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A Roman annalist. (See ANNALISTS.)

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A Roman annalist. (See ANNALISTS..)
ASELLIO 100.00%

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A Roman annalist. See ANNALISTS.
A series of writers on Roman history, older than those usually called the historians, beginning about 200 B.C., and covering about a century and a half. They related their country's story from its first beginnings down to their own times, treating the former briefly, the latter in full detail, and at first always in Greek, like FABIUS PICTOR and CINCIUS ALIMENTUS. With PORCIUS CATO (q.v.) commenced composition in Latin and a livelier interest in native history, which constantly stimulated new efforts to celebrate the deeds of their forefathers. Two main characteristics of these annalists are the free use they made of their predecessors, and an inclination to suppress unfavourable facts, which gradually grew into a habit of flattering the national vanity by exaggerations.
SISENNA 81.82%

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A Roman historian. (See ANNALISTS.)
GELLIUS 65.05%

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Gnaeus. See ANNALISTS.
CASSIUS 48.90%
Cassius Hemina. See ANNALISTS.
CAELIUS 48.90%

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Coelius Antipater ; see ANNALISTS.
Calpurnius Piso Frugi. See ANNALISTS.
ANNALS 14.37%
Year-books. From early times a record of all important events at Rome had been kept in chronological order by the high priest (pontifex maximus) for the time, who every year exhibited in his official residence a whited board (album), on which, after the names of the magistrates for the year, occurrences of all kinds-war, dearth, pestilence, prodigies-were set down briefly according to their dates. These annales pontificum or annales maximi (supposed to be so called after the pontifex maximus), though destroyed at the burning of Rome by the Gauls, B.C. 389, were restored as far as possible, and continued till B.C. 130. Collected afterwards in eighty books, they were at once utilized and superseded by the so-called ANNALISTS (q.v.).
surnamed Siculus, or the Sicilian. A Greek historian, native of Agyrion, in Sicily, who lived in the times of Julius Caeesar and Augustus. After thirty years preparation, based upon the results yielded by long travels in Asia and Europe, and the use of the plentiful materials supplied by residence in Rome, he wrote his Bibliotheca, an Universal History in 40 books, extending over a period of some 1,100 years, from the oldest time to 60 B.C. In the first six books he treated the primitive history and mythology of the Egyptians, the natives of Asia, and Africa, slid the Hellenes. The next eleven embraced the period from the Trojan war to the death of Alexander the Great. The remaining 23 brought the history down to the beginning of Caesar's struggle with Gaul. We still possess books 1-5 and 11-20 (from the Persian War under Xerxes to 302 B.C.), besides fragments, partly considerable, of the other books. In the early books his treatment is ethnographical; but from the seventh book onwards, in the strictly historical part of his work, he writes like an annalist narrating all the events of one year at a time, with emphasis on the more important ones. It is obvious that this proceeding must rob the history of all its inner connection. He has other weaknesses. He is incapable of seizing the individual characteristics either of nations or of individuals, and contents himself with giving anecdotes and unconnected details. He follows his authorities blindly, without any attempt to criticize their statements. Then his work falls far short of the ideal which he himself sets up in his introduction. But it is none the less of great value as being one of the main authorities for many parts of ancient history, especially that affecting Sicily. In his style Diodorus aims at clearness and simplicity.
A Roman epic and dramatic poet. Born apparently in Campania, about 270 B.C., be served in the Roman army during the first Punic War; and, settling after this at Rome, he brought his first play upon the stage in 235, i.e. soon after the first appearance of Livius Andronicus. Owing to the license and recklessness with which he incessantly attacked the Roman nobles, especially the Metelli, he was thrown into prison, and though liberated thence by the tribunes of the people, was afterwards banished from Rome. He died in exile at Utica about 200. His poetical account of the first Punic War (Bellum Poenicum), written in old age in the Saturnian metre, made him the creator of the Roman national epic. The work originally formed one continuous whole, but at a later time was divided into seven books by the scholar Octavius Lampadio. The fragments preserved give the impression of its having been little more than a chronicle in verse. Indeed, even in its plan, it bears a close resemblance to the prose chronicles of the Roman annalists: for here, as there, the real subject of the poem was preceded by an account of the early history of Rome, dating from the flight of Aeneas from Troy. Naevius also made an important departure in the province of dramatic poetry by creating a national drama. Besides imitations of Greek tragedies, of which seven alone are known by name and by extant fragments, it was he who first attempted to adapt the materials of his country's history to the dramatic form handed down by the Greeks. Thus, in the Romulus or Lupus, he treats of the youth of Romulus and Remus; and, in the play Clastidium, of a contemporary historical event. From the number of titles of his comedies still preserved (over thirty), and from the verdict of antiquity, we may infer that his forte lay in comedy: he appears to have been no mere translator of his Greek originals, but to have handled them with considerable freedom. It was in his comedies especially that he introduced his attacks on men and events of the day.
A Roman historian born about 19 B.C. He entered the army early, and from 4 A.D., partly as an officer in the cavalry, and partly as a legate, he accompanied Tiberius for eight years on all his campaigns into Germany, Pannonia, and Dalmatia. In 15 A.D.he held the praetorship, for which he was warmly recommended by Augustus and Tiberius. In 29-30 A.D. he composed in a few months a short sketch of Roman history in two books (Historioe Romanoe, libri duo) which he dedicated to his patron Vinicius, one of the consuls for the year 30. The work has come down to us in a very confused and fragmentary condition. Only a few chapters remain of the first book, which ends with the destruction of Carthage. Whether considered as a historian or as a stylist, he is a dilettante. He had no special call to be a historian, and was destitute of any more than ordinary knowledge or appropriate preparation, although not devoid of imagination and genius. His brochure was composed with extreme haste, and merely consists of a number of items of information hurriedly put together. Hence its superficial execution and its numerous mistakes. After the manner of annalists, his work becomes more diffuse the nearer he approaches his own time. It ends with a panegyric on the imperial house, and especially on Tiberius, inflated with fulsome flatteries and high-sounding phraseology. According to him, the fortune of Rome, which had declined after the destruction of Carthage, and had been rising again from the time of Augustus, had reached its culminating point under Tiberius. He may be identified as the inventor of the courtly style of writing history. He does not linger long over facts, but prefers to dwell on the portrayal of the various characters that present themselves in the course of the history. His language is sometimes careless and commonplace, sometimes ornate and affected, with all manner of poetical expressions. His fancy for composing striking sentences and his undue predilection for antithesis have an unfortunate effect on his style.
Type: Standard
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