Most scholars believe that Mark wrote his Gospel to the Romans. True: but in addition to presenting the Gospel to the Romans, Mark actually contextualized his Gospel by challenging the leading propaganda of his day, Virgil’s Aeneid. The Roman poet, Virgil, wrote his masterpiece epic poem, the Aeneid, to promote the myth that Caesar Augustus was the son of god. The Aeneid went viral almost immediately upon publication in 19 BC, becoming Rome’s premier piece of propaganda that promoted Augustus as the emperor who would bring peace to the world. Within the first century, the Aeneid reached from Masada to northern Britain and became a foundational piece of Roman education. Mark’s mother, Mary, and his uncle, Joseph/Barnabas, raised him in wealth, and educated him in the four languages of Hebrew, Aramaic, Greek, and Latin. They drew him to Jesus, and Barnabas took Mark on the first missionary journey. Mark spent time with Peter in Rome, where Mark wrote his Gospel in Greek. Mark most certainly had direct access to the most influential piece of Latin literature, the Aeneid, and he wrote his masterpiece Gospel comparing Augustus with Jesus, the true Son of God.

Monumental epic poem tells the heroic story of Aeneas, a Trojan who escaped the burning ruins of Troy to found Lavinium, the parent city of Rome, in the west.

One of the best books ever written on one of humanity’s greatest epics, W. R. Johnson’s classic study of Vergil’s Aeneid challenges centuries of received wisdom. Johnson rejects the political and historical reading of the epic as a record of the glorious prehistory of Rome and instead foregrounds Vergil’s enigmatic style and questioning of the heroic myths. With an approach to the text that is both grounded in scholarship and intensely personal, and in a style both rhetorically elegant and passionate, Johnson offers readings of specific passages that are nuanced and suggestive as he focuses on the “somber and nourishing fictions” in Vergil’s poem. A timeless work of scholarship, Darkness Visible will enthrall classicists as well as students and scholars of the history of criticism—specifically the way in which politics influence modern readings of the classics—and of poetry and literature.

Most scholars believe that Mark wrote his Gospel to the Romans. True: but in addition to presenting the Gospel to the Romans, Mark actually contextualized his Gospel by challenging the leading propaganda of his day, Virgil's Aeneid. The Roman poet, Virgil, wrote his masterpiece epic poem, the Aeneid, to promote the myth that Caesar Augustus was the son of god. The Aeneid went viral almost immediately upon publication in 19 BC, becoming Rome's premier piece of propaganda that promoted Augustus as the emperor who would bring peace to the world. Within the first century, the Aeneid reached from Masada to northern Britain and became a foundational piece of Roman education. Mark's mother, Mary, and his uncle, Joseph/Barnabas, raised him in wealth, and educated him in the four languages of Hebrew, Aramaic, Greek, and Latin. They drew him to Jesus, and Barnabas took Mark on the first missionary journey. Mark spent time with Peter in Rome, where Mark wrote his Gospel in Greek. Mark most certainly had direct access to the most influential piece of Latin literature, the Aeneid, and he wrote his masterpiece Gospel comparing Augustus with Jesus, the true Son of God.

Tracing the path from Troy's destruction to Rome's foundation, the Aeneid explores the transition between past and future. As the Trojans struggle to found a new city and the narrator sings of his audience's often-painful history, memory becomes intertwined with a crucial leitmotif: the challenge of being part of a group that survives violence and destruction only to face the daunting task of remembering what was lost. This book offers a new reading of the Aeneid that engages with critical work on memory and questions the prevailing view that Aeneas must forget his disastrous history in order to escape from a cycle of loss. Considering crucial scenes such as Aeneas' reconstruction of Celaeno's prophecy and his slaying of Turnus, this book demonstrates that memory in the Aeneid is a reconstructive and dynamic process, one that offers a social and narrative mechanism for integrating a traumatic past with an uncertain future.

Love and tragedy dominate book four of Virgil's most powerful work, building on the violent emotions invoked by the storms, battles, warring gods, and monster-plagued wanderings of the epic's opening. Destined to be the founder of Roman culture, Aeneas, nudged by the gods, decides to leave his beloved Dido, causing her suicide in pursuit of his historical destiny. A dark plot, in which erotic passion culminates in sex, and sex leads to tragedy and death in the human realm, unfolds within the larger horizon of a supernatural sphere, dominated by power-conscious divinities. Dido is Aeneas' most significant other, and in their encounter Virgil explores timeless themes of love and loyalty, fate and fortune, the justice of the gods, imperial ambition and its victims, and ethnic differences. This course book offers a portion of the original Latin text, study questions, a commentary, and interpretative essays. Designed to stretch and stimulate readers, Ingo Gildenhard's incisive commentary will be of particular interest to students of Latin at both A2 and undergraduate level. It extends beyond detailed linguistic analysis to encourage critical engagement with Virgil's poetry and discussion of the most recent scholarly thought.

Steve Reece proposes that the author of Luke-Acts was trained as a youth in the primary and secondary Greek educational curriculum typical of the Eastern Mediterranean during the Roman Imperial period, where he gained familiarity with the Classical and Hellenistic authors whose works were the focus of study. He makes a case for Luke's knowledge of these authors internally by spotlighting the density of allusions to them in the narrative of Luke-Acts, and externally by illustrating from contemporary literary, papyrological, and artistic evidence that the works of these authors were indeed widely known in the Eastern Mediterranean at the time of the composition of Luke-Acts, not only in the schools but also among the general public. Reece begins with a thorough examination of the Greek educational system during the Hellenistic and Roman Imperial periods, emphasizing that the educational curriculum was very homogeneous, at least at the primary and secondary levels, and that children growing up anywhere in the Eastern Mediterranean could expect to receive quite similar educations. His close examination of the Greek text of Luke-Acts has turned up echoes, allusions, and quotations of several of the very authors that were most prominently featured in the school curriculum: Homer, Aesop, Euripides, Plato, and Aratus. This reinforces the view that Luke, along with other writers of the New Testament, lived in a cultural milieu that was influenced by Classical and Hellenistic Greek literature and that he was not averse to invoking that literature when it served his theological and literary purposes.

Peter stands at the beginning of Christian theology. Christianity's central confessions regarding the person of Jesus, the cross, salvation, the inclusive nature of the people of God, and the end of all things come to us through the apostle who was not only the church's leader but also its first theologian. Peter is the apostle for the whole church and the whole church resonates with his theology. We sing his song, though we may not have glanced at the bottom of the page in the hymnbook to see who wrote the words and composed the tune. Peter is the "lost boy" of Christian theology, a person overlooked as a theological innovator and pillar, but his rightful place is at the head of the table. If we look closely, however, we may recognize that he has been seated there all along.

These books are intended to make Virgil's Latin accessible even to those with a fairly rudimentary knowledge of the language. There is a departure here from the format of the electronic books, with short sections generally being presented on single, or double, pages and endnotes entirely avoided. A limited number of additional footnotes is included, but only what is felt necessary for a basic understanding of the story and the grammar. Some more detailed footnotes have been taken from Conington's edition of the Aeneid.