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1515 Tibullus, Catullus, & Propertius ALDINE Roman Poetry ROME Aldus P Incunable

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Seller: schilb_antiquarian_books (6,036) 100% Top-Rated Plus, Location: Columbia, Missouri, Ships to: Worldwide, Item: 310699116047 Normal 0 false false false EN-US X-NONE X-NONE 1515 Tibullus, Catullus, & Propertius ALDINE Roman Poetry ROME Aldus Extremely Rare 2nd Aldus ed / compare @$6,500+ Aldine Press was the printing office started by Aldus Manutius in 1494 in Venice, from which were issued the celebrated Aldine editions of the classics (Latin and Greek masterpieces plus a few more modern works). The Aldine Press is famous in the history of typography, among other things, for the introduction of italics. The press was the first to issue printed books in the small octavo size, similar to that of a modern paperback, and like that intended for portability and ease of reading. The press issued 127 editions during the lifetime of Aldus. The press was continued after Aldus’s death in 1515 by his wife and her father until his son Paolo (1512–1574) took over. His grandson Aldo then ran the firm until his death in 1597. Due to the firm's commercial success many pirated editions were also produced in Lyons and elsewhere. Today, antique books printed by the Aldine Press in Venice are referred to as Aldines - I find only one example of this extremely rare 2nd Aldine edition for sale elsewhere at $6,500 Main author: Gaius Valerius Catullus; Sextus Propertius; Tibullus.; Hieronymus Avancius; Aldo Manuzio Title: Catullus. Tibullus. Propertius Published: Venetiis in aedibus Aldi, et Andreae soceri 1515 mense martio (2nd Aldine ed!) Language: Latin FREE SHIPPING WORLDWIDE Wear: wear as seen in photos Binding: tight and secure vellum binding Pages: complete with all 148+2 leaves (twice as many pages by modern pagination methods); plus indexes, prefaces, and such; Publisher: Venetiis in aedibus Aldi, et Andreae soceri 1515 mense martio (2nd Aldine ed!) Size: ~6.75in X 4in (17cm x 10cm) FREE SHIPPING WORLDWIDE Shipping: Very Fast. Very Safe. Free Shipping Worldwide. Satisfaction Guarantee: Customer satisfaction is our first priority. Notify us within 7 days of receiving your item and we will offer a full refund guarantee without reservation. Albius Tibullus (ca. 55 BC – 19 BC) was a Latin poet and writer of elegies. Little is known about his life. His first and second books of poetry are extant; many other texts attributed to Tibullus are of questionable origins. There are only a few references to him in later writers and a short Life of doubtful authority. His praenomen is not known, nor is his birthplace and his gentile name has been questioned. His status was probably that of a Roman knight (so the Life affirms); and he had inherited a considerable estate. But, like Virgil, Horace and Propertius, he seems to have lost most of it in 41 BC amongst the confiscations of Mark Antony and Octavian. Gaius Valerius Catullus (ca. 84 BC – ca. 54 BC) was a Latin poet of the Republican period. His surviving works are still read widely, and continue to influence poetry and other forms of art. Contents 1 Biography 2 Poetry 2.1 Sources and organization 2.2 Intellectual influences 2.3 Style 2.4 Musical settings 3 Cultural references 4 See also 5 Notes 6 Further reading 7 External links Biography Catullus came from a leading equestrian family of Verona in Cisalpine Gaul, and according to St. Jerome, he was born in the town. The family was prominent enough for his father to entertain Caesar, then proconsul of both Gallic provinces.[1] In one of his poems Catullus describes his happy return to the family villa at Sirmio on Lake Garda near Verona. The poet also owned a villa near the fashionable resort of Tibur (modern Tivoli)[1]; his complaints about his poverty described in his works do not reflect his life. The poet appears to have spent most of his young adult years in Rome. His friends there included the poets Licinius Calvus, and Helvius Cinna, Quintus Hortensius (son of the orator and rival of Cicero) and the biographer Cornelius Nepos, to whom Catullus dedicated a libellus of poems,[1] the relation of which to the extant collection remains a matter of debate.[2] He appears to have been acquainted with the poet Marcus Furius Bibaculus. A number of prominent contemporaries appear in his poetry, including Cicero, Caesar and Pompey. According to an anecdote preserved by Suetonius, Caesar did not deny that Catullus's lampoons left an indelible stain on his reputation, but when Catullus apologized, he invited the poet for dinner the very same day.[3] "Catullus at Lesbia's," by Sir Lawrence Alma-Tadema It was probably in Rome that Catullus fell deeply in love with the "Lesbia" of his poems, who is usually identified with Clodia Metelli, a sophisticated woman from the aristocratic house of patrician family Claudii Pulchri and sister of the infamous Publius Clodius Pulcher. In his poems Catullus describes several stages of their relationship: initial euphoria, doubts, separation, and his wrenching feelings of loss. Many questions must remain unanswered—most importantly, it is not clear why the couple split up—but Catullus's poems about the relationship display striking depth and psychological insight. One such poem with insight to the reasons of his parting with "Lesbia" is poem 11, which is addressed to his companions Furius and Aurelius and requests them simply to pass a farewell insult to Lesbia.[4] He spent the provincial command year summer 57 to summer 56 BC in Bithynia on the staff of the commander Gaius Memmius. While in the East, he traveled to the Troad to perform rites at his brother's tomb, an event recorded in a moving poem.[1] Bithynia There survives no ancient biography of Catullus: his life has to be pieced together from scattered references to him in other ancient authors and from his poems. Thus it is uncertain when he was born and when he died. St. Jerome says that he died in his 30th year, and was born in 87 BC. But the poems include references to events of 55 and 54 BC. Since the Roman consular fasti make it somewhat easy to confuse 87–57 BC with 84–54 BC, many scholars accept the dates 84 BC–54 BC,[1] supposing that his latest poems and the publication of his libellus coincided with the year of his death. Other authors suggest 52 or 51 BC as the year of the poet's death.[5] Though upon his elder brother's death Catullus lamented that their “whole house was buried along” with the deceased, the existence (and prominence) of Valerii Catulli is attested in the following centuries. T.P. Wiseman argues that after the brother's death Catullus could have married, and that, in this case, the later Valerii Catulli may have been his descendants.[6] Catullus's poems were widely appreciated by other poets. He greatly influenced poets such as Ovid, Horace, and Virgil. After his rediscovery in the late Middle Ages, Catullus again found admirers. His explicit writing style has shocked many readers. Indeed, Catullus was never considered one of the canonical school authors, although his body of work is on the reading lists for American Ph.D. programs in the classics, and is still taught at secondary school level in the United Kingdom. Poetry Main article: Poetry of Catullus Sources and organization Catullus's poems have been preserved in an anthology of 116 carmina (the actual number of poems may slightly vary in various editions), which can be divided into three formal parts: sixty short poems in varying metres, called polymetra, eight longer poems, and forty-eight epigrams. There is no scholarly consensus on whether or not Catullus himself arranged the order of the poems. The longer poems differ from the polymetra and the epigrams not only in length but also in their subjects: There are seven hymns and one mini-epic, or epyllion, the most highly prized form for the "new poets". The polymetra and the epigrams can be divided into four major thematic groups (ignoring a rather large number of poems eluding such categorization): poems to and about his friends (e.g., an invitation like poem 13). erotic poems: some of them indicate homosexual penchants (50 and 99), but most are about women, especially about one he calls "Lesbia" (which served as a false name for his married girlfriend, Clodia, source and inspiration of many of his poems). invectives: often rude and sometimes downright obscene poems targeted at friends-turned-traitors (e.g., poem 30), other lovers of Lesbia, well known poets, politicians (e.g., Julius Caesar) and rhetors, including Cicero. condolences: some poems of Catullus are solemn in nature. 96 comforts a friend in the death of a loved one; several others, most famously 101, lament the death of his brother. All these poems describe the lifestyle of Catullus and his friends, who, despite Catullus's temporary political post in Bithynia, lived their lives withdrawn from politics. They were interested mainly in poetry and love. Above all other qualities, Catullus seems to have valued venustas, or charm, in his acquaintances, a theme which he explores in a number of his poems. The ancient Roman concept of virtus (i.e. of virtue that had to be proved by a political or military career), which Cicero suggested as the solution to the societal problems of the late Republic, meant little to them. But it is not the traditional notions Catullus rejects, but rather their particular application to the vita activa of politics and war. Indeed, he tries to reinvent these notions from a personal point of view and to introduce them into human relationships. For example, he applies the word fides, which traditionally meant faithfulness towards one's political allies, to his relationship with Lesbia and reinterprets it as unconditional faithfulness in love. So, despite seeming frivolity of his lifestyle, Catullus measured himself and his friends by quite ambitious standards. Intellectual influences Catullus's poetry was influenced by the innovative poetry of the Hellenistic Age, and especially by Callimachus and the Alexandrian school, which had propagated a new style of poetry that deliberately turned away from the classical epic poetry in the tradition of Homer. Cicero called these local innovators neoteroi (νεώτεροι) or 'moderns' (in Latin poetae novi or 'new poets'), in that they cast off the heroic model handed down from Ennius in order to strike new ground and ring a contemporary note. Catullus and Callimachus did not describe the feats of ancient heroes and gods (except perhaps in re-evaluating and predominantly artistic circumstances, e.g. poems 63 and 64), focusing instead on small-scale personal themes. Although these poems sometimes seem quite superficial and their subjects often are mere everyday concerns, they are accomplished works of art. Catullus described his work as expolitum, or polished, to show that the language he used was very carefully and artistically composed. Catullus was also an admirer of Sappho, a female poet of the 7th century BC, and is the source for much of what we know or infer about her. Catullus 51 follows Sappho 31 so closely that some believe the later poem to be, in part, a direct translation of the earlier poem, and 61 and 62 are certainly inspired by and perhaps translated directly from lost works of Sappho. Both of the latter are epithalamia, a form of laudatory or erotic wedding-poetry that Sappho had been famous for but that had gone out of fashion in the intervening centuries. Catullus twice used a meter that Sappho developed, called the Sapphic strophe in poems 11 and 51. In fact, Catullus may have brought about a substantial revival of that form in Rome. Catullus, as was common to his era, was greatly influenced by stories from Greek and Roman myth. His longer poems—such as 63, 64, 65, 66, and 68—allude to mythology in various ways. Some stories he refers to are the wedding of Peleus and Thetis, the departure of the Argonauts, Theseus and the Minotaur, Ariadne’s abandonment, Tereus and Procne, as well as Protesilaus and Laodamia. Style Catullus wrote in many different meters including hendecasyllabic and elegiac couplets (common in love poetry). All of his poetry shows strong and occasionally wild emotions especially in regard to Lesbia. He also demonstrates a great sense of humour such as in Catullus 13. Musical settings Catulli Carmina is a cantata by Carl Orff to the texts of Catullus. Catullus' love poem "Vivamus mea Lesbia atque amemus" in the translation by Ben Jonson was set to music (lute accompanied song) by Alfonso Ferrabosco the younger. The translation by Richard Crashaw was set to music in a four part glee by Samuel Webbe Jr. It was also set to music in a three part glee by John Stafford Smith. Cultural references The epistolary novel Ides of March by Thornton Wilder centers on Julius Caesar, but prominently features Catullus, his poetry, his relationship (and correspondence) with Clodia, correspondence from his family and a description of his death. Catullus's poems and the closing section by Suetonius are the only documents in the novel which are not imagined. The new musical TULLY (In No Particular Order), which appeared in the 2007 New York Musical Theatre Festival, loosely adapts the poems of Catullus while retaining the non-linear structure of the published edition, exploring his relationships with both Clodia and Juventius, renamed Julie, and the timeless nature of memory and love. The 20th-century Irish poet Louis MacNeice references Catullus in his poem "Epitaph for Liberal Poets," where he mentions Catullus as amongst the first liberal poets - "Catullus/ went down young," mentioning him in the context of the death of the individual and recognising his and the universal plight. Archibald MacLeish wrote a poem entitled "You Also, Gaius Valerius Catullus," where he addresses the poet. Catullus is discussed in John Fowles's novel The French Lieutenant's Woman (1969) as being one of the foremost poets of love, sexuality and desire. The 16th-century Spanish poet Cristóbal de Castillejo plagiarized Catullus in his well-known work "Dame amor, besos sin cuento".[7] W. B. Yeats references Catullus in his poem The Scholars. Ned Rorem has a song entitled, "Catullus: On the burial of his brother." The poem "Be Angry at the Sun" by Robinson Jeffers includes the line "You are not Catullus, you know, To lampoon these crude sketches of Caesar." The 2011 radio play A Thousand Kisses was based on his life. Catullus features in Steven Saylor's historical mystery The Venus Throw (1995). The webcomic Achewood refers to Catullus as "the first poet who ever got his Bone on." See also Poetry of Catullus Codex Vaticanus Ottobonianus Latinus 1829 Prosody (Latin) Sextus Propertius was a Latin elegiac poet of the Augustan age. He was born around 50–45 BC in Assisium and died shortly after 15 BC.[1] Propertius' surviving work comprises four books of Elegies. He was friends with the poets Gallus and Virgil, and with them had as his patron Maecenas, and through Maecenas the emperor Augustus. Contents 1 Life 2 Poetry 3 Textual problems 4 Influence 5 Modern assessment 6 Latin editions 7 References 8 Notes 9 External links Life Very little information is known about Propertius outside of his own writing. His praenomen "Sextus" is mentioned by Aelius Donatus,[2] a few manuscripts list him as "Sextus Propertius", but the rest of his name is unknown. From numerous references in his poetry[3] it is clear he was born and raised in Umbria; modern Assisi claims for itself the honor of his birthplace. As a boy his father died and the family lost land as part of a confiscation,[4] probably the same one which reduced Virgil's estates when Octavian alloted lands to his veterans in 41 BC. Combining this with cryptic references in Ovid[5] implying he was younger than his contemporary Tibullus, a birthdate in the early 40s seems appropriate. After his father's death, Propertius' mother set him on course for a public career[6]--indicating his family still had some wealth—while the abundance of obscure mythology present in his poetry indicates he received a good education. Frequent mention of friends like Tullus[7]--the nephew of Lucius Volcatius Tullus, consul in 33 BCE—plus the fact that he lived on Rome's Esquiline hill[8] indicate he moved among the children of the rich and politically connected during the early part of the 20's decade. It was during this time that he met Cynthia, the older woman[9] who would inspire him to express his poetic genius. Propertius published a first book of love elegies in 25 BCE, with Cynthia herself as the main theme; the book's complete devotion gave it the natural title Cynthia Monobiblos. The Monobiblos must have attracted the attention of Maecenas, a patron of the arts who took Propertius into his circle of court poets. A second, larger book of elegies was published perhaps a year later, one that includes poems addressed directly to his patron and (as expected) praises for Augustus. The 19th century classics scholar Karl Lachmann argued—based on the unusually large number of poems in this book and Propertius' mention of tres libelli[10]--that the single book II actually comprises two separate books of poetry mashed together in the manuscript tradition. Though some editors have previously numbered the poems accordingly, the idea has fallen out of favor in more recent times. The publication of a third book came sometime after 23 BC.[11] Its content shows the poet beginning to move beyond simple love themes, as some poems (e.g. III.5) use Amor merely as a starting point for other topics. The book also shows the poet growing tired of the demanding yet fickle Cynthia,[12] and implies a bitter end to their torrid love affair. Book IV, published sometime after 16 BC, displays more of the poet's ambitious agenda, and includes several aetiological poems explaining the origin of various Roman rites and landmarks. Book IV—the last Propertius wrote—has only half the number of poems as Book I. Given the change in direction apparent in his poetry, scholars assume only his death a short time after publication prevented him from further exploration; the collection may in fact have been published posthumously. It is also possible that Propertius had children, either with Cynthia or a later liaison.[13] An elegy of Ovid dated to 2 BCE makes it clear that Propertius was dead by this time. Poetry Propertius' fame rests on his four books of elegies, totaling around 92 poems (the exact number cannot be known as over the intervening years, scholars have divided and regrouped the poems creating doubt as to the precise number). All his poems are written using the elegiac couplet, a form in vogue among the Roman social set during the late 1st century BC. Like nearly all the elegists, Propertius' work is dominated by the figure of a single woman, one he refers to throughout his poetry by the pseudonym Cynthia. She is named in over half the elegies of the first book and appears indirectly in several others, right from the first word of the first poem in the Monobiblos: “ Cynthia prima suis miserum me cepit ocellis, contactum nullis ante cupidinibus. "Cynthia first captivated wretched me with her eyes, I who had never before been touched by Cupid." (I.1.1-2) ” Apuleius[14] identifies her as a woman named Hostia, and Propertius suggests[15] she is a descendent of the Roman poet Hostius. Scholars guess that she was probably a courtesan. Propertius frequently compliments her as docta puella 'learned girl',[16] and, like Sulpicia, she herself was a writer of verse.[17] Their affair veers wildly between emotional extremes, and as a lover she clearly dominates his life at least through the publication of the third book: “ cuncta tuus sepelivit amor, nec femina post te ulla dedit collo dulcia vincla meo. "Thy love has buried all others, nor has any woman after thee put sweet fetters upon my neck." (III.15.11-2) ” It is difficult to precisely date many of Propertius' poems, but they chronicle the kind of declarations, passions, jealousies, quarrels, and lamentations that were commonplace subjects among the Latin elegists. The last two poems in book III seem to indicate a final break with her (versibus insignem te pudet esse meis - "It is a shame that my verses have made you famous"[18]), and Cynthia died some time before the publication of the final book IV. In this last book Cynthia is the subject of only two poems, best regarded as a postscript. The bi-polar complexity of the relationship is amply demonstrated in a poignant (if amusing) poem from the final book IV. Cynthia's ghost addresses Propertius from beyond the grave with criticism (among other things) that her funeral was not lavish enough, yet the longing of the poet remains in the final line inter complexus excidit umbra meos. - "Her shade then slipped away from my embrace.".[19] Book IV strongly indicates Propertius was planning a new direction for his poetry. The book includes several aetiological poems which, in reviewing the mythological origins of Rome and its landmarks, can also be read as critical—even vaguely subversive—of Augustus and his agenda for the new Rome. The position is currently a subject of debate among modern classics scholars.[20] The final poem[21] is a touching address by the recently deceased Cornelia consoling her husband Paullus and their three children. Although the poem (given Cornelia's connection to Augustus' family) was most likely an imperial commission, its dignity, nobility, and pathos have led critics to call it the "queen of the elegies", and it is commonly considered the best in the collection. Propertius' style is marked by seemingly abrupt transitions (in the manner of Latin neoteric poetry) and a high and imaginative allusion, often to the more obscure passages of Greek and Roman myth and legend. His idiosyncratic use of language, together with the corrupted state of the text, have made his elegies a challenge to edit; among the more famous names who have offered criticism of and emendations to the text have been the classicist John Percival Postgate and the English poet A. E. Housman. Textual problems The text contains many syntactic, organizational and logical problems as it has survived. Some of these are no doubt exacerbated by Propertius' bold and occasionally unconventional use of Latin. Others have led scholars to alter and sometimes rearrange the text as preserved in the manuscripts. A total of 146 Propertius manuscripts survive, the oldest of which dates from the 12th century. However, some of the poems in these manuscripts appear disjointed, such as I.8, which begins as a plea for Cynthia to abandon a planned sea voyage, then closes with sudden joy that the voyage has been called off. This poem has therefore been split by most scholars into a I.8a (comprising the first 26 lines) and I.8b (lines 27-46). More complicated organizational problems are presented by poems like II.26, a confusing piece in which Propertius first (1) dreams of Cynthia being shipwrecked, and then (2) praises Cynthia's faithfulness. Following this, he (3) declares that she plans to sail and he will come along, (4) shifts to the couple together on the shore, and then (5) quickly has them back on-board ship, ready to face the potential dangers of the sea. The images seem to conflict logically and chronologically, and have led different commentators to rearrange the lines or assume some lacuna in the text. More modern critics[22] have pointed out that all the proposed rearrangements assume Propertius' original poetry adhered strictly to the classical literary principles as set down by Aristotle, and so the apparent jumble is a result of manuscript corruptions. Another possibility is that Propertius was deliberately presenting disjointed images in violation of principles such as the Classical Unities, a theory which argues for different unifying structures in Propertius' elegies. This interpretation also implies that Propertius' style represented a mild reaction against the orthodoxy of classical literary theory. Influence Propertius himself says he was popular and even scandalous in his own day.[23] Horace, however, says that he would have to "endure much" and "stop up his ears" if he had to listen to "Callimachus...to please the sensitive stock of poets";[24] Postgate and others see this as a veiled attack on Propertius, who considered himself the Roman heir to Callimachus.[25] This judgement also seems to be upheld by Quintilian, who ranks the elegies of Tibullus higher and is somewhat dismissive of the poet, but Propertius' popularity is attested by the presence of his verses in the graffiti preserved at Pompeii. Propertius fell into obscurity in the Middle Ages, but was rediscovered during the Italian Renaissance along with the other elegists. Petrarch's love sonnets certainly show the influence of his writing, and Aeneas Silvius (the future Pope Pius II) titled a collection of his youthful elegies "Cinthia". There are also a set of "Propertian Elegies" attributed to the English writer Ben Jonson, though the authorship of these is disputed. Goethe's 1795 collection of "Elegies" also shows some familiarity with Propertius' poetry. Propertius is the lyrical protagonist of Joseph Brodsky's poem "Anno Domini" (1968), originally written in Russian. Binding: Vellum, Subject: Literature & Fiction, Topic: Literature, Ancient, Origin: European, Year Printed: 1515, Printing Year: 1515

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