This commentary on a part of book 5 of Lucan's 'historical epic' poem De Bello Civili aims to provide the reader with as thorough an analysis as possible of literary and historical points of interest within the text and so to facilitate a fuller understanding and appreciation of one of the most important episodes in the poem, Julius Caesar's failed attempt to cross the Adriatic in the midst of a great storm. It examines how the episode contributes to the long tradition of epic storm narratives dating back to Homer and also how it contributes to the wider themes of the poem as a whole, in particular to Lucan's portrayal of Caesar. A line-by-line commentary is combined with longer notes summarizing issues of particular importance. Such issues include: the influence of Roman love-poetry in the depiction of the relationship between Caesar and his men, Lucan's use of Virgil's Nisus and Euryalus episode, and the tradition of theoxeny narratives lying behind the scene at the home of the fisherman Amyclas which allows us to view Caesar as 'playing the part' of a traditional god or hero. Throughout, Lucan's engagement with the works of Homer, Virgil (particularly the Aeneid but also the Georgics), Ovid and Seneca, and the ways in which the lack of a traditional divine machinery in his poem is compensated for are considered.

What went wrong in imperial Rome, and how we can avoid it: “If you want to understand where America stands in the world today, read this.” —Thomas E. Ricks The rise and fall of ancient Rome has been on American minds since the beginning of our republic. Depending on who’s doing the talking, the history of Rome serves as either a triumphal call to action—or a dire warning of imminent collapse. In this “provocative and lively” book, Cullen Murphy points out that today we focus less on the Roman Republic than on the empire that took its place, and reveals a wide array of similarities between the two societies (The New York Times). Looking at the blinkered, insular culture of our capitals; the debilitating effect of bribery in public life; the paradoxical issue of borders; and the weakening of the body politic through various forms of privatization, Murphy persuasively argues that we most resemble Rome in the burgeoning corruption of our government and in our arrogant ignorance of the world outside—two things that must be changed if we are to avoid Rome’s fate. “Are We Rome? is just about a perfect book. . . . I wish every politician would spend an evening with this book.” —James Fallows

The creator of the award-winning podcast series The History of Rome and Revolutions brings to life the bloody battles, political machinations, and human drama that set the stage for the fall of the Roman Republic. The Roman Republic was one of the most remarkable achievements in the history of civilization. Beginning as a small city-state in central Italy, Rome gradually expanded into a wider world filled with petty tyrants, barbarian chieftains, and despotic kings. Through the centuries, Rome's model of cooperative and participatory government remained remarkably durable and unmatched in the history of the ancient world. In 146 BC, Rome finally emerged as the strongest power in the Mediterranean. But the very success of the Republic proved to be its undoing. The republican system was unable to cope with the vast empire Rome now ruled: rising economic inequality disrupted traditional ways of life, endemic social and ethnic prejudice led to clashes over citizenship and voting rights, and rampant corruption and ruthless ambition sparked violent political clashes that cracked the once indestructible foundations of the Republic. Chronicling the years 146-78 BC, The Storm Before the Storm dives headlong into the first generation to face this treacherous new political environment. Abandoning the ancient principles of their forbearers, men like Marius, Sulla, and the Gracchi brothers set dangerous new precedents that would start the Republic on the road to destruction and provide a stark warning about what can happen to a civilization that has lost its way.

The great three-sided war continues: Rome against Persia against the tribes of the desert now commanded by Mohammed of Mekkah. But there is hope for the West. Prince Maxian, horrified at being the cause of so many deaths, has come to realize that the Oath need not be broken; it can be changed by a skilled sorcerer. (July)

shakespeare's stories.

In the midst of a technological age, a strange and menacing phenomenon rains upon the Earth, changing people into mindless savages. While governments around the globe unite to combat this spreading infection, airships of the 1930's are redesigned and reintroduced to the world. Because of the vessel's size and its capability to stay airborne for weeks at a time, it is regarded as the next innovation for cruise ship/vacation travel industries, while environmentalists envision it as a solution to the world's overpopulation problem. The windship proves its worth when the stricken become organized and rise up against the world. It is then; the windship becomes a reckoning force and Earth's only hope for survival.

The First Folio of 1623 was prepared for print by two members of Shakespeare's acting troupe -- John Hemings and Henry Condell -- which included comic actor Will Kemp and the great tragedian Richard Burbage. In a fascinating and detailed introduction, Freeman points out that because Shakespeare and his colleagues wrote from a rhetorical tradition -- a society where the emphasis was on the spoken word -- he wrote with an eye to how he wanted his plays performed, giving as much direction as possible to his actors. Freeman looks at what is known of the printing of that First Folio and analyzes the variations between the First Folio, later Folios, Quarto editions (where available) and modern editions of the plays. He examines the "corrections" made by editors over the centuries that have shaped the way we perceive Shakespeare today -- from the regularization of verse, to the changes from prose to verse (and vice versa) and the standardization of character prefixes.

"Lucan's epic poem Pharsalia tells the story of the cataclysmic "end of Rome" through the victory of Julius Caesar and Caesarism in the civil wars of 49-48 BCE. This book argues that Lucan's poetic agenda moves in lockstep with his narrative arc, as he fashions the Pharsalia to mark the momentous end of the epic genre. In order to accomplish the closure of the genre, Lucan engages pervasively and polemically with the very first works of Greek and Roman epic - inverting, undoing, and closing off many of the tropes and themes introduced in Homer's Iliad and Odyssey and in the foundational Latin epic poems by Livius Andronicus, Naevius, and most of all Ennius. By looking at Lucan's effort to "surpass the poets of old" - a phrase Statius would use of his achievement - this study broadens our appreciation of Lucan's poetic ambitions and accomplishment. Statius also read Lucan as a poet who both thunders and laments, and this book makes the case that Lucan closes off epic's beginnings through not just gestures of thundering poetic violence but also a transformation and expansion of the traditional epic mode of lament. In his story of violent Roman self-destruction and the lamentation that accompanies it, Lucan at the same time uproots and marks the end of the epic song"--