Aeneas flees the ashes of Troy to found the city of Rome and change forever the course of the Western world--as literature as well. Virgil's Aeneid is as eternal as Rome itself, a sweeping epic of arms and heroism--the searching portrait of a man caught between love and duty, human feeling and the force of fate--that has influenced writers for over 2,000 years. Filled with drama, passion, and the universal pathos that only a masterpiece can express. The Aeneid is a book for all the time and all people.
In Book I of the "Aeneid", Aeneas is shipwrecked on the coast of North Africa, near where the Phoenician queen Dido is building a city that will become Carthage. Aeneas and Dido meet. Their doomed love is set against Aeneas' destiny as founding father of Rome. Edited by Keith Maclennan, this volume makes Virgil's work more accessible to today's students, by setting it in its literary and historical context and taking account of the most recent scholarship and critical approaches to Virgil. The edition includes a full introduction which covers Virgil's life and writings, his literary predecessors, a summary of the epic poem's plot, an exploration of Rome, Carthage and Dido's role, explanation of the metre, and some notes on translating and reading the poem. As well as the introduction, the volume contains the original Latin text, in-depth annotation to explain language and content, a glossary and a comprehensive vocabulary list.
Arms and the man I sing of Troy...' So begins one of the greatest works of literature in any language. Written by the Roman poet Virgil more than two thousand years ago, the story of Aeneas' seven-year journey from the ruins of Troy to Italy, where he becomes the founding ancestor of Rome, is a narrative on an epic scale: Aeneas and his companions contend not only with human enemies but with the whim of the gods. His destiny preordained by Jupiter, Aeneas is nevertheless assailed by dangers invoked by the goddess Juno, and by the torments of love, loyalty, and despair. Virgil's supreme achievement is not only to reveal Rome's imperial future for his patron Augustus, but to invest it with both passion and suffering for all those caught up in the fates of others. Frederick Ahl's new translation echoes the Virgilian hexameter in a thrillingly accurate and engaging style. An Introduction by Elaine Fantham, and Ahl's comprehensive notes and invaluable indexed glossary complement the translation. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Publius Vergilius Maro (70-19 B.C.), known in English as Virgil, was perhaps the single greatest poet of the Roman empire—a friend to the emperor Augustus and the beneficiary of wealthy and powerful patrons. Most famous for his epic of the founding of Rome, the Aeneid, he wrote two other collections of poems: the Georgics and the Bucolics, or Eclogues. The Eclogues were Virgil's first published poems. Ancient sources say that he spent three years composing and revising them at about the age of thirty. Though these poems begin a sequence that continues with the Georgics and culminates in the Aeneid, they are no less elegant in style or less profound in insight than the later, more extensive works. These intricate and highly polished variations on the idea of the pastoral poem, as practiced by earlier Greek poets, mix political, social, historical, artistic, and moral commentary in musical Latin that exerted a profound influence on subsequent Western poetry. Poet Len Krisak's vibrant metric translation captures the music of Virgil's richly textured verse by employing rhyme and other sonic devices. The result is English poetry rather than translated prose. Presenting the English on facing pages with the original Latin, Virgil's Eclogues also features an introduction by scholar Gregson Davis that situates the poems in the time in which they were created.
In Book II of the "Aeneid", Aeneas relates to Dido his own account of Troy's destruction and his escape, including the episode of the Wooden Horse. It is some of the best Latin poetry ever written, and thus makes an ideal introduction to the "Aeneid". This completely new edition aims to provide students with help in translation, encourage them to consider the sound of the poetry, and appreciate the emotional impact of the story as Virgil portrays it. The text also includes a general introduction, a select bibliography, notes and a full vocabulary; appendices deal with meter and scansion.
PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of this book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing...
Peter Fallon has translated Virgil's first poem - four books ostensibly about farming, which he wrote during the terrible civil war following the murder of Julius Caesar.
In Book IV of Virgil's "Aeneid", one of the most studied books of that epic poem, Dido, queen of Carthage, is inflamed by love for Aeneas. The goddesses Juno and Venus plot to unite them, and their 'marriage' is consummated in a cave during a hunt. However, Jupiter sends Mercury to remind Aeneas of his duty, and the hero departs despite Dido's passionate pleas. At the end of the book, Dido commits suicide. This classic edition of the Latin text of Book IV replaces the long-serving edition by Gould and Whiteley, making this book more accessible to today's students and taking account of the most recent scholarship and critical approaches to Virgil. It includes a substantial introduction, annotation to explain language and content, and a comprehensive vocabulary.
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