Witnessing the cruelty of the emperor Nero during the burning of Rome, sixteen-year-old Quintus, a tent maker, must decide how to reconcile his own beliefs with those of the new Christian religion.

From New York Times and USA Today Bestselling Author Kym Grosso Powerful vampire, Quintus Tullius, returns to New Orleans after a demon attacks. Elusive and lethal, he conceals his true powers from all others, wielding his strength over the centuries as he sees fit. When he’s healed by an attractive stranger, he quickly realizes her altruistic actions are driven by more than kindness, and she is not who she appears to be. Unsure if he can trust the dangerous beauty, he swears to protect her, captivated by the one creature he’d never expected to flame his desire. Gabriella Savoie has been on the run since she was thirteen years old. Determined to survive, she practices a unique blend of magick to hide from the coven who seeks her death. Desperate, she leads a treacherous existence in underground clubs, selling her mystical blood to vampires to survive. Drawn to the one person who can save her, she spirals into an erotic journey, exploring her hidden fantasies within the arms of the seductive vampire. From Louisiana to New York, their sensual and perilous adventure leads them to discover ancient secrets, searching for the artifact that will set her beast free. As Gabriella accepts her fate, will she sacrifice her magick to be with the vampire who is her true mate? Will Quintus trust her and reveal his powers, acknowledging the unexpected bond to a woman who isn’t human? And will he be able to save her, thwarting the impending evil that descends on Big Easy?

The “Events after Homer”, described by Quintus Smyrnaeus in the third century AD in his Greek epic Posthomerica, are an attempt to bridge the gap between the Iliad and the Odyssey , and to combine the various scattered reports of the battle for Troy into a single tale: the fate of Achilles, Ajax, Paris and the Amazon Penthesileia, the intervention of Neoptolemos and the story from the Trojan horse to the destruction of the city. The volume presented here summarizes the results of the first international conference on Quintus Smyrnaeus.

Quintus Claudius, Volume I by Ernst Eckstein is about the adventures of Herodianus on the rocks of Capreae. Excerpt: "It was in Rome itself, in the sublime solemnity of the Colosseum, among the ruins of the palaces of the Caesars and crumbling pillars of the temples of the gods, that the first dreamy outlines rose before my fancy of the figures here offered to the reader's contemplation. Each visit added strength to the mysterious impulse, to conjure up from their tombs these shadows of a mighty past, and afterward, at home, where the throng of impressions sorted and grouped themselves at leisure, my impulse ripened to fulfillment."

Quintus of Smyrna’s Posthomerica (3rd century C.E.) is of great literary value to the field of Greek epic. It is a stylistic imitation of Homer and recounts what Iliad and Odyssey have left untold of the Trojan War. Tine Scheijnen offers the first linear study of this still little-known poem. Progressing from book 1 to 14, she focusses on key issues such as Homeric similes and characterization of heroes (especially Achilles and his son Neoptolemus). Ideologically, Quintus engages in a critical way with Homer, but possibly also Vergil, Triphiodorus and tragedy. Scheijnen’s work can be read as a thorough introduction to Quintus’ Posthomerica, while also offering new insights into Homer reception, the conception of heroes and heroism in Greek epic.

Quintus Smyrnaeus' Posthomerica (3rd century C.E.), the 14 book Greek epic on the Trojan War, is a text which has traditionally been overlooked in the main canon of Classical authors, and in fact until only recently has been largely ignored as a literary work. This book, the first monograph in English on the poem since 1904, examines the Posthomerica’s close relationship with the Homeric epics, with a focus on the originality and Late Antique interpretative bias of Quintus in his readings and emulation of Homer. The study deals specifically with three separate aspects of poetics, and their Homeric intertextuality: ecphrasis, gnomai, and similes, and their role within the poem’s narrative strategies, themes, and aims.

Set during the last years of the first and the early years of second century the story follows Quintus Claudius, a young man from Campania on his adventure in Imperial Rome. Impressed with the stories of Rome he heard in his family, Quintus decides to take a trip to the famous capital of the Empire, with his adopted sister Lucilia, to look for their chance of happiness. The story follows them on their path as they go through many adventures and misadventures, finding both troubles and romances.

"Quintus Claudius, Vol. II" is a romantic tale set in the first century Rome. The reigning Caesar, Domitian, receives a prophecy that he will die within a year's time for loving a woman he ought not to love. Haunted by the prophecy, the superstitious emperor decides to carry out a purge of all those he deems a threat to him, including the sect of the Nazarenes (Christians). Meanwhile the key Senator who he relies on to push his agenda in the Senate, Titus Claudius, doesn't know that his son Quintus Claudius is himself a Christian who has already been baptized. And a budding romance might lead to the fulfillment of the prophecy after all...

This dissertation examines the relationship between the Homeric epics, the Iliad and the Odyssey, and Quintus of Smyrna's Posthomerica, a 14-book epic of the third century CE. It argues that Quintus bridges the narratives of the Iliad and the Odyssey and redeploys Homeric style in order to re-activate the cultural power of Homer under the Roman Empire. The first chapter analyzes Quintus' depiction of the Muses. The ways in which the goddesses are represented encodes the contemporary conflict of constructing a Greek identity as panhellenic or epichoric in the language of the past. This demonstrates the Posthomerica's deep engagement with the position of Hellenism and its connection to the past. The lack of an opening invocation to the Muses is part of Quintus' strategy for tapping into Homeric power: he connects the Iliad with the Posthomerica but also respects the boundaries of the Homeric text. The second chapter explores how Quintus occasionally draws his audience's gaze away from the primary narrative of the heroic past and towards their own present. This is done through landscapes, a simile involving the arena, Odysseus' testudo maneuver, and Calchas' prophecy about the Roman empire. These passages fuse the two time-frames together, which implicates the past in the construction of the present. In the third chapter specific nodes of intertextuality between the Posthomerica and the Iliad/Odyssey are the primary focus. It is argued that the intertextual web is incomplete, and that the audience must engage their education (paideia) to fill in the narrative gaps. This engages them in creating a Hellenic identity from the narratives of the past with knowledge derived from the present. The fourth chapter contextualizes Quintus with other hexameter poets of the first through fourth centuries CE who treated the Trojan War narrative, including Nestor and Pisander of Laranda, Triphiodorus, and hexameter papyrus fragments.