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Although Suetonius, Cassius Dio, and probably Plutarch as well seem to have believed Caesar died without saying anything further, [12] the first two also reported that, according to others, Caesar had spoken the Greek phrase "καὶ σύ τέκνον" (Kaì sý, téknon - You too, child) to Brutus, as (in Suetonius) or after (in Dio) that senator struck at him.
Download as PDF; Printable version; In other projects ... "I am free and the subject of a free state." ... English Benedictine monk ...
This is about the life and political involvement of Augusto Caesar Espiritu. Source Was sent to me personally Date Author Alexander Traitler Permission (Reusing this file) Evidence: The license agreement will be forwarded to OTRS shortly.
The Tusculum portrait, the only known depiction of Caesar produced during his lifetime. The lex Julia de repetundis ("Julian law on corruption") was a foundational corruption law of the late Roman Republic and the Roman Empire. [1] Its provisions covered all magistrates, governors, and the family and employees thereof.
The laudatio Iuliae amitae ("Eulogy for Aunt Julia") is a funeral oration that Julius Caesar said in 68 BC to honor his dead aunt Julia, the widow of Marius. [ 1 ] [ 2 ] The introduction of this laudatio funebris is reproduced in the work Divus Iulius by the Roman historian Suetonius : [ 3 ]
De Analogia denotes the adherence to grammatical rules while not changing one's diction with current demotic usage. After the composition of his Commentarii de bello Gallico Caesar felt obligated to devise certain grammatical principles in reference to his commentaries, writing that "the choice of words is the fountain-head of eloquence."
During the English Reformation, the Reproaches were suppressed by Thomas Cranmer, Archbishop of Canterbury when he authored the first Book of Common Prayer in the sixteenth century. However, the liturgical movement and the desire to connect with ancient liturgical traditions has led to some Provinces in the Anglican Communion to reintroduce the ...
The aria has been cited as an example of a "simile aria", because the words and the music both reflect, in metaphor, the situation of the character.[19] [20] Caesar, at Tolomeo's palace in Alexandria, compares himself to a stealthy hunter carefully tracking his prey; the prey in this case is Tolomeo, king of Egypt, who has just given Caesar a cool reception and whom Caesar views with suspicion.