In the original dust jacket. Brey cloth binding with green title on the spine.

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A lovely book in very good condition. Book II is especially suitable for the reader wanting a representative selection of Propertius’ poetry.

Sextus Propertius was a Latin elegiac poet of the Augustan age. He was born around 50–45 BC in Assisium (now Assisi) and died shortly after 15 BC. Propertius’ surviving work comprises four books of Elegies (Elegiae). He was a friend of the poets Gallus and Virgil and, with them, had as his patron Maecenas and, through Maecenas, the emperor Augustus. Although Propertius was not as renowned in his own time as other Latin elegists, he is today regarded by scholars as a major poet. 

Propertius’ fame rests on his four books of elegies, totaling around 92 poems (the exact number cannot be known as over the intervening years, scholars have divided and regrouped the poems, creating doubt as to the precise number). All his poems are written using the elegiac couplet, a form in vogue among the Roman social set during the late 1st century BC.

Like the work of nearly all the elegists, Propertius’ work is dominated by a figure of a single female character, one he refers to throughout his poetry by the name Cynthia. She is named in over half the elegies of the first book and appears indirectly in several others, right from the first word of the first poem in the Monobiblos.

Propertius himself says he was popular and even scandalous in his own day. Horace, however, says that he would have to “endure much” and “stop up his ears” if he had to listen to “Callimachus… to please the sensitive stock of poets”; Postgate and others see this as a veiled attack on Propertius, who considered himself the Roman heir to Callimachus. This judgement also seems to be upheld by Quintilian, who ranks the elegies of Tibullus higher and, while accepting that others preferred Propertius, is himself somewhat dismissive of the poet. However, Propertius’ popularity is attested by the presence of his verses in the graffiti preserved at Pompeii; while Ovid, for example, drew on him repeatedly for poetic themes, more than on Tibullus.