Antony and Cleopatra, a Historical Romance That Is Larger Than Life, and Had an Impact on the Roman Empire That Shaped Much of the Mediterranean for Years to Come

Total Page:16

File Type:pdf, Size:1020Kb

Antony and Cleopatra, a Historical Romance That Is Larger Than Life, and Had an Impact on the Roman Empire That Shaped Much of the Mediterranean for Years to Come www.seattleshakespeare.org/education 206-733-8228 ext. 212 or [email protected] All original material copyright © Seattle Shakespeare Company 2012 SEATTLE SHAKESPEARE COMPANY Dear Educators, Fact and fiction collide in Shakespeare’s dramatic telling of the story of Antony and Cleopatra, a historical romance that is larger than life, and had an impact on the Roman Empire that shaped much of the Mediterranean for years to come. Seattle Shakespeare Company’s fall production of this play is no less dramatic, and no less epic in scope. But of course, as educators we already know that any retelling of history is as much fact as we can manage, told as a story from a certain point of view, necessarily adding some element of the fictitious. But it is these stories we tell about history that capture our imagination — it is the headdresses of Cleopatra, the fantastically adorned tomb of King Tut, the glory of ancient Rome and the Empire that we sometimes compare America to, for better or for worse. Stories can teach us something about ourselves, even as much as they teach us about history. Stories about history can highlight the folly of hubris, the danger of ambition, or the horrors of war. They can show that people have always been motivated by many of the same feelings, even when the time and place feel foreign to us. This year, I invite you to indulge in the stories at Seattle Shakespeare Company. We’ll take you from Rome at the fall of the Republic in Antony and Cleopatra, to the turn of the 20th century Norway, where women are struggling for rights in A Doll’s House. We will tell you a story of unexpected love in the courts of France in this spring’s Love’s Labour’s Lost, and finally take you to find love in a trailer park in The Taming of the Shrew. We hope to share our stories with you. Best, Michelle Burce Education Director Sponsors: STUDY GUIDE CONTENTS Antony and Cleopatra Synopsis . 1 A summary of the plot. Character List . 2 A guide to the characters in Antony and Cleopatra. A Timeline of Two Empires . 2 A broad comparison of Egypt and Rome’s history leading up to the events of Antony and Cleopatra. Culture Clash . 3–4 An overview of the ways in which Roman moral and cultural values clashed with much of Egyptian culture. Cleopatra . 5 A biography of Cleopatra. Mark Antony . 6 A biography of Mark Antony. Octavius Caesar . 7 A biography of Octavius Caesar. Reflection and Discussion Questions . 7–8 Challenge students to review what they already know, and to reflect on the complicated plot and important themes of the play. Placing the Production . 9–10 Director John Langs shares his inspiration and ideas behind this production of Antony and Cleopatra. Post-Show Activity: Character Perspectives . 11 In this activity, students are asked to see how Shakespeare’s perspective on these historical characters stacks up against other historical views. One Man, Many Names . 11 Octavius, Octavian, Augustus — keep the names straight. Pre-Show Activity: Poster Design . 12In this activity, students imagine their own take on Shakespeare’s play, and design a poster and marketing language to match their highlighted themes. SYNOPSIS Mark Antony, Octavius Caesar, and Lepidus are the three co-rulers of Antony addresses his followers, inspiring them for battle but Enobarbus Rome (known as triumvirs), but Antony has been neglecting his duties deserts Antony, leaving his personal treasure behind. When Antony in favor of spending time with Cleopatra — the Queen of Egypt. When sends the treasure after him, Enobarbus is so overcome by Antony’s he receives word that his wife has died and the rebel Pompey has generosity in the face of betrayal that he dies from shame. taken arms against the other triumvirs, Antony is motivated to return to Antony and Octavius again engage in battle, and Antony does well Rome. Cleopatra begs him to stay, but to no avail. until the fighting moves to sea. Once again Cleopatra’s ships break off from the battle, and the rest of the fleet surrenders. Antony curses Cleopatra and declares that he will kill her for her treachery. Hearing of this, Cleopatra decides the only way to win back Antony is to send word that she has killed herself, dying with his name on her lips. She locks herself in her monument to await Antony’s visit. However Antony, hearing that his love is dead, decides to end his life and begs his attendant Eros to run him through with a sword. Eros refuses and takes his own life instead. Antony falls on his own sword, but fails to die — gravely wounding himself. At that moment, Cleopatra’s attendant arrives to report that Cleopatra has not died at all and has never betrayed Antony. Antony is taken to her monument and dies in her arms. Upon hearing of Antony’s suicide, Octavius sends word to Cleopatra that he shall treat her kindly, and that if she lives her children shall grow up to inherit Egypt. Cleopatra refuses to be taken captive and paraded through Rome, so she resolves to kill herself. She orders her Marc Antony and Cleopatra, by Lawrence Alma-Tadema (1885) robe and crown be brought to her, allows herself to be bitten by poisonous asps, and dies. Once in Rome, Antony, Octavius, and Lepidus agree that it is vital to Octavius is filled with mixed emotions when he hears of Cleopatra’s Rome’s stability that they maintain their alliance. In a show of good death. He is triumphant in becoming the sole leader of the Roman faith, Antony marries Octavius’ sister Octavia. News of the marriage Empire, but he is filled with grief at witnessing the fatal love of reaches Cleopatra in Egypt, and she punishes the messenger brutally. Antony and Cleopatra. He orders a royal funeral for them both. The triumvirs and Pompey meet and agree to a truce. Pompey is offered rule over Sicily and Sardinia in exchange for helping rid the sea of pirates and paying a tribute to Rome. The pact is followed by drunken revelry, during which Menas suggests to Pompey that he make himself ruler of Rome. Pompey refuses, deeming it dishonorable. Expecting peace, Antony and his new wife Octavia depart from Rome. Not long after, Antony receives word that Lepidus has been arrested for conspiracy, and Octavius has broken the truce with Pompey. Antony is furious, but Octavia offers to negotiate with her brother. Once she has left, Antony returns to Egypt where he crowns himself and Cleopatra rulers of Egypt and the eastern third of the Roman Empire, which is Antony’s right as one of the three triumvirs. Octavius uses the slight against his sister to challenge Antony to a battle. In Antony’s camp, his friend and attendant Enobarbus urges Antony to battle on land where Antony has the advantage. Having Cleopatra’s fleet pledged to him, Antony accepts Octavius’ challenge to battle at sea. The Death of Marc Anthony, by Pompeo Girolamo Batoni (1700s) In the middle of the battle, Cleopatra takes her fleet and flees. Antony follows her, leaving his own fleet to ruin. He rebukes Cleopatra for turning him into a coward but ultimately forgives her and renews his promises of love. Octavius sends a messenger to ask that Cleopatra leave Antony and come over to his side, but Antony has the messenger whipped. Antony pledges to fight another battle with Octavius, this time on land. 1 CHARACTER LIST A TIMELINE OF TWO EMPIRES The Triumvirs of Rome All dates are BCE, many early dates are approximate. MARK ANTONY EGYPT ROME OCTAVIUS CAESAR 3100 Upper and Lower Egypt are united. M. AEMILIUS LEPIDUS 2560 Construction begins on Great Pyramid of Giza and Great Sphinx. CLEOPATRA: the Queen of Egypt 2181 Egypt fractures and regions develop SEXTUS POMPEY: the son of Pompey the Great, revolting distinct cultures. against Rome 1985 Egypt is unified. Large-scale irrigation projects OCTAVIA: Caesar’s sister expand farming land. EUPHRONIUS: an ambassador 1674 The northern capital is taken over by a Semitic LAMPRIUS: a soothsayer population from Canaan. Pharaohs rule from the A CLOWN south for nearly a century. 1069 After the collapse of the Bronze Age Egypt Followers of Antony divides in to Upper and Lower Kingdoms. Pharoahs relocate to the north and priest of DOMITIUS ENOBARBUS: Antony’s friend and aide Amun take political control of the south. VENTIDIUS: a general 753 King Romulus founds the city of Rome and appoints EROS: an attendant the communty’s first Senate. DECRETAS: a guard 669 Egypt undertakes a cultural revival. Across the Mediterranean new super powers celebrated PHILO: a soldier their Bronze Age heritage. CANIDIUS: a lieutenant-general 525 Persia occupies Egypt. The Greeks send military SILIUS: a soldier aide to expel the Persians from Egypt several times. SCARUS: a commander 509 The last Roman monarch is overthrown and the Republic established. Followers of Caesar 494 Secession of Plebs forces the extension of political MAECENAS representation to the larger population of Roman citizens. AGRIPPA: a general 493 Events of Coriolanus DOLABELLA 343 The last native Pharaoh of Egypt flees into Nubia when Persia invades. PROCULEIUS 332 Alexander the Great liberates THIDIAS: a servant Egypt. After his death, his half- GALLUS brother Ptolemy takes rule and establishes the Ptolemaic Dynasty. TAURUS: a lieutenant 273 Ptolemaic pharaoh’s send a diplomatic party to Followers of Cleopatra Rome. The young Republic is delighted to be recognized by such a prestigious new ally. CHARMIAN: a lady-in-waiting 217 Egypt sends relief supplies of grain to Rome IRAS: a lady-in-waiting during their war with Hannibal of Carthage.
Recommended publications
  • Pompey, the Great Husband
    Michael Jaffee Patterson Independent Project 2/1/13 Pompey, the Great Husband Abstract: Pompey the Great’s traditional narrative of one-dimensionally striving for power ignores the possibility of the affairs of his private life influencing the actions of his political career. This paper gives emphasis to Pompey’s familial relationships as a motivating factor beyond raw ambition to establish a non-teleological history to explain the events of his life. Most notably, Pompey’s opposition to the special command of the Lex Gabinia emphasizes the incompatibility for success in both the public and private life and Pompey’s preference for the later. Pompey’s disposition for devotion and care permeates the boundary between the public and private to reveal that the happenings of his life outside the forum defined his actions within. 1 “Pompey was free from almost every fault, unless it be considered one of the greatest faults for a man to chafe at seeing anyone his equal in dignity in a free state, the mistress of the world, where he should justly regard all citizens as his equals,” (Velleius Historiae Romanae 2.29.4). The annals of history have not been kind to Pompey. Characterized by the unbridled ambition attributed as his impetus for pursuing the civil war, Pompey is one of history’s most one-dimensional characters. This teleological explanation of Pompey’s history oversimplifies the entirety of his life as solely motivated by a desire to dominate the Roman state. However, a closer examination of the events surrounding the passage of the Lex Gabinia contradicts this traditional portrayal.
    [Show full text]
  • Augustus Go to and Log in Using Your School’S Log in Details
    Timelines – Augustus Go to www.worldbookonline.com and log in using your school’s log in details: Log-in ID: Password: Click on Advanced Type in Augustus in Search box Click the article titled Augustus Read the article and answer the questions below. 1. What date was Octavian (Augustus) born? ___________________________________________________________________________ 2. In which year did Octavian take the name Gaius Julius Caesar Octavianus? ___________________________________________________________________________ 3. Octavian defeated Mark Antony, who had taken control of Rome following Caesar’s death, in which year? ___________________________________________________________________________ 4. Octavian and Mark Antony formed a political alliance, known as the Second Triumvirate, with Markus Aemilius Lepidus (chief priest of Rome). In which year were Marcus Junius Brutus and Gaius Cassius Longinus, Caesar’s chief assassins, defeated at Philippi in Macedonia? ___________________________________________________________________________ 5. What year was another threat, Sextus Pompey (son of Pompey the Great), defeated by Antony and Octavian? ___________________________________________________________________________ 6. In what year did the Triumvirate disintegrate? ___________________________________________________________________________ 7. In what year did Mark Antony and Cleopatra (Queen of Egypt) become lovers? ___________________________________________________________________________ 8. In what year did Octavian go to war against
    [Show full text]
  • Three Eras, Two Men, One Value: Fides in Modern Performances of Shakespeare’S
    Three Eras, Two Men, One Value: Fides in Modern Performances of Shakespeare’s Antony and Cleopatra Depictions of Marc Antony and Caesar Augustus have changed dramatically between the first and twenty-first centuries, partially because of William Shakespeare’s seventeenth-century play Antony and Cleopatra. In 2006 and 2010, England’s Royal Shakespeare Company staged vastly different interpretations of this classically influenced Shakespearean text. How do the modern performances rework ancient views of Antony and Augustus, particularly in light of the ancient Roman value fides (loyalty or good faith)? This paper answers that question by examining the intersections between Greco-Roman literary-historic narratives – as received in Shakespeare’s early modern play – and the two modern performances. The contemporary versions of Shakespeare’s Antony and Cleopatra create contrasting constructions of Antony and Augustus by modernizing the characters and/or their worlds. The 2006 rendition (directed by Gregory Doran) presents an explosive but weak-willed Antony (Sir Patrick Stewart) and a prudish yet petulant Augustus (John Hopkins). On the other hand, the 2010 adaptation (directed by Michael Boyd) shows a hotheaded and frank Antony (Darrell D’Silva) who struggles against a cold and manipulative Augustus (John Mackay). Both performances reveal the complexity of these ancient figures as the men engage with and evaluate claims upon their familial, societal, and personal fides. Representations of Antony and Augustus necessarily involve fides, though classical accounts do not always feature this term. As military and political leaders, both men led lives filled with decisions about loyalty, specifically what deserved it and in what degree. The modern dramatizations further underscore fides in their portrayals of Antony and Augustus.
    [Show full text]
  • Study Guide 2016-2017
    Study Guide 2016-2017 by William Shakespeare Standards Theatre English Language Arts Social Studies TH.68.C.2.4: Defend personal responses. LAFS.68.RH.1.2: Determine central ideas. SS.912.H.1.5: Examine social issues. TH.68.C.3.1: Discuss design elements. LAFS.910.L.3.4: Determine unknown words. TH.68.H.1.5: Describe personal responses. LAFS.910.L.3.5: Demonstrate figurative language. TH.912.S.1.8: Use research to extract clues. LAFS.1112.SL.1.1: Initiate collaborative discussions. TH.912.S.2.9: Research artistic choices. TH.912.H.1.4: Interpret through historical lenses. Content Advisory: Antony and Cleopatra is a political drama fueled by intimate relationships. There are battle scenes. If it were a movie, Antony and Cleopatra would be rated “PG-13.” !1 Antony and Cleopatra Table of Contents Introduction p. 3 Enjoying Live Theater p. 3 About the Play p. 6 Plot Summary p. 6 Meet the Characters p. 7 Meet the Playwright p. 8 Historical Context p. 11 Elizabethan Theater p. 11 Activities p. 12 Themes and Discussion p. 17 Bibliography p. 17 !2 Antony and Cleopatra An Introduction Educators: Thank you for taking the time out of your very busy schedule to bring the joy of theatre arts to your classroom. We at Orlando Shakes are well aware of the demands on your time and it is our goal to offer you supplemental information to compliment your curriculum with ease and expediency. What’s New? Lots! First, let me take a moment to introduce our new Children’s Series Coordinator, Brandon Yagel.
    [Show full text]
  • Coinage of Triumvirs, Antony, Lepidus and Octavian : Illustrative of the History Pdf, Epub, Ebook
    COINAGE OF TRIUMVIRS, ANTONY, LEPIDUS AND OCTAVIAN : ILLUSTRATIVE OF THE HISTORY PDF, EPUB, EBOOK H A Grueber | 50 pages | 10 Oct 2016 | Createspace Independent Publishing Platform | 9781539449652 | English | none Coinage of Triumvirs, Antony, Lepidus and Octavian : Illustrative of the History PDF Book AR Denarius 17mm, 3. By continuing to use the portal, you agree to receive cookies. Lepidus was feeling slighted by Octavian and Antony and stationed his troops in Sicily, insisting his triumvir territories be reinstated to what they were when the Lex Titia was signed. Sydenham a. Heidenheim an der Brenz and Hellenstein Castle. Octavian soon entered into a fight with Sextus Pompey. Near Very Fine; banker's mark to obv. Lustrous, light hairlines. A wonderful example of the type. Less than a year later, on the Ides of March, 44 B. The Gallic tribes were governed either by kings in the southwest and in the north or by an aristocracy with appointed chief magistrates in the central region. The moneyer of the same name who struck this coin was the grandson of both men. AR denarius 19mm, 3. If Lepidus had had been a more effective communicator, history might have turned out vastly different! Ahenobarbus achieved considerable naval success against the Second Triumvirate in the Ionian theater, where this denarius was certainly minted, but finally, through the mediation of Gaius Asinius Pollio, he reconciled with Mark Antony, who thereupon made him governor of Bithynia. He made dynastic changes in the dependent kingdoms by taking huge taxes. This agreement is known in history as the Second Triumvirate see also First Triumvirate.
    [Show full text]
  • Shame and Betrayal in Shakespeare's Antony and Cleopatra
    Kawasaki Journal of Medical Welfare Vol. 26, No. 1, 2020 41-48 Original Paper Shame and Betrayal in Shakespeare’s Antony and Cleopatra Michael KREMENIK*1 (Accepted July 17, 2020) Key words: betrayal, suicide, negotiation, shame Abstract The aim of this paper is to look at how William Shakespeare took the historical information available to him in the story of Mark Antony, Triumvir of Rome, and Cleopatra, Queen of Egypt, and turned it into his tragic play Antony and Cleopatra. Four parts of the play are analyzed: The Battle of Actium, negotiations with Caesar Octavian, the Alexandrian War and Cleopatra’s Suicide. Did Antony know beforehand that Cleopatra and her navy would abandon the Battle of Actium and return to Egypt? In the aftermath of Actium both Cleopatra and Antony negotiated separately with Octavian. What is known about Cleopatra’s willingness to give up on Antony and defect to Octavian’s side? Was Antony really so surprised to see Cleopatra’s navy defect to Octavian? Or was he blindsided and right to feel betrayed by Cleopatra? And why did Cleopatra have a messenger inform Antony that she was dead? Was she afraid of Antony after her navy’s defection? Was she looking for sympathy? Trying to curtail his anger? Or was she hoping that Antony would kill himself and thus give her free reign to negotiate with Octavian as Queen of Egypt and not as Antony’s mistress? All of these questions will be looked at from the point of view of Shakespeare’s tragedy and how he manipulated the historical sources to write his own version of this world famous tragic love story.
    [Show full text]
  • A Comparison of the Two Principal Characters of Shakespeare's Antony and Cleopatra with Their Prototypes in Plutarch's Life of Marcus Antonius Robert G
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1949 A Comparison of the Two Principal Characters of Shakespeare's Antony and Cleopatra with Their Prototypes in Plutarch's Life of Marcus Antonius Robert G. Lynch Loyola University Chicago Recommended Citation Lynch, Robert G., "A Comparison of the Two Principal Characters of Shakespeare's Antony and Cleopatra with Their rP ototypes in Plutarch's Life of Marcus Antonius" (1949). Master's Theses. Paper 772. http://ecommons.luc.edu/luc_theses/772 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1949 Robert G. Lynch A CON;PARISON OF THE T"<'IO PRIiWIPAL CHARACTERS OF SHAKESP:2:J.RE' S ANTONY -AND CLEOPATRA laTH THEla PROTOTYl?ES IN PLUTARCH t S ~ OF r4ARCUS ANTONIUS BY ROBERT G. LYNCH, S.J. A 'fHESIS SUBI\~ITTED IN PARTIAL FULFILLMENT OF THE REQUIRl:l:;j\IENTS FOIt THE DEGREE OF MASTER OF ARTS IN LOYOLA UNIVERSITY 1949 ~ ------------------------------------------------------------~ TABLE OF CONTENTS CHAPTER PAGE I. Illll'RODUCTION •••••••••••••••••••••••••••••••••••• •• 1 The subject---state of question--­ comparison of Shakespee.re and Plutarch ---Shakespeare's method of prime in­ terest---why characterization instead of plot or diction---why this play--­ an objection answered---the procedure. II. CLEOPAffRA, COURTESAN OR QUEEN? •••••••••••••••••• 13 Reason for treating Cleopatra first--­ importance of Cleopatra for the trag­ edy---Shakespeare's aims: specific and general---political motives in Plutarch's Queen---real love in Shakes­ peare's---Prof.
    [Show full text]
  • Roman Coins – Mass Media for Image Cultivation
    Roman Coins – Mass Media for Image Cultivation Unlike modern coins, Roman money was characterized by an enormous diversity of coin images. This reflected not so much the desire for change, however, but rather an often very purposeful policy of concrete self-interests. At the time of the Roman Republic, coins were issued on behalf of the senate by a committee of moneyers. These men decided independently what motifs their coins were to bear, and, from the late 2nd century BC, used this liberty often for family propaganda. Later, during the time of the Firs and second triumvirate (60 to 32 BC), coins were issued by several powerful Romans or their adherents. These pieces were not republican any more, but imperatorial, and used mainly for the representation of political dispositions and ambitions. In imperial times finally (from 27 BC), the rulers of Rome were in charge of the issuance of money. Naturally, they used the large Roman coins for the artful conversion of political propaganda and self-manifestation as well. 1 von 20 www.sunflower.ch Roman Republic, L. Caecilius Metellus Diadematur (or Delmaticus), Denarius, 128 BC Denomination: Denarius Mint Authority: Moneyer Lucius Caecilius Metellus Diadematus (?) Mint: Rome Year of Issue: -128 Weight (g): 3.94 Diameter (mm): 18.0 Material: Silver Owner: Sunflower Foundation This denarius bears on the obverse a traditional motif, the head of Roma, the goddess and personification of Rome, wearing a winged attic helmet; behind her is the mark XVI for the value of 16 asses. The reverse depicts a goddess driving a biga, a two-horse racing chariot.
    [Show full text]
  • THE DISPLACED NEW WORLD of ANTONY and CLEOPATRA Christopher Kane John Carroll University, [email protected]
    John Carroll University Carroll Collected Masters Essays Theses, Essays, and Senior Honors Projects Summer 2016 SHADOWS OF EMPIRE: THE DISPLACED NEW WORLD OF ANTONY AND CLEOPATRA Christopher Kane John Carroll University, [email protected] Follow this and additional works at: http://collected.jcu.edu/mastersessays Part of the English Language and Literature Commons Recommended Citation Kane, Christopher, "SHADOWS OF EMPIRE: THE DISPLACED NEW WORLD OF ANTONY AND CLEOPATRA" (2016). Masters Essays. 54. http://collected.jcu.edu/mastersessays/54 This Essay is brought to you for free and open access by the Theses, Essays, and Senior Honors Projects at Carroll Collected. It has been accepted for inclusion in Masters Essays by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. SHADOWS OF EMPIRE: THE DISPLACED NEW WORLD OF ANTONY AND CLEOPATRA An Essay Submitted to the Office of Graduate Studies College of Arts & Sciences of John Carroll University in Partial Fulfillment of the Requirements for the Degree of Master of Arts By Christopher J. Kane 2016 Fortis imagination generat casum (“Powerful imagination generates the event”) -Montaigne, Essais Perhaps more than any of Shakespeare’s other works, Antony and Cleopatra defies singular readings. Within its massive sprawl, the play constitutes a tragedy, the third and most complex of the Bard’s “Roman” plays, a gender-bending comedy, and an infinite number of studies on the subtopics lurking within its boundless lines. Some of these studies have paid a great deal of attention to the imperial and colonial subtext within this play, as the plot of the drama recounts the story of the Roman subjugation of the kingdom of Egypt, according to Plutarch.
    [Show full text]
  • The Historical Background
    APPENDIX THE HISTORICAL BACKGROUND All dates are B. C. I 06 Birth of Pompey and Cicero. 100 Sixth consulate of Marius. Birth of Julius Caesar. Ca. 100: publication of Meleager's Garland. ca. 97 Birth of Lucretius. 91-89 Social or Marsic War: Rome v. Italian Allies. 89-85 First Mithridatic War. 88 Sulla's march on Rome. Flight of Marius. 88-83 Sulla in the east. 86 Seventh consulate and death of Marius. Athens sacked by Sulla. Mithridates defeated. ca. 84 Birth of Catullus. 83-82 Civil War. 82-79 Dictatorship of Sulla. 73-71 Slave-revolt of Spartacus. Crushed by Crassus and Pompey. 70 First consulate of Pompey and Crassus. Birth of Virgil (Oct. 15) at Andes near Mantua. Ca. 70: arrival at Rome of the Callimachean Parthenius of Nicaea. ca. 69 Birth of Gallus. 67 Defeat of pirates by Pompey. 66 Lex Manilia confers on Pompey the command against Mithridates. 66-63 Pompey in the east. 65 Birth of Horace at Venusia. 63 Consulate of Cicero. Catilinarian conspiracy. Pompey's settlement of the east. Birth of Octavian, later Augustus (63 B.C.-A.D. 14). 60 Formation of first triumvirate: Caesar, Pompey, Crassus. 59 First consulate of Caesar. Birth of Livy at Padua. 58-49 Caesar in Gaul. 56 Conference at Luca: triumvirate renewed. 55 Second consulate of Pompey and Crassus. Ca. 55: birth of Tibullus. 54 Crassus sets out for Parthia. Death of Julia, Caesar's daughter and Pompey's wife. Ca. 54: deaths of Catullus and Lucretius; publication of De Rerum Natura. Birth of Livy.
    [Show full text]
  • Horace's Epode 9 and Its Generals' Confusion
    Original citation: Giusti, Elena (2016) Dithyrambic iambics : Epode 9 and its general(s’) confusion. In: Bather, Philippa and Stocks, Claire, (eds.) Horace’s Epodes: Contexts, Intertexts, and Reception. Oxford University Press. ISBN 9780198746058 Permanent WRAP URL: http://wrap.warwick.ac.uk/95093 Copyright and reuse: The Warwick Research Archive Portal (WRAP) makes this work by researchers of the University of Warwick available open access under the following conditions. Copyright © and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable the material made available in WRAP has been checked for eligibility before being made available. Copies of full items can be used for personal research or study, educational, or not-for profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. Publisher’s statement: Specific material reused: Giusti, Elena (2016) Dithyrambic iambics : Epode 9 and its general(s’) confusion. In: Bather, Philippa and Stocks, Claire, (eds.) Horace’s Epodes: Contexts, Intertexts, and Reception. Oxford University Press. ISBN 9780198746058 by permission of Oxford University Press Published version available from Oxford University Press: http://dx.doi.org/10.1093/acprof:oso/9780198746058.003.0006 For more information, please contact the WRAP Team at: [email protected] A note on versions: The version presented here may differ from the published version or, version of record, if you wish to cite this item you are advised to consult the publisher’s version.
    [Show full text]
  • Sallust's Histories and Triumviral Historiography
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Sallust's Histories and Triumviral Historiography Jennifer Gerrish University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Classics Commons Recommended Citation Gerrish, Jennifer, "Sallust's Histories and Triumviral Historiography" (2012). Publicly Accessible Penn Dissertations. 511. https://repository.upenn.edu/edissertations/511 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/511 For more information, please contact [email protected]. Sallust's Histories and Triumviral Historiography Abstract This dissertation explores echoes of the triumviral period in Sallust's Histories and demonstrates how, through analogical historiography, Sallust presents himself as a new type of historian whose "exempla" are flawed and morally ambiguous, and who rejects the notion of a triumphant, ascendant Rome perpetuated by the triumvirs. Just as Sallust's unusual prose style is calculated to shake his reader out of complacency and force critical engagement with the reading process, his analogical historiography requires the reader to work through multiple layers of interpretation to reach the core arguments. In the De Legibus, Cicero lamented the lack of great Roman historians, and frequently implied that he might take up the task himself. He had a clear sense of what history ought to be : encomiastic and exemplary, reflecting a conception of Roman history as a triumphant story populated by glorious protagonists. In Sallust's view, however, the novel political circumstances of the triumviral period called for a new type of historiography. To create a portrait of moral clarity is, Sallust suggests, ineffective, because Romans have been too corrupted by ambitio and avaritia to follow the good examples of the past.
    [Show full text]