Brill’s Companion to the Reception of Cicero by William H. F. Altman

By William H. F. Altman

Brill’s better half to the Reception of Cicero is a set of essays by means of a global and interdisciplinary group of students that situates Cicero within the context of his use and abuse from antiquity to the current, and is meant to supply readers with numerous sturdy purposes to come back to the research of Cicero's writings with higher curiosity and appreciate.

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McLaughlin, ‘Petrarch’, in Literary Imitation in the Italian Renaissance. The Theory and Practice of Literary Imitation in Italy from Dante to Bembo (Oxford: Clarendon Press, 1995), pp. 22–48. 14). 16, 35). 29 Thus with each of these two textual discoveries, Petrarch was not just excited by being able to read a ‘new’ work by Cicero, but in addition he extracted from them precious values which would shape his own ideas of the humanities in general, and of the themes, genres and style that a writer should pursue, as well as his beliefs about the kind of life the intellectual should live.

Petrarch and the Textual Origins of Interpretation (Boston, MA: Brill, 2007), pp. 205–29 (p. 205). ), Motivi e forme delle ‘Familiari’ di Francesco Petrarca (Milan: Cisalpino, 2003), pp. 261–90. 12 De Nolhac, Pétrarque et l’Humanisme, I, 217. 13 Minnis, The Medieval Theory of Authorship, p. 214. 14 Da Penne had asked Petrarch if he had any lesser-known works by Cicero but the ageing humanist replies in the negative, though he admits he may have had rare items that have since gone missing. 16 In this letter he states that from that moment onwards he was driven by a passion to collect works by Cicero.

16 In this letter he states that from that moment onwards he was driven by a passion to collect works by Cicero. When in later life he had acquired a reputation as a scholar, he returned to his passion, repeatedly asking visitors to Avignon to bring him any works by Cicero that they found in their own countries. It is in this context that he tells us how, aged twenty-five, he discovered the Pro Archia in Liège:17 this work, which had been lost since antiquity, he copied out in his own hand, which took longer than usual since the only ink to be found in the town was of a pale saffron colour.

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