This comprehensive reassessment of the carmina maiora of the fourth-century poet Claudian contributes to the growing trend to recognize that Late Antique poets should be approached as just that: poets. Its methodology is developed from that of Michael Roberts' seminal The Jeweled Style. It analyzes Claudian's poetics and use of story telling to argue that the creation of a story world in which Stilicho, his patron, becomes an epic hero, and the barbarians are giants threatening both the borders of Rome and the order of the very universe is designed to convince his audience of a world-view in which it is only the Roman general who stands between them and cosmic chaos. The book also argues that Claudian uses the same techniques to promote the message that Honorius, young hero though he may seem, is not yet fit to rule, and that Stilicho's rightful position remains as his regent.
The historical importance of Claudian as writer of panegyric and propaganda for the court of Honorius is well established but his poetry has been comparatively neglected: only recently has his work been the subject of modern literary criticism. Taking as its starting point Claudian's claim to be the heir to Virgil, this book examines his poetry as part of the Roman epic tradition. Discussing first what we understand by epic and its relevance for late antiquity, Catherine Ware argues that, like Virgil and later Roman epic poets, Claudian analyses his contemporary world in terms of classical epic. Engaging intertextually with his literary predecessors, Claudian updates concepts such as furor and concordia, redefining Romanitas to exclude the increasingly hostile east, depicting enemies of the west as new Giants and showing how the government of Honorius and his chief minister, Stilicho, have brought about a true golden age for the west.
This comprehensive reassessment of the carmina maiora of the fourth-century poet Claudian contributes to the growing trend to recognize that Late Antique poets should be approached as just that: poets. Its methodology is developed from that of Michael Roberts' seminal The Jeweled Style. It analyzes Claudian's poetics and use of story telling to argue that the creation of a story world in which Stilicho, his patron, becomes an epic hero, and the barbarians are giants threatening both the borders of Rome and the order of the very universe is designed to convince his audience of a world-view in which it is only the Roman general who stands between them and cosmic chaos. The book also argues that Claudian uses the same techniques to promote the message that Honorius, young hero though he may seem, is not yet fit to rule, and that Stilicho's rightful position remains as his regent.
From A.D. 395 to 404, Claudian was the court poet of the Western Roman Empire, ruled by Honorius. In 399 the eunuch Eutropius, the grand chamberlain and power behind the Eastern Roman throne of Honorius's brother Arcadius, became consul. The poem In Eutropium is Claudian's brilliantly nasty response. In it he vilifies Eutropius and calls on Honorius's general, Stilicho, to redeem this disgrace to Roman honor. In this literary and historical study, Jacqueline Long argues that the poem was, in both intent and effect, political propaganda: Claudian exploited traditional prejudices against eunuchs to make Eutropius appear ludicrously alien to the ideals of Roman greatness. Long sets In Eutropium within the context of Greek and Roman political vituperation and satire from the classical to the late antique period. In addition, she demonstrates that the poem is an invaluable, if biased, source of historical information about Eutropius's career. Her analysis draws on modern propaganda theory and on reader response theory, thereby bringing a fresh perspective to the political implications of Claudian's work. Originally published in 1996. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
Rome's transition from a republican system of government to an imperial regime comprised more than a century of civil upheaval and rapid institutional change. Yet the establishment of a ruling dynasty, centered around a single leader, came as a cultural and political shock to Rome's aristocracy, who had shared power in the previous political order. How did the imperial regime manage to establish itself and how did the Roman elites from the time of Julius Caesar to Nero make sense of it? In this compelling book, Matthew Roller reveals a "dialogical" process at work, in which writers and philosophers vigorously negotiated and contested the nature and scope of the emperor’s authority, despite the consensus that he was the ultimate authority figure in Roman society. Roller seeks evidence for this "thinking out" of the new order in a wide range of republican and imperial authors, with an emphasis on Lucan and Seneca the Younger. He shows how elites assessed the impact of the imperial system on traditional aristocratic ethics and examines how several longstanding authority relationships in Roman society--those of master to slave, father to son, and gift-creditor to gift-debtor--became competing models for how the emperor did or should relate to his aristocratic subjects. By revealing this ideological activity to be not merely reactive but also constitutive of the new order, Roller contributes to ongoing debates about the character of the Roman imperial system and about the "politics" of literature.
Denied citizenship by the Roman Empire, a soldier named Alaric changed history by unleashing a surprise attack on the capital city of an unjust empire. Stigmatized and relegated to the margins of Roman society, the Goths were violent “barbarians” who destroyed “civilization,” at least in the conventional story of Rome’s collapse. But a slight shift of perspective brings their history, and ours, shockingly alive. Alaric grew up near the river border that separated Gothic territory from Roman. He survived a border policy that separated migrant children from their parents, and he was denied benefits he likely expected from military service. Romans were deeply conflicted over who should enjoy the privileges of citizenship. They wanted to buttress their global power, but were insecure about Roman identity; they depended on foreign goods, but scoffed at and denied foreigners their own voices and humanity. In stark contrast to the rising bigotry, intolerance, and zealotry among Romans during Alaric’s lifetime, the Goths, as practicing Christians, valued religious pluralism and tolerance. The marginalized Goths, marked by history as frightening harbingers of destruction and of the Dark Ages, preserved virtues of the ancient world that we take for granted. The three nights of riots Alaric and the Goths brought to the capital struck fear into the hearts of the powerful, but the riots were not without cause. Combining vivid storytelling and historical analysis, Douglas Boin reveals the Goths’ complex and fascinating legacy in shaping our world.
Claudius Claudianus (c. 370-c. 410 CE) gives us important knowledge of Honorius's time and displays poetic as well as rhetorical skill, command of language, and diversity. A panegyric on the brothers Probinus and Olybrius (consuls together in 395 CE) was followed mostly by epics in hexameters, but also by elegiacs, epistles, epigrams, and idylls. Claudius Claudianus, Latin poet of great affairs, flourished during the joint reigns (394-5 CE onwards) of the brothers Honorius (Emperor in the West) and Arcadius (in the East). Apparently a native of Greek Alexandria in Egypt, he was, to judge by his name, of Roman descent, though his first writings were in Greek, and his pure Latin may have been learned by him as a foreign language. About 395 CE he moved to Italy (Milan and Rome) and though really a pagan, became a professional court-poet composing for Christian rulers works which give us important knowledge of Honorius's time. A panegyric on the brothers Probinus and Olybrius (consuls together in 395) was followed during ten years by other poems (mostly epics in hexameters): in praise of consulships of Honorius (395, 398, 404 CE); against the Byzantine ministers Rufinus (396) and Eutropius (399); in praise of the consulship (400) of Stilicho (Honorius's guardian, general, and minister); in praise of Stilicho's wife Serena; mixed metres on the marriage of Honorius to their daughter Maria; on the war with the rebel Gildo in Africa (398); on the Getic or Gothic war (402); on Stilicho's success against the Goth Alaric (403); on the consulship of Manlius Theodorus (399); and on the wedding of Palladius and Celerina. Less important are non-official poems such as the three books of a mythological epic on the Rape of Proserpina, unfinished as was also a Battle of Giants (in Greek). Noteworthy are Phoenix, Senex Veronensis, elegiac prefaces, and the epistles, epigrams, and idylls. Through the patronage of Stilicho or through Serena, Claudius in 404 married well in Africa and was granted a statue in Rome. Nothing is known of him after 404. In his poetry are true poetic as well as rhetorical skill, command of language, polished style, diversity, vigour, satire, dignity, bombast, artificiality, flattery, and other virtues and faults of the earlier "silver" age in Latin. The Loeb Classical Library edition of Claudian is in two volumes.
“One of the really remarkable books of our day”—the story of the Roman emperor on which the award-winning BBC TV series was based (The New York Times). Once a rather bookish young man with a limp and a stammer, a man who spent most of his time trying to stay away from the danger and risk of the line of ascension, Claudius seemed an unlikely candidate for emperor. Yet, on the death of Caligula, Claudius finds himself next in line for the throne, and must stay alive as well as keep control. Drawing on the histories of Plutarch, Suetonius, and Tacitus, noted historian and classicist Robert Graves tells the story of the much-maligned Emperor Claudius with both skill and compassion. Weaving important themes throughout about the nature of freedom and safety possible in a monarchy, Graves’s Claudius is both more effective and more tragic than history typically remembers him. A bestselling novel and one of Graves’ most successful, I, Claudius has been adapted to television, film, theatre, and audio. “[A] legendary tale of Claudius . . . [A] gem of modern literature.” —Publishers Weekly (starred review)
