This workbook contains additional exercises to supplement each chapter of Latin Via Ovid, a Latin textbook for classroom use. It features exercises consisting of fill-ins, sentence completion, declining verbs, translation in and out of Latin, and crossword puzzles.
In this collection of twelve of his essays, distinguished Virgil scholar Michael Putnam examines the "Aeneid" from several different interpretive angles. He identifies the themes that permeate the epic, provides detailed interpretations of its individual books, and analyzes the poem's influence on later writers, including Ovid, Lucan, Seneca, and Dante. In addition, a major essay on wrathful Aeneas and the tactics of "Pietas" is published here for the first time. Putnam first surveys the intellectual development that shaped Virgil's poetry. He then examines several of the poem's recurrent dichotomies and metaphors, including idealism and realism, the line and the circle, and piety and fury. In succeeding chapters, he examines in detail the meaning of particular books of the "Aeneid" and argues that a close reading of the end of the epic is crucial for understanding the poem as a whole and Virgil's goals in composing it.
It is savage and sophisticated, mischievous and majestic, witty and wicked. In its earthiness, its psychological acuity, it speaks over the centuries to our time. And with this new "fluid, readable, and accurate rendition" (Library Journal), the Metamorphoses for our age has been created.
The Metamorphoses is a treasury of classical myths, filtered through the far from reverent sensibility of the Roman poet Ovid (43 B.C. - A.D. 17). It weaves together every major mythological story to display a dazzling array of miraculous metamorphoses, from the time chaos is transformed into order at the moment of creation, to the time when the soul of Julius Caesar is turned into a star and set in the heavens. Through the poetic artistry of Allen Mandelbaum, this glorious achievement of classical literature, whose influence is rivaled perhaps only by that of the Bible, is revealed anew. Declared the Bloomsburg, "Mandelbaum's Ovid, like his Dante, is unlikely to be equalled for years to come."
The stories of some 400 innocent Americans who were falsely convicted of capital crimes.
The mark of success in a poet's career, writes David Slavitt, was an epic that might stand on the shelf alongside Virgil's. But how was a poet like Ovid, with a more intimate, livelier, funnier and more self-mocking sensibility, to attempt such a thing? The epic form was not, I think, immediately congenital, and my guess is that Ovid recognized this himself. Accordingly, he transformed the epic, playing against its grain a lot of the time, and escaping its severe organizational and thematic demands by transforming it into something altogether different. The first metamorphosis, then, is of the idea of the epic itself.
Nagy challenges the widely held view that the development of lyric poetry in Greece represents the rise of individual innovation over collective tradition. Arguing that Greek lyric represents a tradition in its own right, Nagy shows how the form of Greek epic is in fact a differentiation of forms found in Greek lyric. Throughout, he progressively broadens the definition of lyric to the point where it becomes the basis for defining epic, rather than the other way around.
Introduces the idea that people affect the environment.
