A Literary History of Rome From the Origins to the Close of the Golden Age (Classic Reprint), by J. Wight Duff
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A Literary History of Rome From the Origins to the Close of the Golden Age (Classic Reprint), by J. Wight Duff
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Excerpt from A Literary History of Rome From the Origins to the Close of the Golden AgeThis volume endeavours to present a connected account of Latin literature in its earliest phases and in its best period. Some preliminary attention has been paid to the descent of the Romans, their language, and character. For the patient research wherewith scholars have brought together the often mutilated fragments of archaic Latin, literary history lies under a great debt. These are profoundly instructive as germs of later productions. In this work, by a sketch of tribal origins, of primitive simplicity in Roman life, of prominent features in national affairs, and of changes in social or intellectual conditions, the suggestion intended to be conveyed is that of a development towards complexity parallel to the development out of the old rude monuments of the language into the finish of Cicero or Virgil. Literary advance has been exemplified by noting new modes of thought, new fashions in composition, and the attainment of new suppleness in expression and new effects in metrical harmony.Throughout, one of the aims has been to insist upon the permanence of the Roman type despite every novelty and despite the inrush of Greek influences. Hellenism notwithstanding, the civilisation of Rome - principles, aspirations, aesthetics - remained Roman. The Roman borrowed in a Roman way. Not merely passive and impressionable, his masculine vigour strongly controlled and moulded foreign material. The national aspects of the literature have, therefore, been emphasised.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
A Literary History of Rome From the Origins to the Close of the Golden Age (Classic Reprint), by J. Wight Duff- Amazon Sales Rank: #8661125 in Books
- Published on: 2015-09-27
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x 1.44" w x 5.98" l, 2.09 pounds
- Binding: Paperback
- 720 pages
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5 of 5 people found the following review helpful. A Lost Gem By PseudoDionysius Fellow reader, I have no idea how you stumbled onto this book, but consider yourself quite lucky: you've found a hidden gem.The very fact that this book is out of print is not surprising. After all, which publisher would be willing to republish a book that is studded to the marrow with Latin quotes, not to mention some scholarly verbiage in four languages, all untranslated? If this weren't enough to scare off the squeamish, then the heavy barrage of high literary allusions would certainly provide the coup de grace. The irony is that the book was definitely written for public consumption. The author obviously makes an attempt to provide translations for longer passages which is very helpful.But the reading public of now is not that of the turn of the century. It should be clear by now that this book is not for the faint-of-heart. For an admitted classics dilettante like me, the book was definitely hard. Aside from some oases of respite where the author provides English translations, the rest is from the source untainted. The chapter on Marcus Cato was particularly brutal. The literary allusions are extremely varied and erudite. That said, the teeming allusions - as far as I can understand them - rarely strike a strained note (though his own `subtitles' to Plautus' plays were a bit questionable). On the whole, they are not superficial adornment but greatly add color to the stately marble. By contrasting it with modern rivals, the classics really come to life. Examples are so plentiful, but here's a serviceable sample from a passage contrasting Catullus and Robert Herrick: "Each unites artificiality and simplicity. Herrick's `blossoms, birds, and bowers' are present in the Latin poet, though Alexandrinism left him freer from conceits than the `metaphysical school' left Herrick." (pg.239, 3rd ed.) Footnote to this quote provides lines of Herrick invoking Catullus. Lively allusions and comparisons like this abound throughout the book.So why should you read this book? There are two reasons. The first reason obviously assumes complicity in interest with the title aim of the book - it is not history, but a LITERARY history. But as such it's the best I've read since Gilbert Highet's unforgettable book. In some sense, it's even better, because this book is a learned guide through the very fountain of literature. Thus, you will start from some garbled inscriptions from Roman antiquities. From there on, the author proceeds to the extant fragments of the earliest Roman poets: Livius Andronicus, Naevius, and Ennius. With raw and raucous Plautus on, the author really starts to relish meting out judgment on individual works. A prescription (and rarely proscription) of recommended works continues through: rugged Naevius, polite Terence, the unhappily obscure Tragedians, satirical Lucilius, onto the arch-conservative Cato. After Cato comes the line-up of the `Golden Age': passionate Lucretius, lyrical Catullus, learned Varro, eloquent and verbose Cicero, political and laconic Caesar, Virgil the supreme, genial Horace, the elegiac poets, and finally, lively Livy. Whatever judgment passed is never solely from `antiquitatis causa' (which is someone's insulting assessment of Ennius, a poet whose work later inspired Virgil's masterpiece) but tempered by criticism. So Livy is chided for his lack of scientific method, Cicero for his oversize ego, etc. Reviewing the fragments of Ennius, he even has a little swipe at Seneca: "For one of these plays [Ennius'] with their warm blood and masculine force, to barter five of Seneca's frigid experiments would be sheer gain." (pg.106, 3rd ed.) Ouch. The partisanship is something that brings me to the second reason why anyone with an interest in classics should read this.And this is because the author absolutely loves the classics. In the closing sections of chapters concerning certain authors, the tone becomes practically rapturous. Take for example his assessment of Lucretius: "His broad appeal to humanity is the secret of the perennial attraction towards this Titanic genius, splendidly intrepid in the search after truth, disdainful of all pettiness ..." (pg. 221, 3rd ed.) Especially after reading the excerpts, the enthusiasm is extremely catching. Thus, many a reader I hope will sigh when the author grows wistful in recounting the lost tragedies of Accius, or stand in amazement with him at Virgil's wizardry, or admire along the genial humanity of Horace.In short, the book is a marvelous guide for readers with non-scholarly interest in the Roman classics as well as a good (though bit too erudite) gateway drug for initiates. It would seem to me that the book is a must for professionals. In any case, I predict that whoever reads through this book will, like me, blow the dust off of a forgotten Latin dictionary and get cracking.So get cracking.
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