DOCSLIB.ORG

Horace, Odes 4, and the Mausoleum of Augustus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Horace, Odes 4, and the Mausoleum of Augustus Copyright by Steven Lawrence Jones 2008 The Dissertation Committee for Steven Lawrence Jones certifies that this is the approved version of the following dissertation: UT ARCHITECTURA POESIS: HORACE, ODES 4, AND THE MAUSOLEUM OF AUGUSTUS Committee: __________________________________ Karl Galinsky, Supervisor __________________________________ Timothy J. Moore __________________________________ L. Michael White __________________________________ Penelope J. E. Davies __________________________________ Eleanor Winsor Leach UT ARCHITECTURA POESIS: HORACE, ODES 4, AND THE MAUSOLEUM OF AUGUSTUS by Steven Lawrence Jones, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2008 uJpernikw'men to Willard Eugene Speed (October 23, 1915 – October 31, 1999) Acknowledgements This dissertation can trace its lineage to a paper I wrote as an undergraduate at Baylor University. My fascination with Horace and with Odes 4 began there under Timothy Johnson, now at the University of Florida. It was he and Alden Smith who began me on the path along which this dissertation is a milestone. I also had opportunity to develop ideas contained in this dissertation with R.T. Scott while at Bryn Mawr College. The ideas reached maturity at the University of Texas at Austin. In Karl Galinsky's seminar on Roman Religion, I began thinking about Horace's meditations on death and immortality. It was in Penelope Davies' seminar on Roman Imperial Funeral Monuments that the connection between Odes 4 and the Mausoleum of Augustus first occurred to me. I owe a special debt of gratitude to Karl Galinsky. His approach to Classics and to the intellectual life is something I try to emulate. His insight, encouragement, and direction have guided me through the process of completing this dissertation. I am also grateful to my committee: Timothy Moore, Michael White, Penelope Davies, and Eleanor Winsor Leach. They read and re-read countless drafts. If anything is well-argued or clearly articulated, I owe it to their tireless dedication to my work. I would not have been able to come as far as I have without my family and friends. My father and mother, Larry and Ann Jones, pestered and supported me through the entire process. My sisters, Christie and Lori, encouraged me with kind words and numerous care packages. My friends Rob Shelton, Andrew Richardson, Daniel Benton, v Michael Werle, Peter Sassone, Daniel Knueppel and Steve Lundy helped me solve countless academic, existential, and technical problems. Most of all, though, I am grateful to my wife, Tamber, who has suffered with me all the slings and arrows of graduate school, while at the same time caring for our daughter Bethany and our twin girls on the way. Her endurance, perseverance, humility, and love have been an example to me. I could not have done this without her by my side. I owe her far more than I will ever be able to pay back. This dissertation is dedicated to my grandfather, Rev. W.E. Speed, Th.M. I am unable to appropriately measure the profound effect his character, wisdom, and example have had on my life. His is the shadow I stand in. His are the footsteps I follow. He is now one of those great saints, who from their labors rest. vi UT ARCHITECTURA POESIS: HORACE, ODES 4, AND THE MAUSOLEUM OF AUGUSTUS Publication No. ______________ Steven Lawrence Jones, Ph.D. The University of Texas at Austin, 2008 Supervisor: Karl Galinsky Since Suetonius, Odes 4 has been the focus of much criticism and apology. Some explanation seems required for Odes 4’s apparent disunity and eclectic mixture of encomium with occasional pieces. My dissertation offers an interpretation of Book 4 by considering it in the light of the Mausoleum of Augustus. By considering the ways in which Horace builds evocations of the Mausoleum into book 4, I argue that there is sustained connection between the two works, which points towards a unified purpose for Odes 4: Horace is building a literary Mausoleum of Augustus. The first chapter establishes the justification for viewing Odes 4 through the lens of the material world by considering the functions of architecture and topography in Horace's models and contemporaries. After studying the ways the city of Rome is used vii by the Augustan poets and by Horace, the chapter concludes by making a case for understanding Odes 4 as a poetic monument. The second chapter studies the interrelationship between C.3.30 and the Mausoleum. First, I parse out a preliminary list of the Mausoleum's evocations. I then show how Horace evokes the Mausoleum in C.3.30 and recreates it in the poetic sphere. In chapter 3, I revisit Horace's autobiography and Suetonius's statements regarding the origin of Odes 4. I argue that the impetus of Odes 4 is not imperial compulsion but rather Horace's understanding of his own role as poet in the years following his selection by Augustus to compose the Carmen Saeculare. In chapter 4, I make the case for Odes 4 being a literary Mausoleum of Augustus. I first discuss the ways Horace builds his new poetic work upon the foundation of his earlier lyric successes. I then show how Horace uses the themes of time, death and the power of poetry as the brick and mortar of his literary mausoleum. I conclude by showing how Horace praises Augustus in ways that engage specifically with the Mausoleum by incorporating many of its evocations into this book. viii Table of Contents Introduction......................................................................................................................... 1 Chapter 1: The Poetics of Place........................................................................................ 14 Section 1: Architecture and Topography in Horace’s Models...................................... 14 Section 2: Augustan Poets and Augustan Rome........................................................... 27 Section 3: Horace and the City ..................................................................................... 40 Section 4: The Preliminary Case for Odes 4................................................................. 53 Chapter 2: The Tomb of a Poet / The Tomb of a God...................................................... 64 Section 1: The Mausoleum of Augustus....................................................................... 64 Section 2: C.3.30 and the Mausoleum Augusti ............................................................. 87 Chapter 3: The Impetus Behind Odes 4.......................................................................... 104 Section 1: Answering Suetonius ................................................................................. 104 Section 2: The Carmen Saeculare and Its Importance for Odes 4 ............................. 122 Section 2.1: Reception and Retirement – Ep.1.1 and 19 ........................................ 122 Section 2.2: The Carmen Saeculare ....................................................................... 130 Section 2.3: C.4.6 and the Carmen Saeculare ........................................................ 133 Chapter 4: Horace’s Poetic Mausoleum ......................................................................... 137 Section 1: The Foundation: The Monumentality of Horace’s Earlier Lyric............... 137 Section 2: Brick and Mortar: Death and Poetry.......................................................... 148 Section 3: The Aedifice: Various Evocations of the Mausoleum............................... 173 Section 3.1: Allegiance to Rome and Italy ............................................................. 173 Section 3.2: Republican Family Tomb ................................................................... 183 Section 3.3: Immortality ......................................................................................... 190 Section 3.4: Victory Monument.............................................................................. 191 Section 3.5: Rome as World City ........................................................................... 196 Conclusion: From Civil Wars to the Augustan Vision ................................................... 201 Bibliography ................................................................................................................... 210 Vita.................................................................................................................................. 240 ix Introduction Since Suetonius, Odes 4 has been the focus of much criticism and apology. Some explanation seems required for Odes 4’s apparent disunity and eclectic mixture of encomium with occasional pieces. My dissertation offers an interpretation of Book 4 by viewing it in the light of the Mausoleum of Augustus. By considering the ways in which Horace builds evocations of the Mausoleum into book 4, I argue that there is sustained connection between the two works, which points towards a unified purpose for Odes 4: Horace is building a literary Mausoleum of Augustus. My dissertation more broadly addresses the relationship between the literary and material worlds, a relationship about which Horace himself helped frame the discussion with his famous phrase “ut pictura poesis.”1 Much argued about and misunderstood, this phrase, nonetheless, has endured as a useful category for considering the “interplay between the artifact and song.”2 Though in modern times there have been some who have
Load more

Recommended publications
  • The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17Th-First Half of the 18Th Century
    The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Siedina, Giovanna. 2014. The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:13065007 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2014 Giovanna Siedina All rights reserved. Dissertation Advisor: Author: Professor George G. Grabowicz Giovanna Siedina The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century Abstract For the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses taught at the Kyiv Mohyla Academy (17th-first half of the 18th century) has become the subject of a wide-ranging research project presented in this dissertation. Quotations from Horace and references to his oeuvre have been divided according to the function they perform in the poetics manuals, the aim of which was to teach pupils how to compose Latin poetry. Three main aspects have been identified: the first consists of theoretical recommendations useful to the would-be poets, which are taken mainly from Horace’s Ars poetica.
    [Show full text]
  • Translated by Wordport from Nota Bene Ver. 4 Document EPODE.599
    http://akroterion.journals.ac.za THE INDIVIDUAL AND SOCIETY: AN ORGANISING PRINCIPLE IN HORACE’S EPODES? Sjarlene Thom (University of Stellenbosch) Over the years there have been various attempts to make sense of the Epodes as a collection, as well as of individual poems.1 Scholars who have focussed on the collection as a whole have tried generally grouping the poems according to metre2 or to subject matter into either different areas of criticism or different categories of invective.3 The subsequent scholarly debate centred on arguments why individual groups were identified and why a specific poem should fall into a specific group. My personal reaction to these attempts to structure the collection according to groups is rather negative for the following simple reason: too many persuasive alternatives are possible. No musical composition could at one and the same time be described for instance as a sonata, a suite or a prelude and fugue. If a piece of music displays characteristics of all these musical forms, a broader organisational principle has to be found to accommodate the individual sections. In the same way then – since so many different possible ways have been identified in which to pack out various groups of Epodes – it seems to make more sense to look at the Epodes as a unit in which a variety of cross-references or, to continue the musical analogy, variations on a theme, all support a central statement. There have also been scholars who focused on individual poems who have come up with striking or even ingenious individual interpretations, but more often than not they then ignored or discounted the larger unit in which the poems functioned.
    [Show full text]
  • Roman Architecture Roman of Classics at Dartmouth College, Where He Roman Architecture
    BLACKWELL BLACKWELL COMPANIONS TO THE ANCIENT WORLD COMPANIONS TO THE ANCIENT WORLD A COMPANION TO the editors A COMPANION TO A COMPANION TO Roger B. Ulrich is Ralph Butterfield Professor roman Architecture of Classics at Dartmouth College, where he roman architecture EDITED BY Ulrich and quenemoen roman teaches Roman Archaeology and Latin and directs Dartmouth’s Rome Foreign Study roman Contributors to this volume: architecture Program in Italy. He is the author of The Roman Orator and the Sacred Stage: The Roman Templum E D I T E D B Y Roger B. Ulrich and Rostratum(1994) and Roman Woodworking James C. Anderson, jr., William Aylward, Jeffrey A. Becker, Caroline k. Quenemoen (2007). John R. Clarke, Penelope J.E. Davies, Hazel Dodge, James F.D. Frakes, Architecture Genevieve S. Gessert, Lynne C. Lancaster, Ray Laurence, A COMPANION TO Caroline K. Quenemoen is Professor in the Emanuel Mayer, Kathryn J. McDonnell, Inge Nielsen, Roman architecture is arguably the most Practice and Director of Fellowships and Caroline K. Quenemoen, Louise Revell, Ingrid D. Rowland, EDItED BY Roger b. Ulrich and enduring physical legacy of the classical world. Undergraduate Research at Rice University. John R. Senseney, Melanie Grunow Sobocinski, John W. Stamper, caroline k. quenemoen A Companion to Roman Architecture presents a She is the author of The House of Augustus and Tesse D. Stek, Rabun Taylor, Edmund V. Thomas, Roger B. Ulrich, selective overview of the critical issues and approaches that have transformed scholarly the Foundation of Empire (forthcoming) as well as Fikret K. Yegül, Mantha Zarmakoupi articles on the same subject.
    [Show full text]
  • Questioning the 'Witch' Label: Women As Evil in Ancient Rome
    Questioning the ‘witch’ label: women as evil in ancient Rome Linda McGuire Introduction It became popular during the early Roman Empire for authors to depict women using magic in their writing. Such women appeared in almost every literary genre (satire, love poetry, epic and novels) during a span of 150 years. They can be found in the works of Virgil, Horace, Tibullus, Propertius, Ovid, Lucan, Petronius and Apuleius. They were not a particularly coherent group, although they share certain common characteristics. Besides their link with magic there is only one other thing that they all share in common – these women are called witches by scholars today regardless of the Latin terminology used to refer to them.1 What these scholars mean when they use the term ‘witch’ is difficult to know as this English word, which has associations with modern European history, is never explained. This paper seeks to question the validity of using this modern term in the context of an ancient society, in this case Rome. First of all, what do scholars mean by ‘witch’ today and what ideas lie behind this term. Second, what similarities exist between the witches of the late Middle Ages and women using sorcery in Latin literature? As the topic is broad, this paper will focus specifically on the crimes of these women. Finally, who in Roman society were connected with particularly evil or unnatural crimes such as baby killing or cannibalism? Was it magic practitioners or others in society? Part one: witches and their crimes First found in a ninth century manuscript, the term ‘witch’ is thought to derive from the old English word wicca, meaning someone who casts a spell.2 It is likely, however, that our understanding of the term today is influenced from the period known as the witch-hunts which affected most of Europe in the late Middle Ages and resulted in the deaths of many thousands of people.
    [Show full text]
  • In This Study, Marcello Mogetta Examines the Origins and Early Dissemina- Tion of Concrete Technology in Roman Republican Architecture
    Cambridge University Press 978-1-108-84568-7 — The Origins of Concrete Construction in Roman Architecture Marcello Mogetta Frontmatter More Information THE ORIGINS OF CONCRETE CONSTRUCTION IN ROMAN ARCHITECTURE In this study, Marcello Mogetta examines the origins and early dissemina- tion of concrete technology in Roman Republican architecture. Framing the genesis of innovative building processes and techniques within the context of Rome’s early expansion, he traces technological change in monumental construction in long-established urban centers and new Roman colonial cites founded in the 2nd century BCE in central Italy. Mogetta weaves together excavation data from both public monu- ments and private domestic architecture that previously have been studied in isolation. Highlighting the organization of the building industry, he also explores the political motivations and cultural aspirations of patrons of monumental architecture, reconstructing how they negotiated economic and logistical constraints by drawing from both local traditions and long- distance networks. By incorporating the available scientific evidence into the development of concrete technology, Mogetta also demonstrates the contributions of anonymous builders and contractors, shining a light on their ability to exploit locally available resources. marcello mogetta is a Mediterranean archaeologist whose research focuses on early Roman urbanism in Italy. He conducts primary fieldwork at the sites of Gabii (Gabii Project) and Pompeii (Venus Pompeiana Project), for which he has received multiple grants from the National Endowment for the Humanities, the Loeb Classical Library Foundation, the AIA, and the Social Sciences and Humanities Research Council. He coordinates the CaLC-Rome Project, an international collaboration that applies 3D mod- eling and surface analysis to the life cycle of ceramic vessels from the Esquiline necropolis in Rome.
    [Show full text]
  • The Asàrotos Òikos Mosaic As an Elite Status Symbol 5
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Revistes Catalanes amb Accés Obert Ehud Fathy The asàrotos òikos mosaic as an elite status symbol 5 The asàrotos òikos mosaic as an elite status symbol Ehud Fathy Tel Aviv University Recibido: 31/03/2017 / Evaluado: 25/04/2017 / Aprobado: 08/05/2017 Abstract: This article focuses on theasarotos oikos theme in roman mosaics, and aims at exploring the social significance these depictions have held during the late Imperial age, and their relation to the proceedings of the banquet. This study suggests that disguised symbolism and erudite references rest behind the representation of these seemingly daily objects, which could only be fully understood by members of the Roman cultural elite, who possessed the proper education for the task. The mosaic served as a starting point for the elitist practice of an erudite discourse and as a reminder of the brevity of life. Keywords: asàrotos òikos, unswept floor, roman elitist art, Heraclitus mosaic, carpe diem, roman banquet, Sosos of Pergamon. ne of the less common themes of roman mosaics is the asàrotos òikos or «unswept floor», depicting titbits of a luxurious meal, scattered evenly onO the room’s floor. According to Pliny this theme was originally created by the mosaicist Sosos in Pergamon,1 presumably in the second century BCE.2 1. This contribution is part of the author's doctoral thesis carried out at Tel Aviv University under the supervision of Dr. Talila Michaeli. I would like to express my gratitude to Dr.
    [Show full text]
  • Iulius Cæsar
    GAIUS IULIUS CÆSAR “NARRATIVE HISTORY” AMOUNTS TO FABULATION, THE REAL STUFF BEING MERE CHRONOLOGY “Stack of the Artist of Kouroo” Project Gaius Iulius Cæsar HDT WHAT? INDEX GAIUS IULIUS CÆSAR GAIUS IULIUS CÆSAR 100 BCE July 12: Gaius Iulius Cæsar, who would become Dictator Perpetuus of Rome (and, it must be pointed out, a god), was born — on what would become, famously, a number of centuries later, Henry David Thoreau’s birthday. HDT WHAT? INDEX GAIUS IULIUS CÆSAR GAIUS IULIUS CÆSAR NOBODY COULD GUESS WHAT WOULD HAPPEN NEXT Gaius Iulius Cæsar “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX GAIUS IULIUS CÆSAR GAIUS IULIUS CÆSAR 71 BCE Death of Marcus Antonius Creticus, father of Marcus Antonius. (His mother, Julia, a 2d cousin of Julius Caesar, would remarry with Cornelius Lentulus Sura, consul in 71, who would in 63 be executed at the instigation of Marcus Tullius Cicero on account of his participation in the conspiracy of Catiline.) DO I HAVE YOUR ATTENTION? GOOD. Gaius Iulius Cæsar “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX GAIUS IULIUS CÆSAR GAIUS IULIUS CÆSAR 63 BCE In about this year Mark Antony got married with his cousin Antonia (the first of several wives). Cato the Younger was elected as tribune of the plebs for the following year. Lucius Sergius Catilina, a patrician, was leading a rebellion inside Rome with the purpose of making himself king. Cato assisted the consul, Marcus Tullius Cicero, in dealing with the Catiline conspiracy. Cato proposed to set an example by executing all the conspirators, over the objection of Gaius Julius Caesar, who advocated exile for the conspirators while their comrades were still in arms, possibly for the duration of their lives.
    [Show full text]
  • Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected]
    University of Richmond UR Scholarship Repository Classical Studies Faculty Publications Classical Studies 2016 Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/classicalstudies-faculty- publications Part of the Classical Literature and Philology Commons Recommended Citation Damer, Erika Zimmermann. "Iambic Metapoetics in Horace, Epodes 8 and 12." Helios 43, no. 1 (2016): 55-85. This Article is brought to you for free and open access by the Classical Studies at UR Scholarship Repository. It has been accepted for inclusion in Classical Studies Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Iambic Metapoetics in Horace, Epodes 8 and 12 ERIKA ZIMMERMANN DAMER When in Book 1 of his Epistles Horace reflects back upon the beginning of his career in lyric poetry, he celebrates his adaptation of Archilochean iambos to the Latin language. He further states that while he followed the meter and spirit of Archilochus, his own iambi did not follow the matter and attacking words that drove the daughters of Lycambes to commit suicide (Epist. 1.19.23–5, 31).1 The paired erotic invectives, Epodes 8 and 12, however, thematize the poet’s sexual impotence and his disgust dur- ing encounters with a repulsive sexual partner. The tone of these Epodes is unmistakably that of harsh invective, and the virulent targeting of the mulieres’ revolting bodies is precisely in line with an Archilochean poetics that uses sexually-explicit, graphic obscenities as well as animal compari- sons for the sake of a poetic attack.
    [Show full text]
  • INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
    INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.
    [Show full text]
  • The Burial of the Urban Poor in Italy in the Late Republic and Early Empire
    Death, disposal and the destitute: The burial of the urban poor in Italy in the late Republic and early Empire Emma-Jayne Graham Thesis submitted for the degree of Doctor of Philosophy Department of Archaeology University of Sheffield December 2004 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ www.bl.uk The following have been excluded from this digital copy at the request of the university: Fig 12 on page 24 Fig 16 on page 61 Fig 24 on page 162 Fig 25 on page 163 Fig 26 on page 164 Fig 28 on page 168 Fig 30on page 170 Fig 31 on page 173 Abstract Recent studies of Roman funerary practices have demonstrated that these activities were a vital component of urban social and religious processes. These investigations have, however, largely privileged the importance of these activities to the upper levels of society. Attempts to examine the responses of the lower classes to death, and its consequent demands for disposal and commemoration, have focused on the activities of freedmen and slaves anxious to establish or maintain their social position. The free poor, living on the edge of subsistence, are often disregarded and believed to have been unceremoniously discarded within anonymous mass graves (puticuli) such as those discovered at Rome by Lanciani in the late nineteenth century. This thesis re-examines the archaeological and historical evidence for the funerary practices of the urban poor in Italy within their appropriate social, legal and religious context. The thesis attempts to demonstrate that the desire for commemoration and the need to provide legitimate burial were strong at all social levels and linked to several factors common to all social strata.
    [Show full text]
  • The Transformation of Roman Society Under Augustus
    THE TRANSFORMATION OF ROMAN SOCIETY UNDER AUGUSTUS Week 4 From Octavian to augustus From Octavian to Augustus I. Aftermath of Actium II. Settlement of 27 BC III. Settlement of 23 BC IV. Honours and prestige V. Man, god, primus inter pares? VI. ‘Restoring’ the Republic? Such was the naval battle in which they engaged on the second of September. I do not mention this date without a particular reason, nor am I, in fact, accustomed to do so; but Caesar now for the first time held all the power alone, and consequently the years of his reign are properly reckoned from that day. (Dio 51.1) What was Octavian’s position in the Roman world? How can we work this out? After actium -Octavian victor, unprecedented status -Not in Rome, but Egypt—needs to sort affairs there -Cornelius Gallus made prefect (d. 26 BC) After actium -Octavian victor, unprecedented status -Not in Rome, but Egypt—needs to sort affairs there -Cornelius Gallus made prefect (d. 26 BC) Caius Cornelius gallus -LACTOR P5: trilingual career inscription -Poetry: image of Octavian? (passage 1) Letter to Rhosus -Passage 2 How is Octavian cast by himself, and how is he treated by Rhosus? Honours of 29 BC Passage 3: -Arches -Actian games every 4 yrs -Auxilii latio -‘Athena’s vote’ Senate ratifies all his acts (Dio 51.20) Close doors of Janus temple Cistophorus of ephesus, 28 bc Libertatis P(opuli) Pax R(omani) Vindex Triple triumph of 29 BC - Dalmatia, Actium, Egypt From Octavian to Augustus I. Aftermath of Actium II. Settlement of 27 BC III.
    [Show full text]
  • Anthony Tropolle Life of Cicero
    ANTHONY TROPOLLE LIFE OF CICERO VOLUME I 2008 – All rights reserved Non commercial use permitted HE LIFE OF CICERO BY ANTHONY TROLLOPE _IN TWO VOLUMES_ VOL. I. CONTENTS OF VOLUME I. CHAPTER I. INTRODUCTION. CHAPTER II. HIS EDUCATION. CHAPTER III. THE CONDITION OF ROME. CHAPTER IV. HIS EARLY PLEADINGS.--SEXTUS ROSCIUS AMERINUS.--HIS INCOME. CHAPTER V. CICERO AS QUAESTOR. CHAPTER VI. VERSES. CHAPTER VII. CICERO AS AEDILE AND PRAETOR. CHAPTER VIII. CICERO AS CONSUL. CHAPTER IX. CATILINE. CHAPTER X. CICERO AFTER HIS CONSULSHIP. CHAPTER XI. THE TRIUMVIRATE. CHAPTER XII. HIS EXILE. * * * * * APPENDICES. APPENDIX A. APPENDIX B. APPENDIX C. APPENDIX D. APPENDIX E. THE LIFE OF CICERO. CHAPTER I. INTRODUCTION. I am conscious of a certain audacity in thus attempting to give a further life of Cicero which I feel I may probably fail in justifying by any new information; and on this account the enterprise, though it has been long considered, has been postponed, so that it may be left for those who come after me to burn or publish, as they may think proper; or, should it appear during my life, I may have become callous, through age, to criticism. The project of my work was anterior to the life by Mr. Forsyth, and was first suggested to me as I was reviewing the earlier volumes of Dean Merivale's History of the Romans under the Empire. In an article on the Dean's work, prepared for one of the magazines of the day, I inserted an apology for the character of Cicero, which was found to be too long as an episode, and was discarded by me, not without regret.
    [Show full text]