The Roman tradition represents civil war as a political matter that cuts to the heart of family, sexuality, and society.

How did Roman writers use the metaphor of the body politic to respond to the downfall of the Republic? In this book, Julia Mebane begins with the Catilinarian Conspiracy in 63 BCE, when Cicero and Catiline proposed two rival models of statesmanship on the senate floor: the civic healer and the head of state. Over the next century, these two paradigms of authority were used to confront the establishment of sole rule in the Roman world. Tracing their Imperial afterlives allows us to see how Romans came to terms with autocracy without ever naming it as such. In identifying metaphor as an important avenue of political thought, the book makes a significant contribution to the history of ideas. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

The volumes published in the series "Beiträge zur Altertumskunde" comprise monographs, collective volumes, editions, translations and commentaries on various topics from the fields of Greek and Latin Philology, Ancient History, Archeology, Ancient Philosophy as well as Classical Reception Studies. The series thus offers indispensable research tools for a wide range of disciplines related to Ancient Studies.

Cicero's Rome's greatest orator, Marcus Tullius Cicero was a renowned philosopher and political theorist whose influence upon the history of European literature has been immense. For the first time in digital publishing history, readers can now enjoy Cicero’s complete works in English and Latin on their eReaders, with beautiful illustrations, informative introductions and the usual Delphi bonus material. (Version 1) * Beautifully illustrated with images relating to Cicero's life and works * Features the complete works of Cicero, in both English translation and the original Latin * Concise introductions to the orations, treatises and other works * The complete speeches, with rare fragments, arranged in precise chronological order * Includes many translations previously appearing in Loeb Classical Library editions of Cicero’s works * Excellent formatting of the texts * Easily locate the orations or treatises you want to read with individual contents tables * Includes rare fragments of Cicero's epic poem, first time in digital print * Many rare treatises appearing here for the first time in digital print * Features four biographies – immerse yourself in Cicero's ancient world! * Scholarly ordering of texts into chronological order and literary genres Please visit www.delphiclassics.com to browse through our range of exciting titles CONTENTS: Orations PRO QUINCTIO PRO ROSCIO AMERINO PRO Q. ROSCIO COMOEDO PRO TULLIO DIVINATIO IN CAECILIUM IN VERREM PRO FONTEIO PRO CAECINA PRO LEGE MANILIA PRO CLUENTIO IN TOGA CANDIDA PRO RABIRIO PERDUELLIONIS REO PRO MURENA IN CATILINAM I-IV DE LEGE AGRARIA CONTRA RULLUM PRO SULLA PRO ARCHIA POETA) PRO FLACCO POST REDITUM IN SENATU POST REDITUM IN QUIRITES DE HARUSPICUM RESPONSIS DE DOMO SUA PRO SESTIO PRO CAELIO PRO BALBO IN VATINIUM TESTEM DE PROVINCIIS CONSULARIBUS IN PISONEM PRO RABIRIO POSTUMO PRO PLANCIO PRO MILONE PRO REGE DEIOTARO PRO MARCELLO PRO LIGARIO PHILIPPICAE FRAGMENTS OF SPEECHES Rhetorical and Political Treatises DE INVENTIONE (About the Composition of Arguments) DE ORATORE AD QUINTUM FRATREM LIBRI TRES (On the Orator) DE PARTITIONIBUS ORATORIAE (About the Subdivisions of Oratory) DE OPTIMO GENERE ORATORUM (About the Best Kind of Orators) DE RE PUBLICA (On the Republic) BRUTUS (Short History of Orators) ORATOR AD M. BRUTUM (About the Orator) TOPICA (Topics of Argumentation) DE LEGIBUS (On the Laws) Philosophical Treatises PARADOXA STOICORUM (Stoic Paradoxes) ACADEMICA (The Academics) DE FINIBUS BONORUM ET MALORUM (About the Ends of Goods and Evils) TUSCULANAE QUAESTIONES (Tusculum Disputations) DE NATURA DEORUM (On the Nature of the Gods) DE DIVINATIONE (On Divination) DE FATO (On Fate) CATO MAIOR DE SENECTUTE (On Old Age) LAELIUS DE AMICITIA (On Friendship) DE OFFICIIS (On Duties) Letters EPISTULAE AD ATTICUM (Letters to Atticus) EPISTULAE AD QUINTUM FRATREM (Letters to his brother Quintus) EPISTULAE AD BRUTUM (Letters to Brutus) EPISTULAE AD FAMILIARES (Letters to his friends) Poetry DE CONSULATU SUO (On Cicero’s Consulship) Spurious Works RHETORICA AD HERENNIUM (To the Tribune Publius Sulpicius Rufus) COMMENTARIOLUM PETITIONIS (Essay on Running for Consul) The Latin Texts LIST OF LATIN TEXTS The Biographies CICERO by Plutarch LIFE OF CICERO by Anthony Trollope CICERO by W. Lucas Collins ROMAN LIFE IN THE DAYS OF CICERO by Alfred John Church Please visit www.delphiclassics.com to browse through our range of exciting titles

Antonio da Rho’s Three Dialogues against Lactantius (1445) followed the lead of Jerome and Augustine yet went well beyond patristic concerns. During the Middle Ages Lactantius’ works, while largely neglected, had enjoyed moments of intense interest and study. From the death of Lactantius (325) to his broad Quattrocento recovery, many profound cultural and intellectual shifts had transpired. Consequently, Rho’s dialogues engage topics arising from scholastic and other debates in jurisprudence, cosmology, astrology, geography, philosophy, and theology. He was convinced that insights from these fields would elucidate errors of Lactantius that his readers had overlooked. This reveals much about the cultural and intellectual developments that shaped readers’ efforts to recover, comprehend, and define Lactantius as an author. Significantly, the list of Lactantius’ errors discussed in the dialogues was printed with nearly every edition of Lactantius through the sixteenth century and beyond.

Ovid's Fasti, unlike his Metamorphoses, is anchored in Rome: religion, history and legend, monuments, and character. The poem interprets the Augustan period not as a golden age of peace and prosperity, Carole E. Newlands asserts, but as an age of experimentation, negotiation, compromise, and unresolved tensions. Newlands maintains that, despite the Fasti's basic adherence to the format of the calendar, the text is carefully constructed to reflect the tensions within its subject: the new Roman year. Ovid plays with the calendar. Through the alteration or omission of significant dates, through skilled juxtapositions, through multiple narrators and the development of an increasingly unreliable authorial persona, Ovid opens to a critical and often humorous scrutiny the political ideology of the calendar. By adding astronomical observations and aetiological explanations for certain constellations, Newlands says, Ovid introduced the richly allusive world of Greek mythology to the calendar. Newlands restores the poem to a position of importance, one displaying Ovid's wit and intellect at its best. The incompleteness of the Fasti, she adds, is a comment on the discord that characterized Augustus' later years and led to enforced silences.

In this study, Jack M. Greenstein draws on Early Renaissance art theory, modern narratology, translation studies, critical theory, the philosophy of history, and biblical hermeneutics to explicate the sense and significance of one of Andrea Mantegna's most enigmatic and influential works, the Uffizi Circumcision of Christ. Faced with a work that resists established methods of iconographical analysis, Greenstein reassesses the nature and goals of high humanist narrative painting. The result is a new, historically grounded theory of iconography that calls into question many widely held assumptions about the social and intellectual value of Early Renaissance art. Greenstein's theory rests on a careful analysis of Leon Battista Alberti's commentary On Painting, which equated both the form and the content of artistically composed painting with historia. Situating this equation within a centuries-old discourse on the multivalent significance of the Bible, Greenstein shows that, for Alberti, historia was a mode of artistic narrative, common to literature and painting, in which moral truths were presented to the corporeal senses, particularly to vision, in the guise of plausible human actions. In Greenstein's reading, the painter's primary task was the construction of a visually plausible narrative that effectively conveyed the higher meanings of historia. Having thus delineated the structure of significance in Albertian painting, Greenstein shows what was at stake when a painter of Mantegna's historical bent undertook to produce a historia. As one of the leading historical thinkers of his age, Mantegna imbued his depicted scenes with the plausibility of historical events by employing thosecodes of evidence, causality, and historical distance that underlay the Renaissance sense of the past. But the Circumcision of Christ resisted such treatment because the symbolic conventions developed by earlier artists for conveying the higher theological meanings of the theme were incompatible with the representational fidelity embraced by painters of historia. Mantegna overcame these difficulties by arriving at a new understanding of the Circumcision, which remained faithful to the narrative structure as well as the theological content of the biblical account. His interpretation was widely adopted by later artists, but was so pictorial in nature that, despite its consistency with the biblical account, it remained with-out parallel in theological literature. Greenstein's discovery--that artistic production of Albertian painting was a specialized and singularly visual form of thinking whose roots lay more in readerly hermeneutics than in perception, commerce, or common visual experience--raises questions about narrative, representation, and the textuality of art that will interest a wide array of scholars.