DOCSLIB.ORG

A Linguistic Analysis of Demonstratives in Genres of Early Latin Fragments Erica L

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Linguistic Analysis of Demonstratives in Genres of Early Latin Fragments Erica L Eastern Michigan University DigitalCommons@EMU Master's Theses, and Doctoral Dissertations, and Master's Theses and Doctoral Dissertations Graduate Capstone Projects 2016 Haec fortis sequitur illam indocti possident: A linguistic analysis of demonstratives in genres of early Latin fragments Erica L. Meszaros Follow this and additional works at: http://commons.emich.edu/theses Part of the English Language and Literature Commons Recommended Citation Meszaros, Erica L., "Haec fortis sequitur illam indocti possident: A linguistic analysis of demonstratives in genres of early Latin fragments" (2016). Master's Theses and Doctoral Dissertations. 847. http://commons.emich.edu/theses/847 This Open Access Thesis is brought to you for free and open access by the Master's Theses, and Doctoral Dissertations, and Graduate Capstone Projects at DigitalCommons@EMU. It has been accepted for inclusion in Master's Theses and Doctoral Dissertations by an authorized administrator of DigitalCommons@EMU. For more information, please contact [email protected]. Haec Fortis Sequitur Illam Indocti Possident: A Linguistic Analysis of Demonstratives in Genres of Early Latin Fragments by Erica L. Meszaros Thesis Submitted to the Department of English Language and Literature Eastern Michigan University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English Linguistics Thesis Committee: Eric Acton Ph.D., Chair Veronica Grondona, Ph.D. July 1, 2016 Ypsilanti, Michigan In memoriam Chloes ii Acknowledgments I am forever indebted to the ceaseless effort of my advisor, Dr. Eric Acton, who accepted me as an advisee though I had never been his student and had, in fact, not been anyone's student for more than three years. Without his guidance and judgment, I am confident that I would never have made it past my initial thesis proposal, and it should be a testament to his skill, patience, and dedication that this thesis was completed. I would also like to acknowledge my mother, who hand-delivered this thesis; my brother, who sent me enough cat pictures to persevere through the thesis-writing process; and my husband, who tackled copyediting, emotional support, and seltzer buying. Our family may be small and, thanks to me, geographically spread, but I could not ask for better humans to share genes and names with. For continuing to engage my creativity, and allowing me to afford rent and food, I am grateful for the community at NASA's Langley Research Center, in particular Lisa Le Vie, Stephanie Harrison, Anna Trujillo, Kevin French, Michael Janov, Spencer Watza, Leonardo Herrera, and the members of the Autonomy incubator. Finally, I would be remiss if I did not acknowledge those professors and peers who have inspired me over the years, in particular Megan Grundtisch, Elyssa Winzeler, Emily Wilson, Sarah Dreher, Terence Vogel, Matthew McGowan, Edith Foster, and the Paideia Institute. I hope this thesis stands as a testament to their passion and compassion. iii Abstract This study examines the claim that demonstratives are used more frequently in Latin comedies than in other genres (Karakasis, 2014; Palmer, 1975), as well as additional hypotheses regarding the use of demonstratives within this language. To examine these claims, I created a corpus composed of fragments of Early Latin authors of comedic, tragic, and non-dramatic works. I examined demonstratives within this corpus for frequency, form, syntactic role, affective force, co-occurrence with personal pronouns, and use in multimembral demonstrative sets. This study provides the first quantitative evaluation of demonstrative use for often neglected authors of Early Latin. It also identifies those theories regarding demonstrative use that have more support within this time and suggests why these theories might hold true and how they might impact the overall demonstrative count for comedy, tragedy, non-dramatic works, or Latin as a whole. Works Cited Karakasis, E. (2014). The language of the palliata. In Fontaine, M. & Scafuro, A.C. (Eds.), The Oxford Handbook of Greek and Roman Comedy (pp. 555-579). Oxford University Press. Palmer, L. R. (1988). The Latin language. University of Oklahoma Press. iv Table of Contents Acknowledgments.......................................................................................................................... iii Abstract .......................................................................................................................................... iv Glossary of Terms ......................................................................................................................... xii Chapter One: Introduction .............................................................................................................. 1 1.1 Purpose of this Study............................................................................................................. 1 1.2 Outline ................................................................................................................................... 4 Chapter Two: Background .............................................................................................................. 6 2.1 Introduction to Demonstratives ............................................................................................. 6 2.1.1 Exophora and deixis ....................................................................................................... 7 2.1.2 Endophora, Anaphora, and Cataphora ............................................................................ 8 2.1.3 Discourse deixis ............................................................................................................ 10 2.1.4 Characteristics of demonstratives ................................................................................. 11 2.1.5 Parts of speech .............................................................................................................. 11 2.2 Introduction to Demonstratives in Latin ............................................................................. 14 2.2.1 Personal force ............................................................................................................... 17 2.2.2 Genre ............................................................................................................................ 23 2.2.3 Affective force .............................................................................................................. 23 2.2.4 Forms and syntactic categories ..................................................................................... 26 2.2.5 Multimembral sets ........................................................................................................ 26 2.2.6 Endophora ..................................................................................................................... 27 2.2.7 Summary ....................................................................................................................... 29 2.3 Chapter Summary ................................................................................................................ 30 v Chapter Three: Methodology ........................................................................................................ 32 3.1 Corpus Composition ............................................................................................................ 32 3.1.1 Excluded authors .......................................................................................................... 37 3.1.2 Livius Andronicus.. ...................................................................................................... 38 3.1.3 Gnaeus Naevius ............................................................................................................ 40 3.1.4 Caecilius Statius ........................................................................................................... 40 3.1.5 Marcus Pacuvius ........................................................................................................... 42 3.1.6 Quintus Ennius ............................................................................................................. 43 3.1.7 Lucius Accius. .............................................................................................................. 46 3.1.8 Summary. ...................................................................................................................... 47 3.2 Methods ............................................................................................................................... 48 3.3 Chapter Summary ................................................................................................................ 51 Chapter Four: Analysis ................................................................................................................. 53 4.1 Genre ................................................................................................................................... 53 4.1.1 Caecilius. ...................................................................................................................... 55 4.1.2 Naevius ......................................................................................................................... 56 4.1.3 Ennius ........................................................................................................................... 57 4.1.4 Accius ..........................................................................................................................
Load more

Recommended publications
  • Roman Literature from Its Earliest Period to the Augustan Age
    The Project Gutenberg EBook of History of Roman Literature from its Earliest Period to the Augustan Age. Volume I by John Dunlop This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: History of Roman Literature from its Earliest Period to the Augustan Age. Volume I Author: John Dunlop Release Date: April 1, 2011 [Ebook 35750] Language: English ***START OF THE PROJECT GUTENBERG EBOOK HISTORY OF ROMAN LITERATURE FROM ITS EARLIEST PERIOD TO THE AUGUSTAN AGE. VOLUME I*** HISTORY OF ROMAN LITERATURE, FROM ITS EARLIEST PERIOD TO THE AUGUSTAN AGE. IN TWO VOLUMES. BY John Dunlop, AUTHOR OF THE HISTORY OF FICTION. ivHistory of Roman Literature from its Earliest Period to the Augustan Age. Volume I FROM THE LAST LONDON EDITION. VOL. I. PUBLISHED BY E. LITTELL, CHESTNUT STREET, PHILADELPHIA. G. & C. CARVILL, BROADWAY, NEW YORK. 1827 James Kay, Jun. Printer, S. E. Corner of Race & Sixth Streets, Philadelphia. Contents. Preface . ix Etruria . 11 Livius Andronicus . 49 Cneius Nævius . 55 Ennius . 63 Plautus . 108 Cæcilius . 202 Afranius . 204 Luscius Lavinius . 206 Trabea . 209 Terence . 211 Pacuvius . 256 Attius . 262 Satire . 286 Lucilius . 294 Titus Lucretius Carus . 311 Caius Valerius Catullus . 340 Valerius Ædituus . 411 Laberius . 418 Publius Syrus . 423 Index . 453 Transcriber's note . 457 [iii] PREFACE. There are few subjects on which a greater number of laborious volumes have been compiled, than the History and Antiquities of ROME.
    [Show full text]
  • TRADITIONAL POETRY and the ANNALES of QUINTUS ENNIUS John Francis Fisher A
    REINVENTING EPIC: TRADITIONAL POETRY AND THE ANNALES OF QUINTUS ENNIUS John Francis Fisher A DISSERTATION PRESENTED TO THE FACULTY OF PRINCETON UNIVERSITY IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY RECOMMENDED FOR ACCEPTANCE BY THE DEPARTMENT OF CLASSICS SEPTEMBER 2006 UMI Number: 3223832 UMI Microform 3223832 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 © Copyright by John Francis Fisher, 2006. All rights reserved. ii Reinventing Epic: Traditional Poetry and the Annales of Quintus Ennius John Francis Fisher Abstract The present scholarship views the Annales of Quintus Ennius as a hybrid of the Latin Saturnian and Greek hexameter traditions. This configuration overlooks the influence of a larger and older tradition of Italic verbal art which manifests itself in documents such as the prayers preserved in Cato’s De agricultura in Latin, the Iguvine Tables in Umbrian, and documents in other Italic languages including Oscan and South Picene. These documents are marked by three salient features: alliterative doubling figures, figurae etymologicae, and a pool of traditional phraseology which may be traced back to Proto-Italic, the reconstructed ancestor of the Italic languages. A close examination of the fragments of the Annales reveals that all three of these markers of Italic verbal art are integral parts of the diction the poem. Ennius famously remarked that he possessed three hearts, one Latin, one Greek and one Oscan, which the second century writer Aulus Gellius understands as ability to speak three languages.
    [Show full text]
  • Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
    Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag.
    [Show full text]
  • The Maltese Islands and the Sea in Antiquity
    THE MALTESE ISLANDS AND THE SEA IN ANTIQUITY The Maltese Islands and the Sea in Antiquity TIMMY GAMBIN The events of history often lead to the islands… F. Braudel THE STRETCHES OF SEA EXTANT BETWEEN ISLANDS AND mainland may be observed as having primary-dual functionalities: that of ‘isolating’ islands and that of providing connectivity with land masses that lay beyond the islands’ shores. On smaller islands especially, access to the sea provided a gateway from which people, goods and ideas could flow. This chapter explores how, via their surrounding seas, events of history often led to the islands of Malta and Gozo. The timeframe covered consists of over one thousand years (circa 700 BC to circa 400 AD); a fluid period that saw the island move in and out of the political, military and economic orbits of various powers that dominated the Mediterranean during these centuries. Another notion of duality can be observed in the interaction that plays out between those coming from the outside and those inhabiting the islands. It would be mistaken to analyze Maltese history solely in the context of great powers that touched upon and ‘colonized’ the islands. This historical narrative will also cover important aspects such as how the islands were perceived from those approaching from out at sea: were the islands a hazard, a haven or possibly both at one and the same time? It is also essential to look at how the sea was perceived by the islanders: did the sea bring welcome commercial activity to the islands shores; did it carry 1 THE MALTESE ISLANDS AND THE SEA pirate vessels and enemy ships? As important as these questions are, this narrative would be incomplete without reference to how the sea helped shape and mould the way in which the people living on Malta and Gozo chose (or were forced) to live.
    [Show full text]
  • A Stranger in a Strange Land: Medea in Roman Republican Tragedy1 Robert Cowan
    CHAPTER 3 A Stranger in a Strange Land: Medea in Roman Republican Tragedy1 Robert Cowan The first performance of a Roman version of a Greek tragedy in 240 BC was a momentous event. It was not the beginning of Roman appropriation of Greek culture- Rome had had contact and complex interaction with Greek communities in Magna Graecia and elsewhere from earliest times - but it was an important landmark in the relationship between Greece and Rome. 2 When a tragedy by Livius Andronicus was performed to celebrate victory over Carthage in the First Punic War, a central cultural practice of an alien culture was adopted, adapted, appropriated and transformed to serve as a central cultural practice of Rome. It is significant that the first tragedy celebrated a victory (albeit over Carthage), since the appropriation of Greek tragedy was an act of cultural conquest, as Roman actors marched into and occupied the stage of Attic drama. Yet the event was more complex than that description suggests. In Horace's phrase, captured Greece captured its savage master.3 The writing ofRoman tragedy in the Greek style was simultaneously an act of self-confident literary invasion and of cultural submission to the thrall of a more established theatrical tradition. In terms of literary history, this complex interrelationship marks the beginning of Latin literature, in conjunction with Livius's Latin, Saturnian version of the Odyssey. In terms of culture, the flourishing of Roman drama coincided with the massive expansion of Roman territory and the accompanying challenge to its sense of identity. Dramas were performed at public festivals, /rrdi scaenici, organized by state officials, the aediles, and sponsored by influential elites.
    [Show full text]
  • Introduction: Medea in Greece and Rome
    INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com­ plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis­ placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex­ ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp­ ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro­ man intellectual and visual world.
    [Show full text]
  • Download Horace: the SATIRES, EPISTLES and ARS POETICA
    +RUDFH 4XLQWXV+RUDWLXV)ODFFXV 7KH6DWLUHV(SLVWOHVDQG$UV3RHWLFD Translated by A. S. Kline ã2005 All Rights Reserved This work may be freely reproduced, stored, and transmitted, electronically or otherwise, for any non- commercial purpose. &RQWHQWV Satires: Book I Satire I - On Discontent............................11 BkISatI:1-22 Everyone is discontented with their lot .......11 BkISatI:23-60 All work to make themselves rich, but why? ..........................................................................................12 BkISatI:61-91 The miseries of the wealthy.......................13 BkISatI:92-121 Set a limit to your desire for riches..........14 Satires: Book I Satire II – On Extremism .........................16 BkISatII:1-22 When it comes to money men practise extremes............................................................................16 BkISatII:23-46 And in sexual matters some prefer adultery ..........................................................................................17 BkISatII:47-63 While others avoid wives like the plague.17 BkISatII:64-85 The sin’s the same, but wives are more trouble...............................................................................18 BkISatII:86-110 Wives present endless obstacles.............19 BkISatII:111-134 No married women for me!..................20 Satires: Book I Satire III – On Tolerance..........................22 BkISatIII:1-24 Tigellius the Singer’s faults......................22 BkISatIII:25-54 Where is our tolerance though? ..............23 BkISatIII:55-75
    [Show full text]
  • View of the Great
    This dissertation has been 62—769 microfilmed exactly as received GABEL, John Butler, 1931- THE TUDOR TRANSLATIONS OF CICERO'S DE OFFICIIS. The Ohio State University, Ph.D., 1961 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE TUDOR TRANSLATIONS OP CICERO'S DE OFFICIIS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By John Butler Gabel, B. A., M. A., A. M. ****** The Ohio State University 1961 Approved by Adviser Department of Ehglis7 PREFACE The purpose of this dissertation is to throw light on the sixteenth-century English translations of De Offioiis, one of Cicero’s most popular and most influential works. The dissertation first surveys the history and reputation of the Latin treatise to I600 and sketchs the lives of the English translators. It then establishes the facts of publication of the translations and identifies the Latin texts used in them. Finally it analyzes the translations themselves— their syntax, diction, and English prose style in general— against the background of the theory and prac­ tice of translation in their respective periods. I have examined copies of the numerous editions of the translations in the Folger Shakespeare Library, the Library of Congress, and the libraries of the Ohio State University and the University of Illinois. I have also made use of films of copies in the British Museum and the Huntington Library. I have indicated the location of the particular copies upon which the bibliographical descrip­ tions in Chapter 3 are based.
    [Show full text]
  • Curriculum Vitae of Ruth Rothaus Caston March 2016 Dept. Of
    Curriculum Vitae of Ruth Rothaus Caston March 2016 Dept. of Classical Studies 2160 Angell Hall, 435 S. State St. 1117 Lincoln Ave University of Michigan Ann Arbor, MI 48104 Ann Arbor, MI 48109 (734) 369-2699 (734) 764-1332 e-mail: [email protected] Employment University of Michigan, Dept. of Classical Studies, Associate Professor 2014- University of Michigan, Dept. of Classical Studies, Assistant Professor, 2008-2014 University of Michigan, Dept. of Classical Studies, Lecturer & Research Investigator, 2005-2008. University of California at Davis, Classics Program, Assistant Professor, 2000–2005. Education Brown University, 1995–2000; Ph.D. in Classics, 2000. The University of Texas at Austin, 1988–91; M.A. in Classics, 1990. Cornell University, 1984–88; B.A. in Classics, 1988. Academic Exchanges: 1994–95: DAAD Annual Grant Recipient, Universität Heidelberg. 1991–94: Visiting Scholar at Brown University. Summer 1989: Internationaler Ferienkurs, Universität Heidelberg. Spring 1987: The Intercollegiate Center for Classical Studies in Rome. Fall 1986: Classes at the Sorbonne, École des Sciences Politiques, Paris. Honors and Awards Michigan Humanities Award 2015-16. University Musical Society Mellon Faculty Fellow 2014-16. Life Member, Clare Hall, Elected Fall 2013. Visiting Fellow, Clare Hall, Cambridge, 2012-13. Loeb Classical Library Foundation Grant, 2003-4. Faculty Research Grants (UC Davis), 2000-1, 2003-4, 2004-5. University Fellowship (Brown University), Spring 1998, Fall 1998, Spring 1999. DAAD Annual Grant, Universität Heidelberg, 1994–95. Areas of Specialization Augustan poetry, Roman comedy, Roman satire, Ancient theories of the passions. Areas of Competence Greek & Roman rhetoric, the family in antiquity. Languages: Ancient Greek, Latin, French, German, Italian.
    [Show full text]
  • New Latin Grammar
    NEW LATIN GRAMMAR BY CHARLES E. BENNETT Goldwin Smith Professor of Latin in Cornell University Quicquid praecipies, esto brevis, ut cito dicta Percipiant animi dociles teneantque fideles: Omne supervacuum pleno de pectore manat. —HORACE, Ars Poetica. COPYRIGHT, 1895; 1908; 1918 BY CHARLES E. BENNETT PREFACE. The present work is a revision of that published in 1908. No radical alterations have been introduced, although a number of minor changes will be noted. I have added an Introduction on the origin and development of the Latin language, which it is hoped will prove interesting and instructive to the more ambitious pupil. At the end of the book will be found an Index to the Sources of the Illustrative Examples cited in the Syntax. C.E.B. ITHACA, NEW YORK, May 4, 1918 PREFACE TO THE SECOND EDITION. The present book is a revision of my Latin Grammar originally published in 1895. Wherever greater accuracy or precision of statement seemed possible, I have endeavored to secure this. The rules for syllable division have been changed and made to conform to the prevailing practice of the Romans themselves. In the Perfect Subjunctive Active, the endings -īs, -īmus, -ītis are now marked long. The theory of vowel length before the suffixes -gnus, -gna, -gnum, and also before j, has been discarded. In the Syntax I have recognized a special category of Ablative of Association, and have abandoned the original doctrine as to the force of tenses in the Prohibitive. Apart from the foregoing, only minor and unessential modifications have been introduced. In its main lines the work remains unchanged.
    [Show full text]
  • Reading Death in Ancient Rome
    Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus.
    [Show full text]
  • Latin Literature 1
    Latin Literature 1 Latin Literature The Project Gutenberg EBook of Latin Literature, by J. W. Mackail Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Latin Literature Author: J. W. Mackail Release Date: September, 2005 [EBook #8894] [Yes, we are more than one year ahead of schedule] [This file was first posted on August 21, 2003] Edition: 10 Latin Literature 2 Language: English Character set encoding: ISO−8859−1 *** START OF THE PROJECT GUTENBERG EBOOK LATIN LITERATURE *** Produced by Distributed Proofreaders LATIN LITERATURE BY J. W. MACKAIL, Sometime Fellow of Balliol College, Oxford A history of Latin Literature was to have been written for this series of Manuals by the late Professor William Sellar. After his death I was asked, as one of his old pupils, to carry out the work which he had undertaken; and this book is now offered as a last tribute to the memory of my dear friend and master.
    [Show full text]