman in the imperial family dared assume an assertive political role.

    

    We tend to think of the Romans as a pragmatic people with a ruthlessly efficient army, an exemplary legal system, and a precise and elegant language. A Cabinet of Roman Curiosities shows that the Romans were equally capable of bizarre superstitions, logic-defying customs, and often hilariously derisive views of their fellow Romans and non-Romans.Classicist J. C. McKeown has organized the entries in this entertaining volume around major themes--The Army, Women, Religion and Superstition, Family Life, Medicine, Slaves, Spectacles--allowing for quick browsing or more deliberate consumption.For anyone seeking an inglorious glimpse at the underside of the greatest empire in history, A Cabinet of Roman Curiosities offers endless delights.

    Encompassing Karl Marx, Clark Gable, George W. Bush, Oscar Wilde, and Sigmund Freud, Goldhill takes great delight in tracing both follies and fundamental philosophical questions through the centuries and continents to the birthplace of Western civilization as we know it. Underlying his brisk and learned excursions through history and art is the foundational belief, following Cicero, that learning about the classics makes a critical difference to our self-understanding. Whether we are considering the role of religion in contemporary society, our expectations about the boundaries between public and private life, or even how we spend our free time, recognizing the role of the classics is integral to our comprehension of modern life and our place in it. "Confident, intelligent and assertive; [Love, Sex & Tragedy] stands up for 'classics' without apology, without snobbishness and without conservatism."—Oliver Taplin, Guardian"Goldhill . . . takes us through the looking glass into antiquity and shows us some of the sights that he thinks most interesting and informative. . . . Anyone who goes on the journey will be amused, surprised, and enlightened."—Mary K. Lefkowitz, New York Sun "A passionate, witty, and broad-ranging exploration of the ancient foundations of our world. . . . There is a widening gap between our perceptions and the ancient sources. Goldhill closes that gap with this lively and multi-layered challenge to assumptions embedded in modern life."—Lizzie Speller, Observer

    Through imaginary letters and documents, Wilder brings to life a dramatic period of world history and one of its magnetic personalities.In this novel, the Caesar of history becomes Caesar the human being as he appeared to his family, his legions, his Rome, and his empire in the months just before his death. In Wilder’s inventive narrative, all Rome comes crowding through his pages. Romans of the slums, of the villas, of the palaces, brawling youths and noble ladies and prostitutes, and the spies and assassins stalking Caesar in his Rome.

    After conquering the Roman city of Saguntum, Hannibal wages his campaign through the outposts of the empire, shrewdly befriending peoples disillusioned by Rome and, with dazzling tactics, outwitting the opponents who believe the land route he has chosen is impossible. Yet Hannibal's armies must take brutal losses as they pass through the Pyrenees mountains, forge the Rhone river, and make a winter crossing of the Alps before descending to the great tests at Cannae and Rome itself. David Anthony Durham draws a brilliant and complex Hannibal out of the scant historical record?sharp, sure-footed, as nimble among rivals as on the battlefield, yet one who misses his family and longs to see his son grow to manhood. Whether portraying the deliberations of a general or the calculations of a common soldier, vast multilayered scenes of battle or moments of introspection when loss seems imminent, Durham brings history alive.

    Into the 'autobiography' of Clau-Clau-Claudius, the pitiful stammerer who was destined to become Emperor in spite of himself, Graves packs the everlasting intrigues, the depravity, the bloody purges and mounting cruelty of the reigns of Augustus and Tiberius, soon to culminate in the deified insanity of Caligula.I, Claudius and its sequel, Claudius the God, are among the most celebrated, as well the most gripping historical novels ever written.Cover illustration: Brian Pike

    Averil Cameron, an authority on later Roman and early Byzantine history and culture, captures the vigor and variety of the fourth century, doing full justice to the enormous explosion of recent scholarship.After a hundred years of political turmoil, civil war, and invasion, the Roman Empire that Diocletian inherited in AD 284 desperately needed the radical restructuring he gave its government and defenses. His successor, Constantine, continued the revolution by adopting--for himself and the Empire--a vibrant new religion: Christianity. The fourth century is an era of wide cultural diversity, represented by figures as different as Julian the Apostate and St. Augustine. Cameron provides a vivid narrative of its events and explores central questions about the economy, social structure, urban life, and cultural multiplicity of the extended empire. Examining the transformation of the Roman world into a Christian culture, she takes note of the competition between Christianity and Neoplatonism. And she paints a lively picture of the new imperial city of Constantinople. By combining literary, artistic, and archaeological evidence. Cameron has produced an exciting record of social change. The Later Roman Empire is a compelling guide for anyone interested in the cultural development of late antiquity.

    Here is a new Loeb Classical Library edition of the great Roman poet's Odes and Epodes, a fluid translation facing the Latin text. Horace took pride in being the first Roman to write a body of lyric poetry. For models he turned to Greek lyric, especially to the poetry of Alcaeus, Sappho, and Pindar; but his poems are set in a Roman context. His four books of odes cover a wide range of moods and topics. Some are public poems, upholding the traditional values of courage, loyalty, and piety; and there are hymns to the gods. But most of the odes are on private themes: chiding or advising friends; speaking about love and amorous situations, often amusingly. Horace's seventeen epodes, which he called iambi, were also an innovation for Roman literature. Like the odes they were inspired by a Greek model: the seventh-century imabic poetry of Archilochus. Love and political concerns are frequent themes; here the tone is generally that of satirical lampoons. In his language he is triumphantly adventurous, Quintilian said of Horace;Content:Odes* Book I* Book II* Book III* Book IVHymn for a New AgeEpodes