Nagy, Gregory. 2013. “Virgil’s verse invitus, regina … and its poetic antecedents.” More modoque: Die Wurzeln der europäischen Kultur und deren Rezeption im Orient und Okzident, edited by P Fodor, G Mayer, M Monostori, K Szovák, and L Takács, 155–165. Budapest: Forschungszentrum für Humanwissenschaften der Ungarischen Akademie der Wissenschaften. Festschrift für Miklós Maróth zum siebzigsten Geburtstag.
Weiss, Naomi A. 2012. “Recognition and Identity in Euripides' Ion.” Recognition and Modes of Knowledge: Anagnorisis from Antiquity to Contemporary Theory, edited by T Russo, 33–50. Edmonton: University of Alberta Press.
Thomas, Richard F. 2012. “The Streets of Rome: The Classical Dylan.” Reception and the Classics: An Interdisciplinary Approach to the Classical Tradition, edited by William Brockliss, Pramit Chaudhuri, Ayelet Haimson Lushkov, and Katherine Wasdin, 134–159. Cambridge; New York: Cambridge University Press.
Thomas, Richard F. 2012. “Thoughts on the Virgilian hexameter.” Multi nominis grammaticus. Festchrift for Alan J. Nussbaum, edited by Adam I Cooper, Jeremy Rau, and Michael Weiss, 306–314. Ann Arbor: Beech Stave Press.
Book XII brings Virgil's Aeneid to a close, as the long-delayed single combat between Aeneas and Turnus ends with Turnus' death – a finale that many readers find more unsettling than triumphant. In this, the first detailed single-volume commentary on the book in any language, Professor Tarrant explores Virgil's complex portrayal of the opposing champions, his use and transformation of earlier poetry (Homer's in particular) and his shaping of the narrative in its final phases. In addition to the linguistic and thematic commentary, the volume contains a substantial introduction that discusses the larger literary and historical issues raised by the poem's conclusion; other sections include accounts of Virgil's metre, later treatments of the book's events in art and music, and the transmission of the text. The edition is designed for upper-level undergraduates and graduate students and will also be of interest to scholars of Latin literature.
The Carmen Saeculare was composed and published in 17 BCE as Horace was returning to the genre of lyric which he had abandoned six years earlier; the fourth book of Odes is in part a response to this poem, the only commissioned poem we know from the period. The hardening of the political situation, with the Republic a thing of the past and the Augustan succession in the air, threw the problematic issue of praise into fresh relief, and at the same time provided an impulse towards the nostalgia represented by the poet's private world. Professor Thomas provides an introduction and commentary (the first full commentary in English since the nineteenth century) to each of the poems, exploring their status as separate lyric artefacts and their place in the larger web of the book. The edition is intended primarily for upper-level undergraduates and graduate students, but is also important for scholars.
Tarrant, Richard J. 2006. “Seeing Seneca Whole?” Seeing Seneca Whole: Perspectives on Philosophy, Poetry and Politics, edited by Katharina Volk and Gareth D Williams, 1–17. Leiden: Brill.