front cover of Perspectives of Roman Poetry
Perspectives of Roman Poetry
A Classics Symposium
Edited by G. Karl Galinsky
University of Texas Press, 1974

Written by leading specialists, the essays in Perspectives of Roman Poetry seek to provide a broad range of readers with a good understanding of some essential aspects of major Roman poets and poetic genres. The value of the essays is enhanced, for comparative purposes, by their extensive reference to modern authors. such as Shakespeare and Tolkien. For the modern reader, Latin quotations are accompanied by effective English translations.

The essays and their authors are as follows:

  • "The Woman's Role in Latin Love Poetry," by Georg Luck
  • "Autobiography and Art in Horace," by William S. Anderson
  • "Some Trees in Virgil and Tolkien," by Kenneth J. Reckford
  • "The Business of Roman Comedy," by Erich Segal
  • "Ovid's Metamorphosis of Myth," by G. Karl Galinsky
The preface and concluding panel discussion illumine the situation of literary criticism inthe classics and point out the need for diversity.

Perspectives of Roman Poetry resulted from a symposium held at the University of Texas at Austin in 1972. These essays offer different and, in some cases, heterodox interpretations that will serve as a basis for future discussions.

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front cover of Roman Poetry
Roman Poetry
From the Republic to the Silver Age
Translated and with Introduction by Dorothea Wender
Southern Illinois University Press, 1991

Meshing her own wit, verve, and gusto with that of the Roman poets she translates, Dorothea Wender strips both the cloak of awe and the dusty mantle of boredom from the classics.

Available for the first time in paper, these English verse translations of the major classical Roman poets feature hefty selections from the savage urban satire of Juvenal, the moving philosophy of Lucretius, the elegance of Horace, the grace and humor of Catullus, the grave music of Virgil, the passion of Propertius, the sexy sophistication of Ovid, and the obscenity of Martial.

Noting Wender’s “candor,” the Classical Outlook reported that in “20th-century terms, she makes the poems lively and pertinent.”

The Boston Globe said, “The conciseness is astonishing, the informa­tion [in the introductions to each poet] provocative. The freshness of the selections should do much to augment the audience for these poets and may even inspire examination of the originals.”

The best advice came from Wender herself: “Read these good poems.”

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