Sextus Propertius

Sextus Propertius, the late Augustan poet, is best known today from Pound's famous "Homage," less a translation than brilliant experiment. Patrick Worsnip's new versions rise o

The Roman poet Propertius is best known as the writer who perfected the Latin love elegy, a technical as much as a psychological and cultural feat. Propertius has been admired for both his metrical ge

The passionate and dramatic elegies of Propertius gained him a reputation as one of Rome's finest love poets. Here he portrays the exciting, uneven course of his love affair with Cynthia and tells us

Of all the great classical love poets, Propertius (c. 50-10 BC) is surely one of those with most immediate appeal for readers today. His helpless infatuation for the sinister figure of his mistress Cy

The Latin poet Propertius (ca. 50?16 B.C.) is considered by many to be the greatest elegiac poet of Rome. Long neglected because of the obscurity of his thought and the vagaries of his syntax, Propert

"Goethe, whose Roman Elegies drew on him, recognized in Propertius a romantic sensibility akin to his own. Ezra Pound's Homage to Sextus Propertius, on the other hand, read the poet as a fellow satiri

Propertius, though his works are small in volume, is one of the foremost poets of the Augustan age and his writing has a certain appeal to modern tastes. Book II is especially suitable for the reader wanting a representative selection of Propertius' poetry. It stands on its own, having appeared in the first place as a separate collection; it reflects a distinct phase of the poet's activity (and of his emotional development); and it is the book which made his reputation. This edition is designed for the pocket of the university student, but it should find a wider audience among classicists of all ages. The introduction provides the necessary historical and critical background and relates Book II to the rest of the elegies; the notes are helpful and to the point; and the text has a reasonable minimum of apparatus. There are no modern editions of this size and scope.

This edition of Propertius Book III follows the general style and arrangement of Camps' editions of Books I and IV. Camps presents, without concealing difficulties and uncertainties, a fairly conservative but readable and coherent text, together with such annotation as may help the modern reader of Latin to understand the language and follow the thought of this difficult, much disputed, but very rewarding poet. While the book may be of interest to students and amateurs of Latin in general, the editor has had in mind the particular needs of undergraduates and of sixth forms. Of the twenty-five elegies which compose this book, all but two are related to the theme of love: but the treatment has become curiously remote and impersonal. After the first two books the touch is light, even cynical - except on the last two elegies, where the poet takes an embittered farewell of Cynthia. In his introduction Camps writes of the literary qualities of the poems and suggests some valid critical appro

In this edition of Propertius Book IV, Camps follows the general lines of his earlier edition of Book I (Cambridge, 1960). He has presented, without concealing difficulties and uncertainties, a fairly conservative but readable and coherent text, together with such annotation as may help the modern reader of Latin to understand the language and follow the thought of this difficult, much disputed, but very rewarding poet. While the book may be of interest to students and amateurs of Latin in general, the editor has had in mind the particular needs of undergraduates and of sixth forms. The notes are weighted differently from those in Butler and Barber's edition of 1933 and the text of that edition and from the Oxford text of 1960. As far as we know, this is the poet's last work. He has moved away from his earlier preoccupation with the theme of love and the eleven careful elegies that compose the present book are on a variety of subjects. Most are concerned with Roman antiquities. The las

Propertius' fourth book is his most challenging and innovative. It disrupts genre; dislocates time and order; and meditates on gender, perception and history. A sort of postmodernism combines with narrative and structural verve, incisively physical writing and a gallery of colourful characters. This edition makes a demanding and rewarding text more accessible and more intelligible. The text is new; help and fresh ideas are offered on the text and meaning of words. A wide range of literary, inscriptional and archaeological material is used to illuminate this many-sided poetry. Much more space is given than in previous editions to literary interpretation and historical contextualization, in the light of modern work. The book is approached as a dynamic sequence of poems rather than a collection. The edition should be valuable to both students and scholars.

Propertius' fourth book is his most challenging and innovative. It disrupts genre; dislocates time and order; and meditates on gender, perception and history. A sort of postmodernism combines with narrative and structural verve, incisively physical writing and a gallery of colourful characters. This edition makes a demanding and rewarding text more accessible and more intelligible. The text is new; help and fresh ideas are offered on the text and meaning of words. A wide range of literary, inscriptional and archaeological material is used to illuminate this many-sided poetry. Much more space is given than in previous editions to literary interpretation and historical contextualization, in the light of modern work. The book is approached as a dynamic sequence of poems rather than a collection. The edition should be valuable to both students and scholars.

Propertius, though his works are small in volume, is one of the foremost poets of the Augustan age, and his writing has a certain appeal to modern tastes (witness the admiration of Ezra Pound). Book I is especially suitable for the reader wanting a representative selection of Propertius' poetry. It stands on its own, having appeared in the first place as a separate collection; it reflects a distinct phase of the poet's activity (and of his emotional development); and it is the book which made his reputation. This edition is designed for the pocket of the university student, but it should find a wider audience among classicists of all ages. The introduction provides the necessary historical and critical background and relates Book I to the rest of the elegies; the notes are helpful and to the point; and the text has a reasonable minimum of apparatus. There are no modern editions of this size and scope.