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First-person poetry is a familiar genre in Latin literature. Propertius, Catullus, and Horace deployed the first-person speaker in a variety of ways that either bolster or undermine the link between this figure and the poet himself. In I, the Poet, Kathleen McCarthy offers a new approach to understanding the ubiquitous use of a first-person voice in Augustan-age poetry, taking on several of the central debates in the field of Latin literary studies—including the inheritance of the Greek tradition, the shift from oral performance to written collections, and the status of the poetic "I-voice." In light of her own experience as a twenty-first century reader, for whom Latin poetry is meaningful across a great gulf of linguistic, cultural, and historical distances, McCarthy positions these poets as the self-conscious readers of and heirs to a long tradition of Greek poetry, which prompted them to explore radical forms of communication through the poetic form. Informed in part by the "New Lyric Studies," I, the Poet will appeal not only to scholars of Latin literature but to readers across a range of literary studies who seek to understand the Roman contexts which shaped canonical poetic genres.

Reprint of the original, first published in 1874.

A Cockney Catullus traces the reception history of the Roman poet Catullus in Romantic-era Britain, identifying the influence of his poetry in the work of numerous Romantic-era literary and political figures, including Byron, Keats, Wordsworth, Coleridge, Hunt, Canning, Brougham, and Gifford.

Focusing on the representation of the Augustan poet Sulpicia in commentaries, this book investigates the interpretative strategies involved in the reading of an ancient text. Mathilde Skoie discusses a selection of commentaries from the Renaissance to the present day, combining the history ofclassical scholarhip, philology, feminist literary theory, and reception theory.The six short love poems of Sulpicia (Corpus Tibullianum 3. 13-18) have, throughout history, been the subject of numerous different interpretations and judgements. The poems' ambivalent status as poetry, the uncertainties surrounding authorship, the female intrusion in a male-dominated world, andquestions about canon and 'feminine Latin' are some of the many issues that make them interesting for an investigation of classical scholarship. The poems can thus be used as a showcase for how commentaries are an interpretative and historically situated genre.Reading Sulpicia is the first monograph on Sulpicia and her reception, and thereby fills a gap in the literature concerning both reception studies and the study of Sulpicia herself.