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袗胁谐褍褋褌
笑械 袪懈屑, 芦写械 薪褨褏褌芯 薪械 蟹薪邪褦, 褏褌芯 泄芯屑褍 写褉褍谐, 邪 褏褌芯 胁芯褉芯谐; 写械 褉芯蟹斜械褖械薪褨褋褌褜 褑褨薪褍褦褌褜褋褟 胁懈褖械, 薪褨卸 褔械褋薪芯褌邪, 褨 写械 锌褉懈薪褑懈锌懈 鈥� 谢懈褕械 褋谢褍谐懈 胁谢邪褋薪芯褩 泻芯褉懈褋褌褨禄. 小褞卸械褌 褉芯屑邪薪褍 褉芯蟹谐芯褉褌邪褦褌褜褋褟 薪邪 褌谢褨 褨褋褌芯褉懈褔薪芯谐芯 蟹谢邪屑褍 鈥� 锌械褉械褌胁芯褉械薪薪褟 锌褨蟹薪褜芯褩 袪懈屑褋褜泻芯褩 褉械褋锌褍斜谢褨泻懈 薪邪 屑芯谐褍褌薪褞 褨屑锌械褉褨褞. 袧褨泻芯屑褍 褉邪薪褨褕械 薪械 胁褨写芯屑懈泄 覑邪泄 袨泻褌邪胁褨泄, 胁褨褋褨屑薪邪写褑褟褌懈褉褨褔薪懈泄 胁薪褍褔邪褌懈泄 锌谢械屑褨薪薪懈泻 挟谢褨褟 笑械蟹邪褉褟, 芯锌懈薪褟褦褌褜褋褟 薪邪 谐褉械斜械薪褨 卸芯褉褋褌芯泻懈褏 褨 写褉邪屑邪褌懈褔薪懈褏 锌芯写褨泄, 褟泻褨 锌褉懈胁芯写褟褌褜 泄芯谐芯 写芯 胁械褉褕懈薪 胁谢邪写懈鈥�
袣薪懈谐邪 袛卸芯薪邪 袙褨谢褜褟屑褋邪 胁褉邪卸邪褦 薪械蟹胁懈褔邪泄薪芯褞 褋懈谢芯褞 褨 谐谢懈斜懈薪芯褞. 袙芯薪邪 蟹邪褋谢褍卸械薪芯 胁褨写蟹薪邪褔械薪邪 薪邪泄胁懈褖芯褞 谢褨褌械褉邪褌褍褉薪芯褞 薪邪谐芯褉芯写芯褞 小楔袗 鈥� 袧邪褑褨芯薪邪谢褜薪芯褞 泻薪懈卸泻芯胁芯褞 锌褉械屑褨褦褞.
袛械褌邪谢褜薪褨褕械 锌褉芯 泻薪懈谐褍: https://fabulabook.com/product/peredp...
袣薪懈谐邪 袛卸芯薪邪 袙褨谢褜褟屑褋邪 胁褉邪卸邪褦 薪械蟹胁懈褔邪泄薪芯褞 褋懈谢芯褞 褨 谐谢懈斜懈薪芯褞. 袙芯薪邪 蟹邪褋谢褍卸械薪芯 胁褨写蟹薪邪褔械薪邪 薪邪泄胁懈褖芯褞 谢褨褌械褉邪褌褍褉薪芯褞 薪邪谐芯褉芯写芯褞 小楔袗 鈥� 袧邪褑褨芯薪邪谢褜薪芯褞 泻薪懈卸泻芯胁芯褞 锌褉械屑褨褦褞.
袛械褌邪谢褜薪褨褕械 锌褉芯 泻薪懈谐褍: https://fabulabook.com/product/peredp...
432 pages, Hardcover
First published October 31, 1972
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About the author
John Williams
9听books2,155听followersLibrarian Note: There is more than one author in the GoodReads database with this name.
John Edward Williams, Ph.D. (University of Missouri, 1954; M.A., University of Denver, 1950; B.A., U. of D., 1949), enlisted in the USAAF early in 1942, spending two and a half years as a sergeant in India and Burma. His first novel, Nothing But the Night, was published in 1948, and his first volume of poems, The Broken Landscape, appeared the following year.
In the fall of 1955, Williams took over the directorship of the creative writing program at the University of Denver, where he taught for more than 30 years.
After retiring from the University of Denver in 1986, Williams moved with his wife, Nancy, to Fayetteville, Arkansas, where he resided until he died of respiratory failure on March 3, 1994. A fifth novel, The Sleep of Reason, was left unfinished at the time of his death.
John Edward Williams, Ph.D. (University of Missouri, 1954; M.A., University of Denver, 1950; B.A., U. of D., 1949), enlisted in the USAAF early in 1942, spending two and a half years as a sergeant in India and Burma. His first novel, Nothing But the Night, was published in 1948, and his first volume of poems, The Broken Landscape, appeared the following year.
In the fall of 1955, Williams took over the directorship of the creative writing program at the University of Denver, where he taught for more than 30 years.
After retiring from the University of Denver in 1986, Williams moved with his wife, Nancy, to Fayetteville, Arkansas, where he resided until he died of respiratory failure on March 3, 1994. A fifth novel, The Sleep of Reason, was left unfinished at the time of his death.
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Displaying 1 - 30 of 2,014 reviews
March 23, 2023
Augustus is written in lucid and colourful style. Inventing all those fictional letters and documents John Williams vividly caught the spirit of the whole historical era.
On arriving to power very young, Gaius Octavius Caesar hit the road lying across the endless battlefield鈥�
Down through the ages the history of political power is a history of perfidy and treason鈥�
Supreme power doesn鈥檛 make one happy but it offers an unrestricted ability to bring unhappiness to the others鈥�
Perhaps we are wiser when we are young, though the philosopher would dispute with me. But I swear to you, we were friends from that moment onward; and that moment of foolish laughter was a bond stronger than anything that came between us later 鈥� victories or defeats, loyalties or betrayals, griefs or joys. But the days of youth go, and part of us goes with them, not to return.
On arriving to power very young, Gaius Octavius Caesar hit the road lying across the endless battlefield鈥�
Down through the ages the history of political power is a history of perfidy and treason鈥�
鈥淔ather,鈥� I asked, 鈥渉as it been worth it? Your authority, this Rome that you have saved, this Rome that you have built? Has it been worth all that you have had to do?鈥�
My father looked at me for a long time, and then he looked away. 鈥淚 must believe that it has,鈥� he said. 鈥淲e both must believe that it has.鈥�
Supreme power doesn鈥檛 make one happy but it offers an unrestricted ability to bring unhappiness to the others鈥�
February 21, 2019
How to describe this painstakingly detailed, compellingly readable, simply complex, fictionalised biography, that explores the high price of duty, and is set in ancient times but is painfully relevant in 2017? Not like that.
There are myriad perspectives: it鈥檚 like viewing the ancient world through a kaleidoscope or the facets of a gemstone.
Or maybe it鈥檚 more like a hall of mirrors and windows, where you鈥檙e barely sure which is which and what distortions there may be. Versailles, perhaps: another palace of opulence and intrigue.
It is non-linear: like a narrative tapestry, sewn with backstitch.
It鈥檚 a scrapbook of documents and fragments in different styles, and for different purposes (a little like the Bible).
There鈥檚 a woman鈥檚 sexual awakening: her acknowledgement and embracing of it, regardless of taboos and risks.
An adoring father ensures his daughter has the education usually denied to girls.
There is an agonising sacrifice, a cruel example of being hoist by one鈥檚 own petard.
The storytelling is like Charon鈥檚 gently rocking boat, like Augustus鈥� final journey: the shimmering reflections are disorienting, and the direction is unpredictable, but the destination is sure.
Content and Structure
The story starts just before the murder of Julius Caesar, leaving his great nephew and adopted son, Gaius Octavius, as heir. He is young (18), academic rather than martial, with slightly poor health, quietly spoken, inscrutable, loyal to friends, but is shrewd. The story ends when Octavius, now Emperor Augustus, dies aged 76. In between there are complex machinations: rumours, political plots, wars, marriages and divorces of convenience, births, deaths, assassinations, friendships forged and broken, rituals, parties, and journeys - literal and metaphorical.
It is told via letters, memoirs, poems, military orders, doctor鈥檚 orders, journals, memos, senatorial proceedings, consular orders, petitions, and poems. They are from a wide variety of protagonists, some written at the time, and others with the benefit of hindsight: all the key events, and many apparently trivial ones, are described by friend and foe, as they happened, and immediately contrasted by another view, written decades later. No one is objective. (I have not investigated where it departs from or adds to authenticated history.)
There are three parts. The first is mostly political scheming and battle tactics, told and spun by men. The second gives voice to many of the women, especially Augustus鈥� adult daughter, Julia. There鈥檚 still political and domestic intrigue, and some male narrative, but there鈥檚 a more human and intensely personal face as well. In the short third part, we finally hear from the eponymous emperor as he evaluates his long life and anticipates his imminent death and the consequences for his empire and people.
Julia
鈥�I had been a wife, a goddess, and the second woman of Rome. If I felt anything [about being widowed]鈥� it was relief.鈥�
This book could just as easily have borne the name of Augustus鈥� daughter. It鈥檚 almost as much about her, and we read far more of her words than his. She sometimes wields influence and lies to her own advantage (as well as being a victim of such), but because we hear her through her private journal, she seems the most honest of anyone. We understand her motives and her desires. Especially her desires. I came to love Julia.
鈥�This body鈥� began its service late, for it was told that it had no rights, and must by the nature of things be subservient to dictates other than its own.鈥�
鈥�A breeze鈥� I could hear it rustle among the cypresses and plane trees as it touched my silken tunic like a caress.鈥�
鈥�This body鈥� has served me, while seeming to serve others鈥� and the lover to whom I gave pleasure was a victim of my own desire.鈥�
Duty, Destiny, and Personal Pain
Power and wealth come with a price. The plot is full of manipulation, sometimes selfish and sometimes altruistic, but the deeper theme is the huge personal cost of submitting to fate and duty.
Augustus鈥� sister Octavia, married and remarried at her brother鈥檚 dictat, says 鈥淚 sometimes think that the meanest slave has more freedom than we women have known.鈥� But another woman, closer to the emperor's heart suffers more. And Augustus himself, nearing death, believes his life 鈥渁ccommodated to鈥� public necessity鈥� and thus, 鈥淚 have been more nearly ruled than ruler.鈥� I'm not sure if he makes final peace with his role in the fate of his beloved daughter.
Truth and Lies: Then and in 2017
鈥�How do you oppose a foe who is wholly irrational and unpredictable - and yet who, out of animal energy and the accident of circumstance, has attained the most frightening power?鈥� (Maecenas of Marcus Antonius)
I read this as Donald Trump was inaugurated as President of the United States and when the news was full of discussion and fear about temperament, power, and truth versus
Sometimes people knowingly defend and spread outright lies for their own benefit. Here, that鈥檚 Augustus accepting Marcus Antonius鈥檚 description of his Parthian disaster as a triumph. The hope was that he would desert Egypt (and Cleopatra) to become a true Roman again, and the need was to inspire citizens ground down by years of war and civil war.
Everyone has an agenda, whether it be mere survival or something more selfish and acquisitive, and motives change with circumstances. How can one know what is true and who to trust?
No surprise that in old age, Augustus thinks all histories 鈥渁re lies鈥� There are no untruths鈥� few errors of fact; but they are lies鈥�. Reading of himself, he sees 鈥渁 man who bore my name but a man I hardly know.鈥� Thus, 鈥淎ll lives are mysterious, I suppose, even my own.鈥�
"He discovered in all others those vices he would not recognise in himself."
Julia, on Livia's son, Tiberius. Or possibly contemporary political commentary.
Stoner and Butcher鈥檚 Crossing - and his fourth/first book
John Williams wrote three brilliant, but very different novels (plus a youthful novella he later disowned).
They鈥檙e ostensibly about complex relationships between men, but in utterly different settings. This is about politics and war in ancient Rome. Women鈥檚 power is mostly covert. Butcher鈥檚 Crossing is a bildungsroman about a privileged 19 century young man on a long and perilous buffalo hunt. Women barely feature. Stoner is about a quiet man who loves and lives for literature in academia. The few women in it are seen from the perspective of and in relation to men. That makes the strong female narrative in Augustus all the more surprising. But here, as in Stoner, the intense and devoted father-daughter relationship of childhood is tragically sacrificed: the lesser of several evils, for the greater good.
See the end of my review of his first (disowned) novel, Nothing But The Night, HERE, for a comparison of all four.
Philosophical Quotes
鈥� 鈥淚f it is one鈥檚 destiny to change the world, it is his necessity first to change himself.鈥�
鈥� 鈥淎 man may live like a fool for a year, and become wise in a day.鈥�
鈥� 鈥淭he death of an old enemy is curiously like the death of an old friend.鈥�
鈥� 鈥淭o care not for oneself is of little moment, but to care not for those whom one has loved is another matter. All has become a matter of indifferent curiosity, and nothing is of consequence.鈥�
鈥� 鈥淓rotic love is the most unselfish鈥� it seeks to become one with another, and hence to escape the self.鈥�
鈥� 鈥淎 people may endure an almost incredible series of darkest failures without breaking; but give them respite and some hope for the future, and they may not endure an unexpected denial of that hope.鈥�
鈥� 鈥淭hose [anti-adultery] laws鈥� were not intended so much to be obeyed as to be followed; I believed that there was no possibility of virtue without the idea of virtue.鈥�
鈥� Perspective changes with maturity:
鈥淭he young man... sees life as a kind of epic adventure, an Odyssey... where he will test and prove his powers, and thereby discover his immortality...
The man of middle years... sees life as a tragedy; for he has learned that his power, however great, will not prevail鈥� and has learned that he is mortal...
But the man of age... must see life as a comedy. For his triumphs and failures merge.鈥�
Quotes about Rome
鈥� 鈥淩ome, where no man knows his enemy or his friend, where license is more admired than virtue, and where principle has become servant to self.鈥�
鈥� 鈥淭he appearance of tradition and order cloaked the reality of corruption and chaos.鈥�
鈥� 鈥淓ven their gods serve the state, rather than the other way round.鈥�
鈥� 鈥淐opulation has become an act designed to obtain power, either social or political; an adulterer may be more dangerous than a conspirator, both to your person and his country.鈥�
鈥� 鈥淚 have conquered the world, and none of it is secure.鈥� (Julius Caesar)
Other Quotes
鈥� 鈥淲e shall do the boy honor, we shall do him praise, and we shall do him in.鈥�
鈥� 鈥淗istory will not know the truth, if history ever can.鈥�
鈥� 鈥淚 could trust the poets because I was unable to give them what they wanted.鈥�
鈥� 鈥淭hinking that allusive loquacity is subtlety.鈥�
鈥� 鈥淪he was cold, and thus could feign warmth with utter success.鈥�
There Could Have Been More
Apparently, the only writing advice his wife ever gave him was "You have gone on too long. You need to stop sooner." - about this book, and he took her advice! See this interview with Nancy Gardner Williams: .
There are myriad perspectives: it鈥檚 like viewing the ancient world through a kaleidoscope or the facets of a gemstone.
Or maybe it鈥檚 more like a hall of mirrors and windows, where you鈥檙e barely sure which is which and what distortions there may be. Versailles, perhaps: another palace of opulence and intrigue.
It is non-linear: like a narrative tapestry, sewn with backstitch.
It鈥檚 a scrapbook of documents and fragments in different styles, and for different purposes (a little like the Bible).
There鈥檚 a woman鈥檚 sexual awakening: her acknowledgement and embracing of it, regardless of taboos and risks.
An adoring father ensures his daughter has the education usually denied to girls.
There is an agonising sacrifice, a cruel example of being hoist by one鈥檚 own petard.
The storytelling is like Charon鈥檚 gently rocking boat, like Augustus鈥� final journey: the shimmering reflections are disorienting, and the direction is unpredictable, but the destination is sure.
Content and Structure
The story starts just before the murder of Julius Caesar, leaving his great nephew and adopted son, Gaius Octavius, as heir. He is young (18), academic rather than martial, with slightly poor health, quietly spoken, inscrutable, loyal to friends, but is shrewd. The story ends when Octavius, now Emperor Augustus, dies aged 76. In between there are complex machinations: rumours, political plots, wars, marriages and divorces of convenience, births, deaths, assassinations, friendships forged and broken, rituals, parties, and journeys - literal and metaphorical.
It is told via letters, memoirs, poems, military orders, doctor鈥檚 orders, journals, memos, senatorial proceedings, consular orders, petitions, and poems. They are from a wide variety of protagonists, some written at the time, and others with the benefit of hindsight: all the key events, and many apparently trivial ones, are described by friend and foe, as they happened, and immediately contrasted by another view, written decades later. No one is objective. (I have not investigated where it departs from or adds to authenticated history.)
There are three parts. The first is mostly political scheming and battle tactics, told and spun by men. The second gives voice to many of the women, especially Augustus鈥� adult daughter, Julia. There鈥檚 still political and domestic intrigue, and some male narrative, but there鈥檚 a more human and intensely personal face as well. In the short third part, we finally hear from the eponymous emperor as he evaluates his long life and anticipates his imminent death and the consequences for his empire and people.
Julia
鈥�I had been a wife, a goddess, and the second woman of Rome. If I felt anything [about being widowed]鈥� it was relief.鈥�
This book could just as easily have borne the name of Augustus鈥� daughter. It鈥檚 almost as much about her, and we read far more of her words than his. She sometimes wields influence and lies to her own advantage (as well as being a victim of such), but because we hear her through her private journal, she seems the most honest of anyone. We understand her motives and her desires. Especially her desires. I came to love Julia.
鈥�This body鈥� began its service late, for it was told that it had no rights, and must by the nature of things be subservient to dictates other than its own.鈥�
鈥�A breeze鈥� I could hear it rustle among the cypresses and plane trees as it touched my silken tunic like a caress.鈥�
鈥�This body鈥� has served me, while seeming to serve others鈥� and the lover to whom I gave pleasure was a victim of my own desire.鈥�
Duty, Destiny, and Personal Pain
Power and wealth come with a price. The plot is full of manipulation, sometimes selfish and sometimes altruistic, but the deeper theme is the huge personal cost of submitting to fate and duty.
Augustus鈥� sister Octavia, married and remarried at her brother鈥檚 dictat, says 鈥淚 sometimes think that the meanest slave has more freedom than we women have known.鈥� But another woman, closer to the emperor's heart suffers more. And Augustus himself, nearing death, believes his life 鈥渁ccommodated to鈥� public necessity鈥� and thus, 鈥淚 have been more nearly ruled than ruler.鈥� I'm not sure if he makes final peace with his role in the fate of his beloved daughter.
Truth and Lies: Then and in 2017
鈥�How do you oppose a foe who is wholly irrational and unpredictable - and yet who, out of animal energy and the accident of circumstance, has attained the most frightening power?鈥� (Maecenas of Marcus Antonius)
I read this as Donald Trump was inaugurated as President of the United States and when the news was full of discussion and fear about temperament, power, and truth versus
Sometimes people knowingly defend and spread outright lies for their own benefit. Here, that鈥檚 Augustus accepting Marcus Antonius鈥檚 description of his Parthian disaster as a triumph. The hope was that he would desert Egypt (and Cleopatra) to become a true Roman again, and the need was to inspire citizens ground down by years of war and civil war.
Everyone has an agenda, whether it be mere survival or something more selfish and acquisitive, and motives change with circumstances. How can one know what is true and who to trust?
No surprise that in old age, Augustus thinks all histories 鈥渁re lies鈥� There are no untruths鈥� few errors of fact; but they are lies鈥�. Reading of himself, he sees 鈥渁 man who bore my name but a man I hardly know.鈥� Thus, 鈥淎ll lives are mysterious, I suppose, even my own.鈥�
"He discovered in all others those vices he would not recognise in himself."
Julia, on Livia's son, Tiberius. Or possibly contemporary political commentary.
Stoner and Butcher鈥檚 Crossing - and his fourth/first book
John Williams wrote three brilliant, but very different novels (plus a youthful novella he later disowned).
They鈥檙e ostensibly about complex relationships between men, but in utterly different settings. This is about politics and war in ancient Rome. Women鈥檚 power is mostly covert. Butcher鈥檚 Crossing is a bildungsroman about a privileged 19 century young man on a long and perilous buffalo hunt. Women barely feature. Stoner is about a quiet man who loves and lives for literature in academia. The few women in it are seen from the perspective of and in relation to men. That makes the strong female narrative in Augustus all the more surprising. But here, as in Stoner, the intense and devoted father-daughter relationship of childhood is tragically sacrificed: the lesser of several evils, for the greater good.
See the end of my review of his first (disowned) novel, Nothing But The Night, HERE, for a comparison of all four.
Philosophical Quotes
鈥� 鈥淚f it is one鈥檚 destiny to change the world, it is his necessity first to change himself.鈥�
鈥� 鈥淎 man may live like a fool for a year, and become wise in a day.鈥�
鈥� 鈥淭he death of an old enemy is curiously like the death of an old friend.鈥�
鈥� 鈥淭o care not for oneself is of little moment, but to care not for those whom one has loved is another matter. All has become a matter of indifferent curiosity, and nothing is of consequence.鈥�
鈥� 鈥淓rotic love is the most unselfish鈥� it seeks to become one with another, and hence to escape the self.鈥�
鈥� 鈥淎 people may endure an almost incredible series of darkest failures without breaking; but give them respite and some hope for the future, and they may not endure an unexpected denial of that hope.鈥�
鈥� 鈥淭hose [anti-adultery] laws鈥� were not intended so much to be obeyed as to be followed; I believed that there was no possibility of virtue without the idea of virtue.鈥�
鈥� Perspective changes with maturity:
鈥淭he young man... sees life as a kind of epic adventure, an Odyssey... where he will test and prove his powers, and thereby discover his immortality...
The man of middle years... sees life as a tragedy; for he has learned that his power, however great, will not prevail鈥� and has learned that he is mortal...
But the man of age... must see life as a comedy. For his triumphs and failures merge.鈥�
Quotes about Rome
鈥� 鈥淩ome, where no man knows his enemy or his friend, where license is more admired than virtue, and where principle has become servant to self.鈥�
鈥� 鈥淭he appearance of tradition and order cloaked the reality of corruption and chaos.鈥�
鈥� 鈥淓ven their gods serve the state, rather than the other way round.鈥�
鈥� 鈥淐opulation has become an act designed to obtain power, either social or political; an adulterer may be more dangerous than a conspirator, both to your person and his country.鈥�
鈥� 鈥淚 have conquered the world, and none of it is secure.鈥� (Julius Caesar)
Other Quotes
鈥� 鈥淲e shall do the boy honor, we shall do him praise, and we shall do him in.鈥�
鈥� 鈥淗istory will not know the truth, if history ever can.鈥�
鈥� 鈥淚 could trust the poets because I was unable to give them what they wanted.鈥�
鈥� 鈥淭hinking that allusive loquacity is subtlety.鈥�
鈥� 鈥淪he was cold, and thus could feign warmth with utter success.鈥�
There Could Have Been More
Apparently, the only writing advice his wife ever gave him was "You have gone on too long. You need to stop sooner." - about this book, and he took her advice! See this interview with Nancy Gardner Williams: .
December 7, 2022
I BARBARI ASPETTANO
Qui, e a seguire, rappresentazioni scultoree di Gaio Giulio Cesare Ottaviano Augusto, il primo imperatore romano, dal 27 A.C. al 14 D.C.
Dalle note d'autore:
Alcuni errori di fatto, in questo libro, sono voluti. Ho modificato l鈥檕rdine di numerosi avvenimenti. Ho inventato l脿 dove i dati storici sono incerti o incompleti. E ho creato alcuni personaggi cui la Storia non fa cenno鈥� Tranne poche eccezioni, i documenti che formano questo romanzo sono inventati鈥� Ma se in questo lavoro sono presenti delle verit脿, sono le verit脿 della narrativa pi霉 che della Storia. Sar貌 grato a quei lettori che lo accoglieranno per quello che vuole essere: un鈥檕pera dell鈥檌mmaginazione.
Questo si legge all鈥檌nizio, e non alla fine, dell鈥檕pera.
E gi脿 questo dovrebbe convincere a lasciar perdere l鈥檃ttendibilit脿 storica, il confronto testo-a-fronte.
Come se non bastasse, Williams scrive:
Ma la Storia non conosce la verit脿, ammesso che la Storia possa mai conoscerla.
E forse 猫 stato proprio questo a spingere il filologo e storico Luciano Canfora a bocciare il romanzo di Williams proprio sul piano della veridicit脿 storica 鈥� con inutile puntiglio accademico, con una serie di motivazioni che lasciano il tempo che trovano.
Williams imbastisce la sua narrazione con una collazione di testi e fonti: carteggi, diari, testimonianze, documenti ufficiali.
Per oltre trecento pagine Augusto esiste solo attraverso quello che di lui riportano coloro che lo hanno conosciuto, frequentato, amato, servito, ubbidito, temuto, combattuto, tradito.
Il collage si compone di molte voci, sfalsate nel tempo, oppure contemporanee ai fatti: toni diversi, punti di vista diversi, angolazioni diverse, piani temporali diversi.
Un coro di voci che racconta bene il tempo e il protagonista, in certi momenti costruendo perfino suspense, in altri regalando autentiche sorprese (su tutte, la descrizione di Roma che fa Strabone al suo amico Nicolao di Damasco, una citt脿 43 anni prima della nascita di cristo che fa venire in mente la Ville Lumi猫re, e anche la Grande Mela).
Augusto fu investito dalla Storia che era ancora adolescente: il suo corpo fragile fu una costante che sconsigliava dal ritenerlo duraturo.
Eppure, nonostante le frequenti malattie, si sottopose a fatiche non comuni: oltre le battaglie, le vittorie, le conquiste, riport锟斤拷 pace unit脿 e diritto a Roma, donandole quarant鈥檃nni di stabilit脿 e prosperit脿.
Questo, la lunga pace, fu il suo pi霉 grande successo: il suo poema, paragonabile a quelli degli amici poeti, letterati, filosofi con cui amava intrattenersi (Virgilio, Orazio, Ovidio鈥�.).
Peccato che la terza parte del libro sia totalmente diversa dalle prime due, poliedriche, agili, leste, leggere, spedite, snelle鈥� La terza 猫 un blocco monolitico, un'unica lunga lettera di Augusto, quarantacinque pagine di cui davvero non sentivo il bisogno. C鈥檈ra gi脿 tutto, non mi pare che la diretta voce di Augusto aggiunga dettagli o novit脿.
Come mi 猫 gi脿 successo, un autore che mi ha regalato letture meravigliose (Stoner, Butcher鈥檚 Crossing) mi delude parzialmente proprio nella sua opera pi霉 famosa e premiata (National Book Award).
I barbari aspettano. Ma Roma non cadr脿 davanti a loro, cadr脿 alla fine davanti a quel barbaro cui nessuno si sottrae鈥� il Tempo.
Qui, e a seguire, rappresentazioni scultoree di Gaio Giulio Cesare Ottaviano Augusto, il primo imperatore romano, dal 27 A.C. al 14 D.C.
Dalle note d'autore:
Alcuni errori di fatto, in questo libro, sono voluti. Ho modificato l鈥檕rdine di numerosi avvenimenti. Ho inventato l脿 dove i dati storici sono incerti o incompleti. E ho creato alcuni personaggi cui la Storia non fa cenno鈥� Tranne poche eccezioni, i documenti che formano questo romanzo sono inventati鈥� Ma se in questo lavoro sono presenti delle verit脿, sono le verit脿 della narrativa pi霉 che della Storia. Sar貌 grato a quei lettori che lo accoglieranno per quello che vuole essere: un鈥檕pera dell鈥檌mmaginazione.
Questo si legge all鈥檌nizio, e non alla fine, dell鈥檕pera.
E gi脿 questo dovrebbe convincere a lasciar perdere l鈥檃ttendibilit脿 storica, il confronto testo-a-fronte.
Come se non bastasse, Williams scrive:
Ma la Storia non conosce la verit脿, ammesso che la Storia possa mai conoscerla.
E forse 猫 stato proprio questo a spingere il filologo e storico Luciano Canfora a bocciare il romanzo di Williams proprio sul piano della veridicit脿 storica 鈥� con inutile puntiglio accademico, con una serie di motivazioni che lasciano il tempo che trovano.
Williams imbastisce la sua narrazione con una collazione di testi e fonti: carteggi, diari, testimonianze, documenti ufficiali.
Per oltre trecento pagine Augusto esiste solo attraverso quello che di lui riportano coloro che lo hanno conosciuto, frequentato, amato, servito, ubbidito, temuto, combattuto, tradito.
Il collage si compone di molte voci, sfalsate nel tempo, oppure contemporanee ai fatti: toni diversi, punti di vista diversi, angolazioni diverse, piani temporali diversi.
Un coro di voci che racconta bene il tempo e il protagonista, in certi momenti costruendo perfino suspense, in altri regalando autentiche sorprese (su tutte, la descrizione di Roma che fa Strabone al suo amico Nicolao di Damasco, una citt脿 43 anni prima della nascita di cristo che fa venire in mente la Ville Lumi猫re, e anche la Grande Mela).
Augusto fu investito dalla Storia che era ancora adolescente: il suo corpo fragile fu una costante che sconsigliava dal ritenerlo duraturo.
Eppure, nonostante le frequenti malattie, si sottopose a fatiche non comuni: oltre le battaglie, le vittorie, le conquiste, riport锟斤拷 pace unit脿 e diritto a Roma, donandole quarant鈥檃nni di stabilit脿 e prosperit脿.
Questo, la lunga pace, fu il suo pi霉 grande successo: il suo poema, paragonabile a quelli degli amici poeti, letterati, filosofi con cui amava intrattenersi (Virgilio, Orazio, Ovidio鈥�.).
Peccato che la terza parte del libro sia totalmente diversa dalle prime due, poliedriche, agili, leste, leggere, spedite, snelle鈥� La terza 猫 un blocco monolitico, un'unica lunga lettera di Augusto, quarantacinque pagine di cui davvero non sentivo il bisogno. C鈥檈ra gi脿 tutto, non mi pare che la diretta voce di Augusto aggiunga dettagli o novit脿.
Come mi 猫 gi脿 successo, un autore che mi ha regalato letture meravigliose (Stoner, Butcher鈥檚 Crossing) mi delude parzialmente proprio nella sua opera pi霉 famosa e premiata (National Book Award).
I barbari aspettano. Ma Roma non cadr脿 davanti a loro, cadr脿 alla fine davanti a quel barbaro cui nessuno si sottrae鈥� il Tempo.
January 21, 2025
Augustus by John Williams, is an epistolary account of the life of perhaps the greatest emperor of Ancient Rome. Born as Gaius Octavius he lived from 63 BCE 鈥� 14 CE. He ruled between 27 BCE 鈥� 14 CE. This book commences when Octavius was a boy, and the first letter is from Julius Caesar to Octavius鈥檚 mother, Atia 鈥� ordering her to send the boy to the military college at Apollonia.
We not only read the letters of people involved and close to the life of Augustus, we also read their memoirs, poems and official documents. The majority of these written accounts are by everyone other than Augustus. This way we see, how the world perceives the man. It is fascinating. Giants, such as Caesar, Agrippa, Mark Antony, Cleopatra, Piso, Seneca, Horace, Virgil and my favourite (swoon) Julia, Augustus鈥檚 daughter.
Augustus鈥︹€︹€︹€︹€�.oh, err, I mean 鈥� the Beautiful, Julia the Elder 鈾ワ笍
Notwithstanding the superb writing of Williams, at one stage I was a wee bit concerned this was more a story about Julia than Augustus. But John Williams eventually addresses this superbly, and this book well and truly deserves the title. Augustus鈥檚 wife, Livia is superbly cast as the pantomime villain, ably supported by her unpopular son, Tiberius.
If you have even the slightest bit of interest in this period of history, I strongly recommend you read this. It is a deeply immersive account of the man responsible for creating the Roman Imperial System. You will get a feel for how he did this. You will also see how his contemporaries feel and think about him (friend and foe), and importantly, you will take away some insight into the great man himself 鈥� how he lived, thought and loved. You may even reflect on your own life and loves 鈥� as I did.
These letters/writings, like any historical fiction, are based on real events and much is taken from real historical events. But they are fictional 鈥� like all good historical fiction, which breathes life into fascinating characters of the past 鈥� this is a brilliant way to learn about history.
The only slight misgiving I have is, the book does not cover the huge amount of changes Augustus implemented, to give the Senate and other officials the belief they still ran the show, when in fact he was the man in charge. He manhandled them with kid gloves 鈥� allowing for some atrocities of course. However, this book is not supposed to be a dry account of how good an administrator and leader he was 鈥� it is intended to be about him, the man. Other books serve that purpose.
Augustus was a man of his time, and a colossus of antiquity.
5 Stars
My enjoyment of this book was increased many times over by fellow buddy readers Emperor Dave (who ran the group) and fellow Plebians Lisa and Debi 鈥� all threw around perspectives that always seem to pass me by and made this experience so much richer.
My buddy鈥檚 reviews can be found here:
Lisa: /review/show...
Dave: /review/show...
Debi: /review/show...
We not only read the letters of people involved and close to the life of Augustus, we also read their memoirs, poems and official documents. The majority of these written accounts are by everyone other than Augustus. This way we see, how the world perceives the man. It is fascinating. Giants, such as Caesar, Agrippa, Mark Antony, Cleopatra, Piso, Seneca, Horace, Virgil and my favourite (swoon) Julia, Augustus鈥檚 daughter.
Augustus鈥︹€︹€︹€︹€�.oh, err, I mean 鈥� the Beautiful, Julia the Elder 鈾ワ笍
Notwithstanding the superb writing of Williams, at one stage I was a wee bit concerned this was more a story about Julia than Augustus. But John Williams eventually addresses this superbly, and this book well and truly deserves the title. Augustus鈥檚 wife, Livia is superbly cast as the pantomime villain, ably supported by her unpopular son, Tiberius.
If you have even the slightest bit of interest in this period of history, I strongly recommend you read this. It is a deeply immersive account of the man responsible for creating the Roman Imperial System. You will get a feel for how he did this. You will also see how his contemporaries feel and think about him (friend and foe), and importantly, you will take away some insight into the great man himself 鈥� how he lived, thought and loved. You may even reflect on your own life and loves 鈥� as I did.
These letters/writings, like any historical fiction, are based on real events and much is taken from real historical events. But they are fictional 鈥� like all good historical fiction, which breathes life into fascinating characters of the past 鈥� this is a brilliant way to learn about history.
The only slight misgiving I have is, the book does not cover the huge amount of changes Augustus implemented, to give the Senate and other officials the belief they still ran the show, when in fact he was the man in charge. He manhandled them with kid gloves 鈥� allowing for some atrocities of course. However, this book is not supposed to be a dry account of how good an administrator and leader he was 鈥� it is intended to be about him, the man. Other books serve that purpose.
Augustus was a man of his time, and a colossus of antiquity.
5 Stars
My enjoyment of this book was increased many times over by fellow buddy readers Emperor Dave (who ran the group) and fellow Plebians Lisa and Debi 鈥� all threw around perspectives that always seem to pass me by and made this experience so much richer.
My buddy鈥檚 reviews can be found here:
Lisa: /review/show...
Dave: /review/show...
Debi: /review/show...
June 25, 2023
鈥淔or no law may adequately determine a spirit, nor fulfill a desire for virtue鈥︹€�
As I turned to the first pages of "Augustus", little did I know that I was about to embark on a remarkable journey through time and bear witness to the grand tapestry of Roman history. And so, I followed in the footsteps of Gaius Octavius, witnessing his transformation into the legendary Augustus. I watched the young and unassuming Octavius, his eyes burning with determination as he was poised to inherit the vast empire left by his great-uncle, Julius Caesar.
Through the distilled prose of the epistles, I found myself privy to the intimate exchanges between Augustus and his closest companions. I listened to their voices echoing through time, their words revealing the challenges of governance, the alliances forged, and the burdens borne by a leader. I became an unseen witness to the conversations between Augustus, Agrippa, Salvidienus and Maecenas, their friendship blooming amidst the complexities of power. I observed the delicate union between Augustus and his wife Livia; their love both tender and tempestuous, forged in the crucible of power, cast in the weight of their shared ambitions and the unspoken sacrifices made for the empire. I felt his sorrow for his beloved daughter Julia, exiled and imprisoned to save the State. I saw Mark Antony and Cleopatra burst into the narrative, their presence igniting passions and fuelling rivalries. Cicero the gifted consul entangled in a game of power and virtue. The eloquent words of Virgil and Horace echoed throughout, painting vivid pictures of a golden age and the quest for beauty.
鈥淥ne does not deceive oneself about the consequences of one鈥檚 acts; one deceives oneself about the ease with which one can live with those consequences.鈥�
"Augustus" is a mesmerizing travelog of a world long gone, revealing the timeless truths of human nature, the weight of power, and the ambivalence between public necessity and private want or need. Although the novel lacks the depth and lyrical quality of Yourcenar's "Memoirs of Hadrian", it is still inviting to ponder the existential questions that lie at the heart of the human condition.
鈥淚f it is one鈥檚 destiny to change the world, it is his necessity first to change himself.鈥�
4.25/5
PS. Of time and age: 鈥淭he young man, who does not know the future, sees life as a kind of epic adventure, an Odyssey through strange seas and unknown islands, where he will test and prove his powers, and thereby discover his immortality. The man of middle years, who has lived the future that he once dreamed, sees life as a tragedy, for he has learned that his power, however great, will not prevail against those forces of accident and nature to which he gives the names of gods, and has learned that he is mortal. But the man of age, if he plays his assigned role properly, must see life as a comedy. For his triumphs and his failures merge, and one is no more the occasion for pride or shame than the other, and he is neither the hero who proves himself against those forces, nor the protagonist who is destroyed by them. Like any poor, pitiable shell of an actor, he comes to see that he has played so many parts that there no longer is himself.鈥�
As I turned to the first pages of "Augustus", little did I know that I was about to embark on a remarkable journey through time and bear witness to the grand tapestry of Roman history. And so, I followed in the footsteps of Gaius Octavius, witnessing his transformation into the legendary Augustus. I watched the young and unassuming Octavius, his eyes burning with determination as he was poised to inherit the vast empire left by his great-uncle, Julius Caesar.
Through the distilled prose of the epistles, I found myself privy to the intimate exchanges between Augustus and his closest companions. I listened to their voices echoing through time, their words revealing the challenges of governance, the alliances forged, and the burdens borne by a leader. I became an unseen witness to the conversations between Augustus, Agrippa, Salvidienus and Maecenas, their friendship blooming amidst the complexities of power. I observed the delicate union between Augustus and his wife Livia; their love both tender and tempestuous, forged in the crucible of power, cast in the weight of their shared ambitions and the unspoken sacrifices made for the empire. I felt his sorrow for his beloved daughter Julia, exiled and imprisoned to save the State. I saw Mark Antony and Cleopatra burst into the narrative, their presence igniting passions and fuelling rivalries. Cicero the gifted consul entangled in a game of power and virtue. The eloquent words of Virgil and Horace echoed throughout, painting vivid pictures of a golden age and the quest for beauty.
鈥淥ne does not deceive oneself about the consequences of one鈥檚 acts; one deceives oneself about the ease with which one can live with those consequences.鈥�
"Augustus" is a mesmerizing travelog of a world long gone, revealing the timeless truths of human nature, the weight of power, and the ambivalence between public necessity and private want or need. Although the novel lacks the depth and lyrical quality of Yourcenar's "Memoirs of Hadrian", it is still inviting to ponder the existential questions that lie at the heart of the human condition.
鈥淚f it is one鈥檚 destiny to change the world, it is his necessity first to change himself.鈥�
4.25/5
PS. Of time and age: 鈥淭he young man, who does not know the future, sees life as a kind of epic adventure, an Odyssey through strange seas and unknown islands, where he will test and prove his powers, and thereby discover his immortality. The man of middle years, who has lived the future that he once dreamed, sees life as a tragedy, for he has learned that his power, however great, will not prevail against those forces of accident and nature to which he gives the names of gods, and has learned that he is mortal. But the man of age, if he plays his assigned role properly, must see life as a comedy. For his triumphs and his failures merge, and one is no more the occasion for pride or shame than the other, and he is neither the hero who proves himself against those forces, nor the protagonist who is destroyed by them. Like any poor, pitiable shell of an actor, he comes to see that he has played so many parts that there no longer is himself.鈥�
June 26, 2016
This is more than a lush recreation of the nuanced menace of diplomatic skirmishing and Machiavellian intrigue, public guilelessness and carnage that gave birth to the Roman Empire under the ruling of its first Emperor.
This is more than a walk through the path of history because it takes unusual detours of borrowed memories penned by secondary historical figures that surrounded Octavius Caesar Augustus.
Delivered in a non-chronological letters that carry moments of high pathos spanning over sixty years, the image of the Caesar is multi-dimensionally painted through the colorful tapestry of manifold perspectives, and his flaws, ambitions and human incongruities are so incredibly detailed that not much is left to the imagination.
The physical and psychological portrait of the two-faceted Emperor that Williams moulds with obsessive pulchritude; invincible earthly god and torn man, is not only convincing, but also devastatingly real.
To me, Williams鈥� historical epic is the epitome of the epistolary genre and the resulting legacy of a supremely executed labor of love for words, poetry and humbling introspection.
鈥淚nopem me copia fecit鈥� , Ovid forewarns in his magnum opus Metamorphoses; something Octavius came to understand only too well right after Julius Caesar鈥檚 assassination, the fresh outbreak of civil war and the eventual foundation of the triumvirate composed of Octavius, Marcus Antonius and Aemilius Lepidus gave him the throne of the world. Besides presiding the altar of Rome Octavius was slave to his own notion of justice and freedom, becoming, in his self-demanding eyes, a botched caricature of the man he aspired to be.
Forty years of relative peace and Roman splendor ensued鈥� but at what expense?
Can the man live up to the consequences of his acts and disguise his turmoil with the unflinching ease of the almighty sovereign?
Octavius had two lifelong love stories that cost him his soul and peace of mind.
His daughters: Rome and Julia.
The first deprived him of his free will, the second of his good judgement.
And they both ended up betraying him.
For the sake of a fiery passion, Julia conspired against her own father and was banished to the barren island of Pandeteria, condemned to become Octavius鈥� particular Miranda. But unlike Prospero, the ruler of the Empire couldn鈥檛 save his daughter by renouncing to his power.
Time also turned Rome against its legitimate master. It fell under the dominion of barbarian hands that tainted Octavius鈥� vision of a glorious future.
And yet, in the third and closing section of the book, where the aged Emperor writes to his old friend Nicolaus of Damascus, historian and philosopher, as he faces up his longest journey ever, as he recapitulates the undeniable triumphs accumulated during his public life, he embraces love as the most pure and enduring force of all without a shred of regret, spite, or self-pity.
Instead, as the sunlight caresses his wrinkled face and flecks of white foam sparkle the briny breeze, kissing the waves that slap gently against the deck of his ship, Octavius finds some symmetry in his uneven existence and reaches the comforting conclusion that like the poets Ovid, Virgil and Horace, whose artistry set them free, his torment was a privilege, his curse a blessing, and his unconditional love for Julia, and for Rome, in that precise order, were the secret catalyst that made him vulnerable鈥� and invincible.
Like the poet for his words, like the philosopher for his doctrine, Octavius allowed himself to be disintegrated under the weight of his own contradictions for the sake of an ideal; that of peace and equal prosperity. Neither triumphant nor defeated, the man touches the divine when he is moved by the beauty of his Arcadian dreams, but never by his achievements.
This is more than a walk through the path of history because it takes unusual detours of borrowed memories penned by secondary historical figures that surrounded Octavius Caesar Augustus.
Delivered in a non-chronological letters that carry moments of high pathos spanning over sixty years, the image of the Caesar is multi-dimensionally painted through the colorful tapestry of manifold perspectives, and his flaws, ambitions and human incongruities are so incredibly detailed that not much is left to the imagination.
The physical and psychological portrait of the two-faceted Emperor that Williams moulds with obsessive pulchritude; invincible earthly god and torn man, is not only convincing, but also devastatingly real.
To me, Williams鈥� historical epic is the epitome of the epistolary genre and the resulting legacy of a supremely executed labor of love for words, poetry and humbling introspection.
鈥淚nopem me copia fecit鈥� , Ovid forewarns in his magnum opus Metamorphoses; something Octavius came to understand only too well right after Julius Caesar鈥檚 assassination, the fresh outbreak of civil war and the eventual foundation of the triumvirate composed of Octavius, Marcus Antonius and Aemilius Lepidus gave him the throne of the world. Besides presiding the altar of Rome Octavius was slave to his own notion of justice and freedom, becoming, in his self-demanding eyes, a botched caricature of the man he aspired to be.
Forty years of relative peace and Roman splendor ensued鈥� but at what expense?
Can the man live up to the consequences of his acts and disguise his turmoil with the unflinching ease of the almighty sovereign?
Octavius had two lifelong love stories that cost him his soul and peace of mind.
His daughters: Rome and Julia.
The first deprived him of his free will, the second of his good judgement.
And they both ended up betraying him.
For the sake of a fiery passion, Julia conspired against her own father and was banished to the barren island of Pandeteria, condemned to become Octavius鈥� particular Miranda. But unlike Prospero, the ruler of the Empire couldn鈥檛 save his daughter by renouncing to his power.
Time also turned Rome against its legitimate master. It fell under the dominion of barbarian hands that tainted Octavius鈥� vision of a glorious future.
And yet, in the third and closing section of the book, where the aged Emperor writes to his old friend Nicolaus of Damascus, historian and philosopher, as he faces up his longest journey ever, as he recapitulates the undeniable triumphs accumulated during his public life, he embraces love as the most pure and enduring force of all without a shred of regret, spite, or self-pity.
Instead, as the sunlight caresses his wrinkled face and flecks of white foam sparkle the briny breeze, kissing the waves that slap gently against the deck of his ship, Octavius finds some symmetry in his uneven existence and reaches the comforting conclusion that like the poets Ovid, Virgil and Horace, whose artistry set them free, his torment was a privilege, his curse a blessing, and his unconditional love for Julia, and for Rome, in that precise order, were the secret catalyst that made him vulnerable鈥� and invincible.
Like the poet for his words, like the philosopher for his doctrine, Octavius allowed himself to be disintegrated under the weight of his own contradictions for the sake of an ideal; that of peace and equal prosperity. Neither triumphant nor defeated, the man touches the divine when he is moved by the beauty of his Arcadian dreams, but never by his achievements.
April 17, 2022
鈥淕racias a la labor de Octavio, Roma es ahora la ciudad m谩s bella del mundo. 驴Por qu茅 no van a disfrutar sus ciudadanos, llevados por los deseos de su coraz贸n, de esa misma belleza y elegancia desconocidas hasta ahora?鈥�
Carta de Publio Ovidio Nas贸n a Sexto Propertio (10 a. C.)
鈥淓l hijo de C茅sar鈥� est谩 narrada de principio a fin en forma de ep铆stolas. Pero ojo, ni ordenadas cronol贸gicamente ni por personajes. Podemos saltar del a帽o 4 d. C. al a帽o 39 a. C. de una p谩gina a otra. Podemos pasar de una ep铆stola de Nicol谩s de Damasco dirigida a Mecenas en una p谩gina, a pasar a otra de Livia a su hijo Tiberio en la siguiente, o al diario de Julia escrito en Pandataria en el mismo cap铆tulo. Es decir, que si esperas orden y cronolog铆a, en esta novela no lo vas a encontrar.
Suena ca贸tico, 驴verdad? Pues al principio lo es, y mucho. Hay que darle unas cuantas p谩ginas e incluso cap铆tulos para poder ir pillando el hilo conductor pretendido por Williams. Pero hete aqu铆 que, en medio de todo este caos y batiburrillo, llega un momento en el que te das cuenta que te resistes a cerrar el libro. Te ha enganchado, y ya no quieres parar de leer.
Todo comienza con la misiva de Julio C茅sar a Antia, madre de Octavio. En ella le conmina a que saque a su hijo de la vida licenciosa que lleva en Roma, envi谩ndolo a Apolonia a estudiar con los preceptores elegidos por el propio C茅sar.
Pasamos a continuaci贸n a conocer a los amigos del alma de Octavio: Agripa, Rufo y Mecenas. Con ellos est谩 cuando le llegan las nuevas del fallecimiento de su padre adoptivo, y del testamento en el que declara a Octavio su heredero. Sin embargo, deben de obrar con cautela. El cad谩ver de Julio C茅sar est谩 a煤n caliente, y son muchos y muy poderosos los que intentan restaurar la rep煤blica a toda costa. La vida de Octavio no vale un sestercio, salvo que sepa maniobrar con maestr铆a y regresar a Roma de forma que nadie le pueda negar lo que por testamento le corresponde.
De ah铆 en adelante conoceremos su relaci贸n de amor y odio con Marco Antonio, su triunvirato junto a L茅pido, y el tr谩gico desenlace que aguarda al mencionado Marco Antonio tras su uni贸n con Cleopatra y su derrota a manos de Octavio en Actium. A partir de ah铆, Octavio ya ser谩 Augusto, y aunque intentar谩 poner paz en el Imperio y en la propia ciudad de Roma, muchas ser谩n las confabulaciones que intentar谩n que sus intenciones no lleguen a cuajar.
Entre las numerosas ep铆stolas que componen esta maravillosa novela, me he sentido especialmente atra铆do por las que componen el diario de Julia (conocida como la Mayor), hija de Augusto y de su segunda esposa, Escribonia. A pesar del cari帽o que su padre le profesaba, se sirvi贸 de su vida para contraer alianzas que le beneficiaban (lo l贸gico de la 茅poca). Primero la prometi贸 al hijo de Marco Antonio, con el que no lleg贸 a casarse por causa de la guerra civil entre ambos. Luego la casar铆a con su yerno Marco Marcelo. M谩s tarde con su propio amigo del alma Agripa, con el que s铆 tuvo descendencia y parece que le dio algo de felicidad. Finalmente, a la muerte de Agripa, la casar铆a con su hijastro Tiberio (futuro sucesor de Octavio). Matrimonio infeliz donde los haya, pues ni se quer铆an ni pod铆an verse mutuamente. Para colmo, tuvieron un hijo que no prosper贸. En esa 茅poca, y a ra铆z de un viaje inici谩tico de Julia por Oriente, parece ser que comenz贸 la disipada vida de este desgraciado personaje, que culminar铆a con su destierro en Pandataria, acompa帽ada por su madre, Escribonia. All铆, y una vez fallecido Octavio, parece ser que Tiberio pudo vengarse de ella a placer, dej谩ndola morir por desnutrici贸n. Su diario no tiene desperdicio.
Novela que me ha recordado enormemente al 鈥淵o, Claudio鈥� de Graves. Williams consigue crear de un (en principio) ca贸tico desorden de notas un entramado de personajes y situaciones que te mete de lleno en la 茅poca. Que te arrastra inexorablemente a vivir las situaciones descritas, y a disfrutar de poco m谩s de 300 p谩ginas, revolc谩ndote en ellas como cerdo en un lodazal. Magn铆fica novela. Cinco estrellas como cinco dioses romanos.
鈥� 鈥擯adre 鈥攑regunt茅鈥�, 驴ha merecido la pena? Quiero decir, el poder, esta Roma a la que has salvado, esta Roma que has construido鈥� 驴Ha merecido la pena todo lo que has tenido que hacer?
Mi padre me mir贸 durante un largo tiempo, y despu茅s desvi贸 la mirada.
鈥擠ebo creer que s铆 鈥攄ijo鈥�. Los dos debemos creer que s铆鈥�.
Diario de Julia, Pandateria (4 d. C.)
Carta de Publio Ovidio Nas贸n a Sexto Propertio (10 a. C.)
鈥淓l hijo de C茅sar鈥� est谩 narrada de principio a fin en forma de ep铆stolas. Pero ojo, ni ordenadas cronol贸gicamente ni por personajes. Podemos saltar del a帽o 4 d. C. al a帽o 39 a. C. de una p谩gina a otra. Podemos pasar de una ep铆stola de Nicol谩s de Damasco dirigida a Mecenas en una p谩gina, a pasar a otra de Livia a su hijo Tiberio en la siguiente, o al diario de Julia escrito en Pandataria en el mismo cap铆tulo. Es decir, que si esperas orden y cronolog铆a, en esta novela no lo vas a encontrar.
Suena ca贸tico, 驴verdad? Pues al principio lo es, y mucho. Hay que darle unas cuantas p谩ginas e incluso cap铆tulos para poder ir pillando el hilo conductor pretendido por Williams. Pero hete aqu铆 que, en medio de todo este caos y batiburrillo, llega un momento en el que te das cuenta que te resistes a cerrar el libro. Te ha enganchado, y ya no quieres parar de leer.
Todo comienza con la misiva de Julio C茅sar a Antia, madre de Octavio. En ella le conmina a que saque a su hijo de la vida licenciosa que lleva en Roma, envi谩ndolo a Apolonia a estudiar con los preceptores elegidos por el propio C茅sar.
Pasamos a continuaci贸n a conocer a los amigos del alma de Octavio: Agripa, Rufo y Mecenas. Con ellos est谩 cuando le llegan las nuevas del fallecimiento de su padre adoptivo, y del testamento en el que declara a Octavio su heredero. Sin embargo, deben de obrar con cautela. El cad谩ver de Julio C茅sar est谩 a煤n caliente, y son muchos y muy poderosos los que intentan restaurar la rep煤blica a toda costa. La vida de Octavio no vale un sestercio, salvo que sepa maniobrar con maestr铆a y regresar a Roma de forma que nadie le pueda negar lo que por testamento le corresponde.
De ah铆 en adelante conoceremos su relaci贸n de amor y odio con Marco Antonio, su triunvirato junto a L茅pido, y el tr谩gico desenlace que aguarda al mencionado Marco Antonio tras su uni贸n con Cleopatra y su derrota a manos de Octavio en Actium. A partir de ah铆, Octavio ya ser谩 Augusto, y aunque intentar谩 poner paz en el Imperio y en la propia ciudad de Roma, muchas ser谩n las confabulaciones que intentar谩n que sus intenciones no lleguen a cuajar.
Entre las numerosas ep铆stolas que componen esta maravillosa novela, me he sentido especialmente atra铆do por las que componen el diario de Julia (conocida como la Mayor), hija de Augusto y de su segunda esposa, Escribonia. A pesar del cari帽o que su padre le profesaba, se sirvi贸 de su vida para contraer alianzas que le beneficiaban (lo l贸gico de la 茅poca). Primero la prometi贸 al hijo de Marco Antonio, con el que no lleg贸 a casarse por causa de la guerra civil entre ambos. Luego la casar铆a con su yerno Marco Marcelo. M谩s tarde con su propio amigo del alma Agripa, con el que s铆 tuvo descendencia y parece que le dio algo de felicidad. Finalmente, a la muerte de Agripa, la casar铆a con su hijastro Tiberio (futuro sucesor de Octavio). Matrimonio infeliz donde los haya, pues ni se quer铆an ni pod铆an verse mutuamente. Para colmo, tuvieron un hijo que no prosper贸. En esa 茅poca, y a ra铆z de un viaje inici谩tico de Julia por Oriente, parece ser que comenz贸 la disipada vida de este desgraciado personaje, que culminar铆a con su destierro en Pandataria, acompa帽ada por su madre, Escribonia. All铆, y una vez fallecido Octavio, parece ser que Tiberio pudo vengarse de ella a placer, dej谩ndola morir por desnutrici贸n. Su diario no tiene desperdicio.
Novela que me ha recordado enormemente al 鈥淵o, Claudio鈥� de Graves. Williams consigue crear de un (en principio) ca贸tico desorden de notas un entramado de personajes y situaciones que te mete de lleno en la 茅poca. Que te arrastra inexorablemente a vivir las situaciones descritas, y a disfrutar de poco m谩s de 300 p谩ginas, revolc谩ndote en ellas como cerdo en un lodazal. Magn铆fica novela. Cinco estrellas como cinco dioses romanos.
鈥� 鈥擯adre 鈥攑regunt茅鈥�, 驴ha merecido la pena? Quiero decir, el poder, esta Roma a la que has salvado, esta Roma que has construido鈥� 驴Ha merecido la pena todo lo que has tenido que hacer?
Mi padre me mir贸 durante un largo tiempo, y despu茅s desvi贸 la mirada.
鈥擠ebo creer que s铆 鈥攄ijo鈥�. Los dos debemos creer que s铆鈥�.
Diario de Julia, Pandateria (4 d. C.)
March 10, 2025
Augustus by John Williams is one of the best books I have read. I have grown more stingy with my rating lately, but I was completely overwhelmed by this novel that I had to award it 5 full stars. It is my first 5-star read in more than two years.
Augustus is a work of fiction. Williams has done a thorough research of the historical facts, events, and characters that covered the period of life of Octavius Caesar the August until his death, but he specifically states that the book is a "work of imagination". "With a few exceptions, the documents that constitute this novel are of my own invention...But if there are truths in this work, they are the truths of fiction rather than of history." He also emphasizes that Augustus is NOT a work of historical fiction. "I didn鈥檛 want it to sound historical. Those people were very real and contemporaneous to me." His take on the novel intrigued me, and from the outset, I felt that I'd be in for a rare treat.
The novel is written in the epistolary style. Through the use of letters, memoirs, and dispatches William tells the story of Gaius Octavius Caesar - "a sensitive and scholarly a sensitive and scholarly nineteen-year-old" - who finds him suddenly thrust into the centre of power as the heir of his great-uncle Julius Caesar who was murdered. Young Octavius has two tasks - to avenge the murder of his great-uncle, Julius Caesar, and to fulfill his dream of building the Roman Empire. It is not an easy task with many opposing his authority to rule. But with his intelligence, political diplomacy, and occasional ruthlessness, he successfully establishes a peaceful and prosperous Roman Empire and becomes its first emperor. The story proceeds till Octavius Caesar's death and we read about all the political maneuvering he undertakes to preserve the stability and integrity of the Roman Empire even to the extent of personal sacrifice. I enjoyed every part of the story - from the adventurous acquisition of power to the quiet establishment of the Empire, and finally the ruminations of an old man who partly pleased and partly doubtful if he is done alright. But what fascinated me the most was the women's role in the power game, especially Octavius's wife, Livia, and daughter, Julia. They willingly become sacrificial pawns to achieve their own political ambitions.
When I first realised that the story was narrated in epistolary form, a doubt clouded my mind as to its suitability. I wondered whether it wouldn't have been better if a narrator had presented the story rather than this usage of various letters, fragments from memoirs, notes from journals, etc. In his defence, the author states that "I wanted a kind of immediacy in it...I also knew that all educated Romans were great letter-writers...I wanted the characters to present themselves. I didn鈥檛 want to try to explain them. I didn鈥檛 want to have a twentieth-century vision of the Roman times. So the epistolary form lets the people speak for themselves." While his explanation reassured me, I also felt that epistolary style gave the story a forward drive and made it a page-turner.
This is my first novel by John Williams and I was amazed by his impeccable writing. He brings to life his characters, the events with honesty and simplicity so as to be unable to question their truthfulness. He treats his characters with sympathy that even in their ruthlessness, they win the readers' hearts. What is most fascinating about his writing is the lighter tone he adopts throughout the story while employing a sort of "semi-classical" language that is suitable to the time period described. I found this combination vastly satisfying. It helped me to read faster as well as fully engage with the story and its characters.
Augustus is the sort of perfect read that one has the pleasure of discovering in her reading life. John Williams decidedly is a brilliant storyteller and Augustus is his "living proof".
More of my reviews can be found at
Augustus is a work of fiction. Williams has done a thorough research of the historical facts, events, and characters that covered the period of life of Octavius Caesar the August until his death, but he specifically states that the book is a "work of imagination". "With a few exceptions, the documents that constitute this novel are of my own invention...But if there are truths in this work, they are the truths of fiction rather than of history." He also emphasizes that Augustus is NOT a work of historical fiction. "I didn鈥檛 want it to sound historical. Those people were very real and contemporaneous to me." His take on the novel intrigued me, and from the outset, I felt that I'd be in for a rare treat.
The novel is written in the epistolary style. Through the use of letters, memoirs, and dispatches William tells the story of Gaius Octavius Caesar - "a sensitive and scholarly a sensitive and scholarly nineteen-year-old" - who finds him suddenly thrust into the centre of power as the heir of his great-uncle Julius Caesar who was murdered. Young Octavius has two tasks - to avenge the murder of his great-uncle, Julius Caesar, and to fulfill his dream of building the Roman Empire. It is not an easy task with many opposing his authority to rule. But with his intelligence, political diplomacy, and occasional ruthlessness, he successfully establishes a peaceful and prosperous Roman Empire and becomes its first emperor. The story proceeds till Octavius Caesar's death and we read about all the political maneuvering he undertakes to preserve the stability and integrity of the Roman Empire even to the extent of personal sacrifice. I enjoyed every part of the story - from the adventurous acquisition of power to the quiet establishment of the Empire, and finally the ruminations of an old man who partly pleased and partly doubtful if he is done alright. But what fascinated me the most was the women's role in the power game, especially Octavius's wife, Livia, and daughter, Julia. They willingly become sacrificial pawns to achieve their own political ambitions.
When I first realised that the story was narrated in epistolary form, a doubt clouded my mind as to its suitability. I wondered whether it wouldn't have been better if a narrator had presented the story rather than this usage of various letters, fragments from memoirs, notes from journals, etc. In his defence, the author states that "I wanted a kind of immediacy in it...I also knew that all educated Romans were great letter-writers...I wanted the characters to present themselves. I didn鈥檛 want to try to explain them. I didn鈥檛 want to have a twentieth-century vision of the Roman times. So the epistolary form lets the people speak for themselves." While his explanation reassured me, I also felt that epistolary style gave the story a forward drive and made it a page-turner.
This is my first novel by John Williams and I was amazed by his impeccable writing. He brings to life his characters, the events with honesty and simplicity so as to be unable to question their truthfulness. He treats his characters with sympathy that even in their ruthlessness, they win the readers' hearts. What is most fascinating about his writing is the lighter tone he adopts throughout the story while employing a sort of "semi-classical" language that is suitable to the time period described. I found this combination vastly satisfying. It helped me to read faster as well as fully engage with the story and its characters.
Augustus is the sort of perfect read that one has the pleasure of discovering in her reading life. John Williams decidedly is a brilliant storyteller and Augustus is his "living proof".
More of my reviews can be found at
January 1, 2023
Full review:
6猸� for me. I'm not sure there's a book that has more things that are specifically for me than this one: epistolary format, ancient Roman history, John Williams's beautiful prose, complex themes and heartbreaking relationships.
I completely understand how this book would not be for everyone but for me--magnificent. Full review to come.
6猸� for me. I'm not sure there's a book that has more things that are specifically for me than this one: epistolary format, ancient Roman history, John Williams's beautiful prose, complex themes and heartbreaking relationships.
I completely understand how this book would not be for everyone but for me--magnificent. Full review to come.
September 21, 2021
鈥淣别颈迟丑别谤 Stoner [1965] nor Augustus [1972] is any less or more achieved than the other; they are simply different works by a remarkable writer working at the very height of his powers.鈥� 鈥� John McGahern, introduction to Augustus
Where to begin? I guess the place to begin would be to explain why I read this book. I chose it because it was on our friend Ted鈥檚 TBR list. I sincerely wish that he had read it and that I in turn could have enjoyed one of his unique and entertaining reviews.
I should also say that I agree with what John McGahern wrote above, but adding Butcher鈥檚 Crossing (1960) to the mix. That would cover all the novels that John Williams wrote, with one exception, that being his debut novel, Nothing But the Night (1948), which I have never read, and probably never will. Since he disowned the book I鈥檒l take his word that it isn鈥檛 worth my time.
It is not surprising that today Williams is highly respected and that three of his four novels are best-sellers. The irony, however, is that he published his last novel in 1972, but the respect and popularity that he finally received did not take place until forty years later. It finally occurred when Stoner was reissued by the New York Review of Books (NYRB) in 2013. It was at that point that the book finally found an audience and it became a publishing phenomenon that led to a reappraisal of Williams鈥� work.
A year later, NYRB reissued Augustus. That novel, at the time that it was originally published, did garner some notice, certainly more than the others when they were first published, for it won the National Book Award for fiction in 1973, though it had to share the honor with John Barth鈥檚 Chimera. The publicity he received was fleeting, however, and the honor did nothing to increase his popularity or to promote book sales (upon release it had sold under 2,000 copies and no more than 10,000 after winning the award). That only came about when Stoner was reissued forty years later. Unfortunately, Williams never personally experienced his newfound fame for he had died almost twenty years earlier.
Critics have pointed out that all four of his novels are so different that they could have been written by four different writers. He wrote his debut novel, Nothing But the Night, during his down time while serving as a radio operator in the Army Air Corps during WWII. According to the publisher鈥檚 blurb, 鈥淸i]n the person of Arthur Maxley, Williams investigates the terror and the waywardness of a man who has suffered an early traumatic experience. As a child, Maxley witnessed a scene of such violence and of such a nature that the evocation of Greek tragedy is inescapable.鈥�
Butcher鈥檚 Crossing is about a mythic buffalo hunt in the nineteenth century American West, while Stoner is a quiet book about a quiet man, a University of Missouri professor in the mid-twentieth century, an everyman who soldiers on no matter what heartbreak and disappointment comes his way.
And then there is Augustus, set in ancient Rome during the reign of the first Emperor of the Roman Empire. The book is set in a totally different time and setting that certainly differentiates it from the other books, but it is its style and structure that makes it unique and sets it even more apart.
鈥淸Augustus] is a feast of research and a triumph of style; as serious, restrained, and magisterial a voice as any in American fiction.鈥� 鈥� Hannah Niemeier, The New Criterion
Augustus is unlike any work of fiction that I have ever read. And that isn鈥檛 because it is an epistolary novel based on letters, journal entries, military reports and orders, because I have read a handful of those, it is because it is an epistolary novel that is so epic in scope. It is an account of the forty-year reign of Augustus, an era in which the Roman Empire nearly doubled in size, extending all the way from Britain to India.
It is a tribute to the audacity of Williams that he thought such a book was possible. He wrote in a short Author鈥檚 Note that:
Anyone, however, who wants to do a little investigating, will discover that the fiction is solidly grounded in fact. For Williams did the necessary research 鈥� much of it in Rome 鈥� and labored over the book for seven years before it was published.
His decision to suppress his own voice and let the people speak for themselves has the effect of humanizing the large number of characters who populate the story. In an interview, Williams said, 鈥淚 wanted the characters to present themselves. I didn鈥檛 want to try to explain them. I didn鈥檛 want to have a twentieth-century vision of the Roman times. So the epistolary form lets the people speak for themselves.鈥�
A Washington Post critic called Augustus 鈥渢he finest historical novel ever written by an American.鈥� Williams was only fifty-years old when the book was published and he lived another twenty years, but he never wrote another book.
Thank you, Ted.
Where to begin? I guess the place to begin would be to explain why I read this book. I chose it because it was on our friend Ted鈥檚 TBR list. I sincerely wish that he had read it and that I in turn could have enjoyed one of his unique and entertaining reviews.
I should also say that I agree with what John McGahern wrote above, but adding Butcher鈥檚 Crossing (1960) to the mix. That would cover all the novels that John Williams wrote, with one exception, that being his debut novel, Nothing But the Night (1948), which I have never read, and probably never will. Since he disowned the book I鈥檒l take his word that it isn鈥檛 worth my time.
It is not surprising that today Williams is highly respected and that three of his four novels are best-sellers. The irony, however, is that he published his last novel in 1972, but the respect and popularity that he finally received did not take place until forty years later. It finally occurred when Stoner was reissued by the New York Review of Books (NYRB) in 2013. It was at that point that the book finally found an audience and it became a publishing phenomenon that led to a reappraisal of Williams鈥� work.
A year later, NYRB reissued Augustus. That novel, at the time that it was originally published, did garner some notice, certainly more than the others when they were first published, for it won the National Book Award for fiction in 1973, though it had to share the honor with John Barth鈥檚 Chimera. The publicity he received was fleeting, however, and the honor did nothing to increase his popularity or to promote book sales (upon release it had sold under 2,000 copies and no more than 10,000 after winning the award). That only came about when Stoner was reissued forty years later. Unfortunately, Williams never personally experienced his newfound fame for he had died almost twenty years earlier.
Critics have pointed out that all four of his novels are so different that they could have been written by four different writers. He wrote his debut novel, Nothing But the Night, during his down time while serving as a radio operator in the Army Air Corps during WWII. According to the publisher鈥檚 blurb, 鈥淸i]n the person of Arthur Maxley, Williams investigates the terror and the waywardness of a man who has suffered an early traumatic experience. As a child, Maxley witnessed a scene of such violence and of such a nature that the evocation of Greek tragedy is inescapable.鈥�
Butcher鈥檚 Crossing is about a mythic buffalo hunt in the nineteenth century American West, while Stoner is a quiet book about a quiet man, a University of Missouri professor in the mid-twentieth century, an everyman who soldiers on no matter what heartbreak and disappointment comes his way.
And then there is Augustus, set in ancient Rome during the reign of the first Emperor of the Roman Empire. The book is set in a totally different time and setting that certainly differentiates it from the other books, but it is its style and structure that makes it unique and sets it even more apart.
鈥淸Augustus] is a feast of research and a triumph of style; as serious, restrained, and magisterial a voice as any in American fiction.鈥� 鈥� Hannah Niemeier, The New Criterion
Augustus is unlike any work of fiction that I have ever read. And that isn鈥檛 because it is an epistolary novel based on letters, journal entries, military reports and orders, because I have read a handful of those, it is because it is an epistolary novel that is so epic in scope. It is an account of the forty-year reign of Augustus, an era in which the Roman Empire nearly doubled in size, extending all the way from Britain to India.
It is a tribute to the audacity of Williams that he thought such a book was possible. He wrote in a short Author鈥檚 Note that:
[S]ome of the errors of fact in this book are deliberate. I have changed the order of several events; I have invented where the record is incomplete or uncertain; and I have given identities to a few characters whom history has failed to mention鈥�.With a few exceptions, the documents that constitute this novel are of my own invention鈥�. But if there are truths in this work, they are truths of fiction rather than of history. I shall be grateful to those readers who will take it as it is intended 鈥� a work of imagination.
Anyone, however, who wants to do a little investigating, will discover that the fiction is solidly grounded in fact. For Williams did the necessary research 鈥� much of it in Rome 鈥� and labored over the book for seven years before it was published.
His decision to suppress his own voice and let the people speak for themselves has the effect of humanizing the large number of characters who populate the story. In an interview, Williams said, 鈥淚 wanted the characters to present themselves. I didn鈥檛 want to try to explain them. I didn鈥檛 want to have a twentieth-century vision of the Roman times. So the epistolary form lets the people speak for themselves.鈥�
A Washington Post critic called Augustus 鈥渢he finest historical novel ever written by an American.鈥� Williams was only fifty-years old when the book was published and he lived another twenty years, but he never wrote another book.
Thank you, Ted.
February 1, 2016
鈥淥ne does not deceive oneself about the consequences of one's acts; one deceives oneself about the ease with which one can live with those consequences.鈥�
鈥� John Williams, Augustus
John Williams read some Robert Graves and said, "Yeah, I got this Roman. I can do this." I'm trying to think of equivalent historical fiction that orbits the same level of prose mastery: Norman Mailer, Robert Graves, Hilary Mantel, E. L. Doctorow and a few others belong on this very short list.
There are some writers (like Pynchon, etc) who seem to find their groove and mine that style/approach for all it is worth. Others like Williams just appear to get bored with one style, form, or approach to literature. They want to master all. John Williams who is also known for his college novel and his Western decided to give writing an epistolary, historical novel a try. What he created is one of the greatest historical novels of all time. Probably not as good as Robert Graves (or dare I say Hilary Mantel), but damn close.
鈥� John Williams, Augustus
John Williams read some Robert Graves and said, "Yeah, I got this Roman. I can do this." I'm trying to think of equivalent historical fiction that orbits the same level of prose mastery: Norman Mailer, Robert Graves, Hilary Mantel, E. L. Doctorow and a few others belong on this very short list.
There are some writers (like Pynchon, etc) who seem to find their groove and mine that style/approach for all it is worth. Others like Williams just appear to get bored with one style, form, or approach to literature. They want to master all. John Williams who is also known for his college novel and his Western decided to give writing an epistolary, historical novel a try. What he created is one of the greatest historical novels of all time. Probably not as good as Robert Graves (or dare I say Hilary Mantel), but damn close.
January 21, 2021
One of the most beautiful gestures John Williams extends his readers in Augustus consists of taking for granted that they can picture the fabled city of Rome and the occasional countryside location.
I find we all have adequate images in our mind鈥檚 eye of a place like ancient Rome, if not in minute detail at least in a general sense, and as a gift from the author鈥檚 intelligence to yours, there are no tedious descriptions in this book; whenever I encounter something like this in fine literature, I feel like a kindness was done to me.
Distracting you from the official scenes and sun-kissed settings, which remain no less present and inspiring, Williams suggests instead that readers turn their gaze elsewhere and reflect, with Augustus Caesar and his entourage, on the human condition. Many people take turns expressing themselves in Augustus and they all come alive with natural ease. A soft-spoken wit ripples across exchanges, a smooth cut to the chase often ends things brilliantly. This is the John Williams I loved in Stoner, but even better. Needless to say, Augustus is a huge success with me.
Making this an epistolary novel means a succession of documents comes into play to give the story wings. Again, Williams takes pains to keep things tidy and on the move, setting up a sustained and engaging flurry of fragments of memoirs, notes from journals, extracts of official reports and, most of all, adequately short letters. Perfectly accessible yet deliciously written, these documents are fictional, the vast majority of them. They manage not to come in the way of talented storytelling 鈥� who wants a bureaucratic novel? 鈥� and personalities quickly expand.
In Augustus, young Gaius Octavius inherits the reins of the Roman empire from Julius Caesar, his great-uncle and daily mentor, an event precipitated by the powerful ruler鈥檚 assassination. Not yet twenty years of age, educated in the matters of the Legion and the Senate but not especially eager and certainly not ready to take over anything of such magnitude as Rome itself, our modest hero makes a brusque new entrance into a world of expansionist politics and old family money, to become in fact its very focal point. He considers matters as coldly as he can, says little at first, looks within himself, finds in there a regular man and not a superhero, and keeps around his person a handful of lifelong friends. He would, in time, succeed in bringing peace to Rome. He would also become a father, among other things. Octavius, growing into Augustus Caesar, develops a very human presence, thanks to John Williams. Essentially, the man puts one foot in front of the other and makes his way up; this is less the spectacle of it than its miracle.
John Williams proves rock solid, once again. But also tender, once more. He's at the top of his game in Augustus. Five stars.
The young man, who does not know the future, sees life as a kind of epic adventure, an Odyssey through strange seas and unknown islands, where he will test and prove his powers, and thereby discover his immortality. The man of middle years, who has lived the future that he once dreamed, sees life as a tragedy; for he has learned that his power, however great, will not prevail against those forces of accident and nature to which he gives the names of gods, and has learned that he is mortal. But the man of age, if he plays his assigned role properly, must see life as a comedy.
Do not mistake me. I have never had that sentimental and rhetorical love for the common people that was in my youth (and is even now) so fashionable. Mankind in the aggregate I have found to be brutish, ignorant, and unkind, whether those qualities were covered by the coarse tunic of the peasant or the white and purple toga of a senator. And yet in the weakest of men, in moments when they are alone and themselves, I have found veins of strength like gold in decaying rock; in the cruelest of men flashes of tenderness and compassion; and in the vainest of men moments of simplicity and grace.
I find we all have adequate images in our mind鈥檚 eye of a place like ancient Rome, if not in minute detail at least in a general sense, and as a gift from the author鈥檚 intelligence to yours, there are no tedious descriptions in this book; whenever I encounter something like this in fine literature, I feel like a kindness was done to me.
Distracting you from the official scenes and sun-kissed settings, which remain no less present and inspiring, Williams suggests instead that readers turn their gaze elsewhere and reflect, with Augustus Caesar and his entourage, on the human condition. Many people take turns expressing themselves in Augustus and they all come alive with natural ease. A soft-spoken wit ripples across exchanges, a smooth cut to the chase often ends things brilliantly. This is the John Williams I loved in Stoner, but even better. Needless to say, Augustus is a huge success with me.
Making this an epistolary novel means a succession of documents comes into play to give the story wings. Again, Williams takes pains to keep things tidy and on the move, setting up a sustained and engaging flurry of fragments of memoirs, notes from journals, extracts of official reports and, most of all, adequately short letters. Perfectly accessible yet deliciously written, these documents are fictional, the vast majority of them. They manage not to come in the way of talented storytelling 鈥� who wants a bureaucratic novel? 鈥� and personalities quickly expand.
In Augustus, young Gaius Octavius inherits the reins of the Roman empire from Julius Caesar, his great-uncle and daily mentor, an event precipitated by the powerful ruler鈥檚 assassination. Not yet twenty years of age, educated in the matters of the Legion and the Senate but not especially eager and certainly not ready to take over anything of such magnitude as Rome itself, our modest hero makes a brusque new entrance into a world of expansionist politics and old family money, to become in fact its very focal point. He considers matters as coldly as he can, says little at first, looks within himself, finds in there a regular man and not a superhero, and keeps around his person a handful of lifelong friends. He would, in time, succeed in bringing peace to Rome. He would also become a father, among other things. Octavius, growing into Augustus Caesar, develops a very human presence, thanks to John Williams. Essentially, the man puts one foot in front of the other and makes his way up; this is less the spectacle of it than its miracle.
John Williams proves rock solid, once again. But also tender, once more. He's at the top of his game in Augustus. Five stars.
The young man, who does not know the future, sees life as a kind of epic adventure, an Odyssey through strange seas and unknown islands, where he will test and prove his powers, and thereby discover his immortality. The man of middle years, who has lived the future that he once dreamed, sees life as a tragedy; for he has learned that his power, however great, will not prevail against those forces of accident and nature to which he gives the names of gods, and has learned that he is mortal. But the man of age, if he plays his assigned role properly, must see life as a comedy.
Do not mistake me. I have never had that sentimental and rhetorical love for the common people that was in my youth (and is even now) so fashionable. Mankind in the aggregate I have found to be brutish, ignorant, and unkind, whether those qualities were covered by the coarse tunic of the peasant or the white and purple toga of a senator. And yet in the weakest of men, in moments when they are alone and themselves, I have found veins of strength like gold in decaying rock; in the cruelest of men flashes of tenderness and compassion; and in the vainest of men moments of simplicity and grace.
September 2, 2015
And yet a third perfect book by this inimitable author who was working at the very height of his powers. I now know that I will never again come across a book such as this. I actually didn鈥檛 want to finish it as I felt that I had to continue in this enthralling dream. What disturbs me, however, is the downside that when one has loved something/someone so much, those following, well to my mind anyway, will only be substitutes which in itself is rather a sad state of affairs.
As I read this book I was transported back to my university days when I was constantly taking notes but it is different here because I have resorted to 3M post- it notes which practically cover every page whenever an appropriate sentence or word has struck me.
Where can one possibly begin with this remarkable individual? This is the life of Augustus as can be seen by the cover but this isn鈥檛 an ordinary novel as it is written in the epistolary style and for the first page this did concern me but as the book progresses and develops, the fictitious memories, letters and dispatches describe a more intimate aspect of the life of the first Roman Emperor which suits this work exactly. In fact, I do not believe that this could have been achieved in any other way.
When I recall studying this period whilst at school, I found it all rather heavy to take in and actually rather bland and the textbooks were often rather tedious, the only exception being the battle of Atrium. Now that was a splendid battle indeed.
Williams admitted that he did change certain historical events from this period but he also stressed that this was a novel of his own invention. Individuals who were not covered in depth in everyday history were also brought in, such as Julia, the daughter of Augustus.
As I read Julia鈥檚 journal written on the island of Pandateria where she was in exile, the intimacy of her writing in parts was so touching that it was difficult to continue reading the text. For such a spirited and passionate woman as Julia, she must have suffered to be forced to marry three times for the convenience of Rome and for her father. Two husbands died and she was very fond of Marcus Agrippa but because of his death, she was forced to marry Tiberius. She detested him with a passion. Thus it took a while for her to conceive and shortly after the child was born, a boy, it died. After this Tiberius and Julia went their separate ways.
Julia was never to experience any form of a sensual, idealistic love and a meeting of the minds until finally a man came into her life that brought such love and passion, but who regrettably would be responsible for bringing about her own ruin.
The comment that Julia made here was so poignant for me after meeting this particular man:
No man has touched me since that afternoon. No man shall touch me for as long as I shall live.
And she would remember that up until her death.
VI. The Journal of Julia, Pandateria (A.D. 4)
In the consulships of Octavius Caesar, the August, and Marcus Plautius Silvanus, I, Julia, daughter of the Emperor, was accused before the Senate convening in Rome of adultery, and hence of the abrogation of the marriage and adultery laws that my father had passed by edict some fifteen years before. My accuser was my father. He went into great detail about my transgressions; he named my lovers, my places of assignation, the dates. In the main, the details were correct, thought there were a few unimportant names that he omitted鈥︹€�..He described drunken revels in the Forum and debaucheries upon the very rostrum from which he had first delivered his laws; he spoke of my frequentation of various houses of prostitution, implying that out of perversity I sold myself to anyone who would have me; and he described my visits to those unsavory bath establishments which permitted mixed bathing and encouraged all manner of licentiousness. These were exaggerated, but there was enough truth in them to make them persuasive. And at last he demanded that, in accordance with his Julian Laws, I be exiled forever from the precincts of Rome, and requested the Senate to order me placed on this Island of Pandateria, to live out the rest of my life in contemplation of my vices.
If history remembers me at all, history will remember me so. But history will not know the truth, if history ever can.
It was because Octavious Caesar truly loved his daughter and because of laws initiated by him that he had to denounce her himself, thus saving her from being executed as the Senate would have ensured. He never spoke to her again and she was never allowed to be discussed in his presence. It is not until we come to Book 3 when Octavious writes a rather long letter to an old friend, Nicolaus of Damascus (A.D. 14) that the true reasons are exposed for his behaviour towards his daughter.
As with Greek tragedies, Williams鈥檚 novels expose the process by which 鈥渨hat you could have done鈥� is gradually stripped away from a character, leaving only what he did do - which is to say, the residue that is 鈥測ourself.鈥�
The memoirs of Marcus Agrippa, a friend of Octavious for many years, are a tour de force but I was particularly taken with the correspondence of Mark Antony. His love for Cleopatra was evident but it wasn鈥檛 until the battle of Actium that he realized what she was when she saw the way the battle was turning and departed with her fleet. The following was written in one of Marcus Agrippa鈥檚 memoirs:
It was one of those curious moments in the confusion of warfare with which all soldiers are familiar. The vessel which carried Caesar Augustus and my own ship had come so close together that we could look into each other鈥檚 eyes and could even shout to be heard above the furor; not thirty yards away, where it had been pursued and then left, was the ship of Marcus Antonius. I believe that all three of us saw the purple sail of Cleopatra鈥檚 departing flagship at the same time. None of us moved; Antonious stood at the prow of his ship as if he were a carven figurehead, looking after his departing Queen. And then he turned to us, though whether he recognized either of us I do not know. His face was without expression, as if it were that of a corpse. Then his arm lifted stiffly, and dropped; and the sails were thrust into the wind, and the great ship turned slowly and gathered speed, and Marcus Antonius followed after his Queen. We watched the pitiful remains of his own ships that escaped the slaughter, and we did not attempt to pursue. I did not see Marcus Antonius again.
Maecenas introduced Octavious to poets that he would never ordinarily have met. Vergil, Horace, Cicero, etc. and this led to my searching through all my reference books for further information on them. And as for Cicero鈥檚 death, undoubtedly a very unpleasant end but I was full of admiration for this individual on how he handled this. He had style in the face of adversity.
There is no doubt that Williams has succeeded admirably by writing an epistolary novel and bringing to life this remarkable and yet very unusual Roman of his time. I鈥檓 sad though that there is only one more book of Williams to be read . His first novel, of which he was somewhat dismissive, and of which I have ordered a copy and his poetry, which regrettably I am unable to find.
As stated before, a perfect book and yet so difficult to describe. It never ceases to amaze me that when one truly loves something, it is so, so difficult to find the right words. As if it is of such a private nature, that one cannot enter within and that is indeed true of Williams, who had his own inner sanctum.
As I read this book I was transported back to my university days when I was constantly taking notes but it is different here because I have resorted to 3M post- it notes which practically cover every page whenever an appropriate sentence or word has struck me.
Where can one possibly begin with this remarkable individual? This is the life of Augustus as can be seen by the cover but this isn鈥檛 an ordinary novel as it is written in the epistolary style and for the first page this did concern me but as the book progresses and develops, the fictitious memories, letters and dispatches describe a more intimate aspect of the life of the first Roman Emperor which suits this work exactly. In fact, I do not believe that this could have been achieved in any other way.
When I recall studying this period whilst at school, I found it all rather heavy to take in and actually rather bland and the textbooks were often rather tedious, the only exception being the battle of Atrium. Now that was a splendid battle indeed.
Williams admitted that he did change certain historical events from this period but he also stressed that this was a novel of his own invention. Individuals who were not covered in depth in everyday history were also brought in, such as Julia, the daughter of Augustus.
As I read Julia鈥檚 journal written on the island of Pandateria where she was in exile, the intimacy of her writing in parts was so touching that it was difficult to continue reading the text. For such a spirited and passionate woman as Julia, she must have suffered to be forced to marry three times for the convenience of Rome and for her father. Two husbands died and she was very fond of Marcus Agrippa but because of his death, she was forced to marry Tiberius. She detested him with a passion. Thus it took a while for her to conceive and shortly after the child was born, a boy, it died. After this Tiberius and Julia went their separate ways.
Julia was never to experience any form of a sensual, idealistic love and a meeting of the minds until finally a man came into her life that brought such love and passion, but who regrettably would be responsible for bringing about her own ruin.
The comment that Julia made here was so poignant for me after meeting this particular man:
No man has touched me since that afternoon. No man shall touch me for as long as I shall live.
And she would remember that up until her death.
VI. The Journal of Julia, Pandateria (A.D. 4)
In the consulships of Octavius Caesar, the August, and Marcus Plautius Silvanus, I, Julia, daughter of the Emperor, was accused before the Senate convening in Rome of adultery, and hence of the abrogation of the marriage and adultery laws that my father had passed by edict some fifteen years before. My accuser was my father. He went into great detail about my transgressions; he named my lovers, my places of assignation, the dates. In the main, the details were correct, thought there were a few unimportant names that he omitted鈥︹€�..He described drunken revels in the Forum and debaucheries upon the very rostrum from which he had first delivered his laws; he spoke of my frequentation of various houses of prostitution, implying that out of perversity I sold myself to anyone who would have me; and he described my visits to those unsavory bath establishments which permitted mixed bathing and encouraged all manner of licentiousness. These were exaggerated, but there was enough truth in them to make them persuasive. And at last he demanded that, in accordance with his Julian Laws, I be exiled forever from the precincts of Rome, and requested the Senate to order me placed on this Island of Pandateria, to live out the rest of my life in contemplation of my vices.
If history remembers me at all, history will remember me so. But history will not know the truth, if history ever can.
It was because Octavious Caesar truly loved his daughter and because of laws initiated by him that he had to denounce her himself, thus saving her from being executed as the Senate would have ensured. He never spoke to her again and she was never allowed to be discussed in his presence. It is not until we come to Book 3 when Octavious writes a rather long letter to an old friend, Nicolaus of Damascus (A.D. 14) that the true reasons are exposed for his behaviour towards his daughter.
As with Greek tragedies, Williams鈥檚 novels expose the process by which 鈥渨hat you could have done鈥� is gradually stripped away from a character, leaving only what he did do - which is to say, the residue that is 鈥測ourself.鈥�
The memoirs of Marcus Agrippa, a friend of Octavious for many years, are a tour de force but I was particularly taken with the correspondence of Mark Antony. His love for Cleopatra was evident but it wasn鈥檛 until the battle of Actium that he realized what she was when she saw the way the battle was turning and departed with her fleet. The following was written in one of Marcus Agrippa鈥檚 memoirs:
It was one of those curious moments in the confusion of warfare with which all soldiers are familiar. The vessel which carried Caesar Augustus and my own ship had come so close together that we could look into each other鈥檚 eyes and could even shout to be heard above the furor; not thirty yards away, where it had been pursued and then left, was the ship of Marcus Antonius. I believe that all three of us saw the purple sail of Cleopatra鈥檚 departing flagship at the same time. None of us moved; Antonious stood at the prow of his ship as if he were a carven figurehead, looking after his departing Queen. And then he turned to us, though whether he recognized either of us I do not know. His face was without expression, as if it were that of a corpse. Then his arm lifted stiffly, and dropped; and the sails were thrust into the wind, and the great ship turned slowly and gathered speed, and Marcus Antonius followed after his Queen. We watched the pitiful remains of his own ships that escaped the slaughter, and we did not attempt to pursue. I did not see Marcus Antonius again.
Maecenas introduced Octavious to poets that he would never ordinarily have met. Vergil, Horace, Cicero, etc. and this led to my searching through all my reference books for further information on them. And as for Cicero鈥檚 death, undoubtedly a very unpleasant end but I was full of admiration for this individual on how he handled this. He had style in the face of adversity.
There is no doubt that Williams has succeeded admirably by writing an epistolary novel and bringing to life this remarkable and yet very unusual Roman of his time. I鈥檓 sad though that there is only one more book of Williams to be read . His first novel, of which he was somewhat dismissive, and of which I have ordered a copy and his poetry, which regrettably I am unable to find.
As stated before, a perfect book and yet so difficult to describe. It never ceases to amaze me that when one truly loves something, it is so, so difficult to find the right words. As if it is of such a private nature, that one cannot enter within and that is indeed true of Williams, who had his own inner sanctum.
April 16, 2023
Found a new favourite! The writing was wonderful!
The talent, creativity and ingenuity of the author deserve all the applause that can be showered upon him!
I have noticed, that the more I like a book, the less I feel I have to say about it. Still, I will try my best to note down my thoughts to give some semblance of a review.
This is an epistolary novel which follows the life and reign of Octavian or Augustus, the first emperor of Rome, from when he was a shy youth of nineteen to the ruler of world in his seventies.
You know his appearance now; it has not changed much. But now he is Emperor of the world, and I must look beyond that to see him as he was then; and I swear to you that I, whose service to him has been my knowledge of the hearts of both his friends and enemies, could not have foreseen what he was to become. I thought him a pleasant stripling, no more, with a face too delicate to receive the blows of fate, with a manner too diffident to achieve purpose, and with a voice too gentle to utter the ruthless words that a leader of men must utter. I thought that he might become a scholar of leisure, or a man of letters; I did not think that he had the energy to become even a senator, to which his name and wealth entitled him
We start following Octavian鈥檚 journey, when he is being trained by his uncle Julius Caesar, who plans on adopting him. We see him through the eyes of his closest friends, Marcus Agrippa, Quintus Salvidienus Rufus, and Gaius Cilnius Maecenas, who were his friends before he came into any power.
But I swear to you, we were friends from that moment onward; and that moment of foolish laughter was a bond stronger than anything that came between us later--victories or defeats, loyalties or betrayals, griefs, or joys.
But the days of youth go, and part of us goes with them, not to return.
Then after the sudden and brutal murder of Caesar, his destiny calls to him and he chooses to answer. That choice, at that moment, will come to change the face of the world and his life beyond recognition.
only one with contempt for power could have used it so well.
The political intrigues, the schemes, the betrayals, the murders, and the thirst for power, all of it plays like a political Godfather. We explore many characters through these letters, or journal entries. Naturally, many famous characters of history play an important role or make an appearance, like Horace, Ovid, Marcus Antonius, Cleopatra, Cicero, Brutus, and most importantly Julia, the daughter of Octavius. There was a lot of emphasis on her character development.
We understand the nature of power, and how it manipulates the lives of people. It dictates marriages, alliances, children, friendships, and so on. Every action has an ulterior motive.
My father has it all written down, so that one might always know to whom one is married.
(The Wikipedia page to follow the marriages in Julio-Claudian bloodline will give one a headache for sure lol)
We see Octavius leading Rome through Civil wars and factions. We see his many military campaigns, victories, defeats, alliances, and betrayals.
But we may like him or dislike him, he undeniably did create a Roman Empire as it has stood out in that period of world history.
Yet the Empire of Rome that he created has endured the harshness of a Tiberius, the monstrous cruelty of a Caligula, and the ineptness of a Claudius.
I loved reading this. I will highly recommend it.
I would also like to highlight some general quotes I enjoyed.
perhaps there is but one god. But if that is true, you have misnamed him. He is Accident, and his priest is man, and that priest's only victim must be at last himself, his poor divided self.
I decide to make a poem when I am compelled by some strong feeling to do so but I wait until the feeling hardens into a resolve; then I conceive an end, as simple as I can make it, toward which that feeling might progress, though often I cannot see how it will do so. And then I compose my poem, using whatever means are at my command. I borrow from others if I have to no matter. I invent if I have to-no matter. I use the language that I know, and I work within its limits. But the point is this: the end that I discover at last is not the end that I conceived at first. For every solution entails new choices, and every choice made poses new problems to which solutions must be found, and so on and on. Deep in his heart, the poet is always surprised at where his poem has gone.
The winds and rains of time will at last crumble the most solid stone, and there is no wall that can be built to protect the human heart from its own weakness.
I am sure that you have had, as we all have, that mysterious experience of prescience a moment when, beyond reason and cause, at a word, or at the flicker of an eyelid, or at anything at all, one has a sudden foreboding of what, one does not know. 1am not a religious man; but I am sometimes nearly tempted to believe that the gods do speak to us, and that only in unguarded moments will we listen.
The talent, creativity and ingenuity of the author deserve all the applause that can be showered upon him!
I have noticed, that the more I like a book, the less I feel I have to say about it. Still, I will try my best to note down my thoughts to give some semblance of a review.
This is an epistolary novel which follows the life and reign of Octavian or Augustus, the first emperor of Rome, from when he was a shy youth of nineteen to the ruler of world in his seventies.
You know his appearance now; it has not changed much. But now he is Emperor of the world, and I must look beyond that to see him as he was then; and I swear to you that I, whose service to him has been my knowledge of the hearts of both his friends and enemies, could not have foreseen what he was to become. I thought him a pleasant stripling, no more, with a face too delicate to receive the blows of fate, with a manner too diffident to achieve purpose, and with a voice too gentle to utter the ruthless words that a leader of men must utter. I thought that he might become a scholar of leisure, or a man of letters; I did not think that he had the energy to become even a senator, to which his name and wealth entitled him
We start following Octavian鈥檚 journey, when he is being trained by his uncle Julius Caesar, who plans on adopting him. We see him through the eyes of his closest friends, Marcus Agrippa, Quintus Salvidienus Rufus, and Gaius Cilnius Maecenas, who were his friends before he came into any power.
But I swear to you, we were friends from that moment onward; and that moment of foolish laughter was a bond stronger than anything that came between us later--victories or defeats, loyalties or betrayals, griefs, or joys.
But the days of youth go, and part of us goes with them, not to return.
Then after the sudden and brutal murder of Caesar, his destiny calls to him and he chooses to answer. That choice, at that moment, will come to change the face of the world and his life beyond recognition.
only one with contempt for power could have used it so well.
The political intrigues, the schemes, the betrayals, the murders, and the thirst for power, all of it plays like a political Godfather. We explore many characters through these letters, or journal entries. Naturally, many famous characters of history play an important role or make an appearance, like Horace, Ovid, Marcus Antonius, Cleopatra, Cicero, Brutus, and most importantly Julia, the daughter of Octavius. There was a lot of emphasis on her character development.
We understand the nature of power, and how it manipulates the lives of people. It dictates marriages, alliances, children, friendships, and so on. Every action has an ulterior motive.
My father has it all written down, so that one might always know to whom one is married.
(The Wikipedia page to follow the marriages in Julio-Claudian bloodline will give one a headache for sure lol)
We see Octavius leading Rome through Civil wars and factions. We see his many military campaigns, victories, defeats, alliances, and betrayals.
But we may like him or dislike him, he undeniably did create a Roman Empire as it has stood out in that period of world history.
Yet the Empire of Rome that he created has endured the harshness of a Tiberius, the monstrous cruelty of a Caligula, and the ineptness of a Claudius.
I loved reading this. I will highly recommend it.
I would also like to highlight some general quotes I enjoyed.
perhaps there is but one god. But if that is true, you have misnamed him. He is Accident, and his priest is man, and that priest's only victim must be at last himself, his poor divided self.
I decide to make a poem when I am compelled by some strong feeling to do so but I wait until the feeling hardens into a resolve; then I conceive an end, as simple as I can make it, toward which that feeling might progress, though often I cannot see how it will do so. And then I compose my poem, using whatever means are at my command. I borrow from others if I have to no matter. I invent if I have to-no matter. I use the language that I know, and I work within its limits. But the point is this: the end that I discover at last is not the end that I conceived at first. For every solution entails new choices, and every choice made poses new problems to which solutions must be found, and so on and on. Deep in his heart, the poet is always surprised at where his poem has gone.
The winds and rains of time will at last crumble the most solid stone, and there is no wall that can be built to protect the human heart from its own weakness.
I am sure that you have had, as we all have, that mysterious experience of prescience a moment when, beyond reason and cause, at a word, or at the flicker of an eyelid, or at anything at all, one has a sudden foreboding of what, one does not know. 1am not a religious man; but I am sometimes nearly tempted to believe that the gods do speak to us, and that only in unguarded moments will we listen.
January 19, 2025
While John Williams' novel Augustus can be read as a brilliant work of historical fiction, it is also a master work of literary fiction. As Williams points out in his Author's Note: "...if there are truths in this work, they are truths of fiction rather than of history."
Williams writes this work in an epistolary format--letters, journals, proclamations, and bits of histories. I get a good sense of the characters through their writings. I also see many different views of Octavius (Augustus), all the various roles he must play to achieve and hold his place in Rome. I assemble these pieces in order to try and grasp who Octavius really is. These writings also give the work an intimate feel. I am completely drawn in and engaged.
While the bones of the history are there, from the death of Julius Caesar when Octavius was 19 through the death of Octavius at age 76, Williams puts the flesh on the bones. He puts the words in their mouths and writings, as well as creating and conveying the emotions/feelings of his characters.
Some of the themes Williams explores are power--the desire for and use of, public necessity/good vs. personal happiness, friendship and enmity, and aging.
"Perhaps we are wiser when we are young, though the philosopher would dispute with me. But I swear to you, we were friends from that moment onward; and that moment of foolish laughter was a bond stronger than anything that came between us later . . ."
Williams has a good grasp of people, and basic human nature doesn't change over time. I think those bonds we form in our youth are some of our strongest. My closest friend today is a woman I met when I was 20. We have remained close for 4 decades. We bonded over studying together for a statistics course, and our friendship grew from there. I have wonderful friends I have made since, and no one else has as long a history and knows me in this same way.
Julia to her father, Octavius, when informed of her upcoming marriage to Tiberius:
"So once again I'm to be the brood sow for the pleasure of Rome."
Political marriage is a fact of life. There is no bargaining for a life of joy or contentment.
Julia asks: " 'Father, . . . has it been worth it? Your authority, this Rome that you have saved, this Rome that you have built? Has it been worth all that you have had to do?
My father looked at me for a long time, and then he looked away. 'I must believe that it has. . . . We both must believe that it has.' "
Once you head down a path and are entrenched, it's almost impossible to change course. If Octavius had wanted to abdicate, the mess he would have left behind would have been horrendous. Even for the sake of his happiness or that of his beloved daughter, he sees no alternative. I am left to ponder this same question.
"Octavius Caesar is alone. No one from his youth remains alive, and therefore there is no one whom he feels that he can trust, no one to whom he can talk about those things that are nearest to him."
I cannot imagine. My grandfather was the last of his generation--family and friends--to pass. He often pined for a peer to converse with in those last two years of his life, so I have a tiny glimpse of what may have been felt. Add to that the feeling that Octavius has that he can't trust anyone in his present, and I am weighed down by the burden on his heart and psyche.
"I do not believe that Rome can endure the death of Octavius Caesar, and I do not believe that Octavius Caesar can endure the death of his soul."
This novel is divided into 3 Books and an Epilogue. Book 1 details Octavius' rise to power, Book 2 conveys the disintegration of his family and personal happiness, and Book 3 portrays Octavius as an old man reflecting back on his life.
I appreciate the choice to keep Augustus' inner thoughts out of the narrative until the very end. It is so impactful to read after having pieced together an idea of who he is. We, my buddy readers and I, all noted its absence. Looking for Octavius' voice created a tension/suspense that added to the pull of the book.
Williams is a masterful writer--not only the structure he chooses, but also his prose. He sees and understands people and their motivations and conveys that clearly on the page.
For a piece of literary fiction that sings, you couldn't make a better choice.
A shout out to my Buddy Readers who contributed greatly to this magnificent reading experience! See their wonderful reviews:
.
Publication 1972
Williams writes this work in an epistolary format--letters, journals, proclamations, and bits of histories. I get a good sense of the characters through their writings. I also see many different views of Octavius (Augustus), all the various roles he must play to achieve and hold his place in Rome. I assemble these pieces in order to try and grasp who Octavius really is. These writings also give the work an intimate feel. I am completely drawn in and engaged.
While the bones of the history are there, from the death of Julius Caesar when Octavius was 19 through the death of Octavius at age 76, Williams puts the flesh on the bones. He puts the words in their mouths and writings, as well as creating and conveying the emotions/feelings of his characters.
Some of the themes Williams explores are power--the desire for and use of, public necessity/good vs. personal happiness, friendship and enmity, and aging.
"Perhaps we are wiser when we are young, though the philosopher would dispute with me. But I swear to you, we were friends from that moment onward; and that moment of foolish laughter was a bond stronger than anything that came between us later . . ."
Williams has a good grasp of people, and basic human nature doesn't change over time. I think those bonds we form in our youth are some of our strongest. My closest friend today is a woman I met when I was 20. We have remained close for 4 decades. We bonded over studying together for a statistics course, and our friendship grew from there. I have wonderful friends I have made since, and no one else has as long a history and knows me in this same way.
Julia to her father, Octavius, when informed of her upcoming marriage to Tiberius:
"So once again I'm to be the brood sow for the pleasure of Rome."
Political marriage is a fact of life. There is no bargaining for a life of joy or contentment.
Julia asks: " 'Father, . . . has it been worth it? Your authority, this Rome that you have saved, this Rome that you have built? Has it been worth all that you have had to do?
My father looked at me for a long time, and then he looked away. 'I must believe that it has. . . . We both must believe that it has.' "
Once you head down a path and are entrenched, it's almost impossible to change course. If Octavius had wanted to abdicate, the mess he would have left behind would have been horrendous. Even for the sake of his happiness or that of his beloved daughter, he sees no alternative. I am left to ponder this same question.
"Octavius Caesar is alone. No one from his youth remains alive, and therefore there is no one whom he feels that he can trust, no one to whom he can talk about those things that are nearest to him."
I cannot imagine. My grandfather was the last of his generation--family and friends--to pass. He often pined for a peer to converse with in those last two years of his life, so I have a tiny glimpse of what may have been felt. Add to that the feeling that Octavius has that he can't trust anyone in his present, and I am weighed down by the burden on his heart and psyche.
"I do not believe that Rome can endure the death of Octavius Caesar, and I do not believe that Octavius Caesar can endure the death of his soul."
This novel is divided into 3 Books and an Epilogue. Book 1 details Octavius' rise to power, Book 2 conveys the disintegration of his family and personal happiness, and Book 3 portrays Octavius as an old man reflecting back on his life.
I appreciate the choice to keep Augustus' inner thoughts out of the narrative until the very end. It is so impactful to read after having pieced together an idea of who he is. We, my buddy readers and I, all noted its absence. Looking for Octavius' voice created a tension/suspense that added to the pull of the book.
Williams is a masterful writer--not only the structure he chooses, but also his prose. He sees and understands people and their motivations and conveys that clearly on the page.
For a piece of literary fiction that sings, you couldn't make a better choice.
A shout out to my Buddy Readers who contributed greatly to this magnificent reading experience! See their wonderful reviews:
.
Publication 1972
August 12, 2019
螛巍螜螒螠螔螣危!
螖蔚谓 尉苇蟻蠅 蟺慰喂维 蔚委谓伪喂 蟿伪 蟽蠀蟽蟿伪蟿喂魏维 蟺慰蠀 魏维谓慰蠀谓 苇谓伪 尾喂尾位委慰 尉蔚蠂蠅蟻喂蟽蟿蠈, 位慰纬喂魏维 魏维胃蔚 伪谓伪纬谓蠋蟽蟿畏蟼 苇蠂蔚喂 蟿伪 未喂魏维 蟿慰蠀 喂未喂伪委蟿蔚蟻伪 魏蟻喂蟿萎蟻喂伪, 伪位位维 蔚蟺喂蟿蟻苇蠄蟿蔚 渭慰蠀 谓伪 蟺蠅, 慰 螒蠉纬慰蠀蟽蟿慰蟼 蔚委谓伪喂 苇谓伪 伪蟺蠈 蟿伪 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻伪 喂蟽蟿慰蟻喂魏维 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 蟺慰蠀 纬蟻维蠁蟿畏魏伪谓 蟺慰蟿苇. 螛苇蟼 蟺慰蠀 苇蠂蠅 苇谓伪谓 苇蟻蠅蟿伪 蟽蟿畏 巍蠋渭畏 魏伪喂 蟽蟿伪 渭谓畏渭蔚委伪 蟿畏蟼; 螛蔚蟼 蟺慰蠀 苇蠂蠅 维位位慰谓 苇谓伪谓 蟽蟿慰 渭蠉胃慰 蟿畏蟼 螝位蔚慰蟺维蟿蟻伪蟼 魏伪喂 蟿畏谓 螒委纬蠀蟺蟿慰; 螇 蟽蟿慰 蟿苇位慰蟼 蟿苇位慰蟼, 未蔚委尉蟿蔚 渭慰蠀 苇谓伪谓 维谓胃蟻蠅蟺慰 蟺慰蠀 未蔚谓 蟿蟻蔚位伪委谓蔚蟿伪喂 纬喂伪 渭喂伪 未蠀谓伪蟿萎 喂蟽蟿慰蟻委伪 伪纬维蟺畏蟼. 螕喂伪蟿委 渭畏 蟽伪蟼 尉蔚谓委味蔚喂 慰 蟿委蟿位慰蟼 萎 蟿慰 慰蟺喂蟽胃蠈蠁蠀位位慰, 慰 螒蠉纬慰蠀蟽蟿慰蟼 蔚委谓伪喂 蟺慰位位苇蟼 尉蔚蠂蠅蟻喂蟽蟿苇蟼 喂蟽蟿慰蟻委蔚蟼 伪纬维蟺畏蟼 蟻伪渭渭苇谓蔚蟼 渭伪蔚蟽蟿蟻喂魏维 蟽蔚 渭委伪 伪蟺慰位伪蠀蟽蟿喂魏萎 喂蟽蟿慰蟻喂魏萎 伪蠁萎纬畏蟽畏. 螒纬维蟺畏蟼 蟺蟻慰蟼 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪, 伪纬维蟺畏蟼 蟺蟻慰蟼 蟿喂蟼 蟿苇蠂谓蔚蟼 蟿伪 纬蟻维渭渭伪蟿伪 魏伪喂 蟿慰谓 蟺慰位喂蟿喂蟽渭蠈, 伪纬维蟺畏蟼 蟺蟻慰蟼 蟿慰 魏伪胃萎魏慰谓 魏伪喂 蟿慰蠀蟼 蟺慰位委蟿蔚蟼 慰喂 味蠅苇蟼 蟿蠅谓 慰蟺慰委蠅谓 魏蟻苇渭慰谓蟿伪喂 伪蟺蠈 蟿伪 蠂苇蟻喂伪 蟿慰蠀 魏蠀尾蔚蟻谓萎蟿畏 蟿慰蠀蟼, 伪纬维蟺畏蟼 蟺蟻慰蟼 蟿畏 渭伪纬喂魏萎 蠁蠉蟽畏 蟿慰蠀 维谓胃蟻蠅蟺慰 蟺慰蠀 蔚蟻蠅蟿蔚蠉蔚蟿伪喂 未喂伪蟻魏蠋蟼 蟺慰位蔚渭蠋谓蟿伪蟼 渭伪谓喂伪蟽渭苇谓伪 蟽蟿慰 蠈谓慰渭伪 蟿慰蠀 (魏维胃蔚 蠁慰蟻维) 渭慰谓伪未喂魏慰蠉, 蟿蟻慰渭伪纬渭苇谓慰蟼 蟽蟿畏谓 喂未苇伪 魏伪喂 渭蠈谓慰 蟿畏蟼 渭慰谓伪尉喂维 蟿慰蠀 魏伪喂 蟿畏蟼 蠁胃伪蟻蟿蠈蟿畏蟿伪 蟿畏蟼 蠉位畏蟼 蟿慰蠀.
螣谓蠈渭伪蟿伪 蠈蟺蠅蟼 螜慰蠉位喂慰蟼 螝伪委蟽伪蟻伪蟼, 螔蟻慰蠉蟿慰蟼, 螠维蟻魏慰蟼 螒谓蟿蠋谓喂慰蟼, 螔喂蟻纬委位喂慰蟼, 螡苇蟻蠅谓伪蟼, 螚蟻蠋未畏蟼, 螖伪渭伪蟽魏畏谓蠈蟼, 螣魏蟿维尾喂慰蟼 魏伪喂 蠁蠀蟽喂魏维 伪蠀蟿蠈 蟿畏蟼 螝位蔚慰蟺维蟿蟻伪蟼, 蟺伪蟻蔚位维味慰蠀谓 渭蟺蟻慰蟽蟿维 蟽蟿伪 渭维蟿喂伪 蟿慰蠀 渭伪纬蔚渭苇谓慰蠀 伪谓伪纬谓蠋蟽蟿畏 渭苇蟽蠅 蔚蟺喂蟽蟿慰位蠋谓 蟺慰蠀 纬蟻维蠁慰蠀谓 慰 苇谓伪蟼 蟺蟻慰蟼 蟿慰谓 维位位慰. 螘蟺喂蟽蟿慰位苇蟼 未慰位慰蟺位蠈魏蠅谓, 魏伪蟿伪蟽魏蠈蟺蠅谓, 蠁委位蠅谓 伪位位维 魏伪喂 蔚蠂胃蟻蠋谓, 蔚尉慰渭慰位慰纬萎蟽蔚喂蟼 蠁胃蠈谓慰蠀 魏伪喂 渭委蟽慰蠀蟼 伪位位维 蠁蠀蟽喂魏维 魏伪喂 维蟽尾蔚蟽蟿慰蠀 苇蟻蠅蟿伪 魏伪喂 蟺维胃慰蠀蟼. 螌蟽慰 蠄畏位维 魏伪喂 伪谓 尾蟻委蟽魏蔚蟿伪喂 魏伪谓蔚委蟼 蟽蟿畏 蟽魏维位伪 蟿畏蟼 蔚尉慰蠀蟽委伪蟼, 未蔚 未喂伪蠁苇蟻蔚喂 蟽蔚 伪谓蟿喂未蟻维蟽蔚喂蟼 魏伪喂 伪喂蟽胃萎渭伪蟿伪 渭蔚 伪蠀蟿蠈谓 蟺慰蠀 尾蟻委蟽魏蔚蟿伪喂 蟽蟿畏谓 维位位畏 渭蔚蟻喂维 蟿畏蟼 蟽魏维位伪蟼. 韦伪 蟺维谓蟿伪 纬委谓慰谓蟿伪喂 纬喂伪 蟿畏 蟽蠀谓蟿蟻喂蟺蟿喂魏萎 魏伪蟿维魏蟿畏蟽畏 蟿慰蠀 伪谓蟿喂魏蔚喂渭苇谓慰蠀 蟿慰蠀 蟺蠈胃慰蠀 蟺慰蠀 蔚委谓伪喂 魏维胃蔚 蠁慰蟻维 魏伪喂 维位位慰. 螕喂伪 蟿慰谓 蟺位慰蠉蟿慰, 纬喂伪 蟿畏谓 未蠈尉伪, 纬喂伪 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪. 螕喂伪 蟿慰 魏伪位蠈 蟿畏蟼 巍蠋渭畏蟼.
螝伪喂 蔚纬蠋 未蔚 蟽蟿伪渭维蟿畏蟽伪 谓伪 纬蠀蟻委味蠅 蟿喂蟼 蟽蔚位委未蔚蟼. 螕蟻萎纬慰蟻伪 蟽蟿畏谓 伪蟻蠂萎 伪位位维 渭蔚 蟽蠉谓蔚蟽畏 魏伪喂 蟺蟻慰蟽慰蠂萎 蟽蟿慰 蟿苇位慰蟼 魏维谓慰谓蟿伪蟼 魏维蟿喂 蟽伪谓 慰喂魏慰谓慰渭委伪 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 螒蠉纬慰蠀蟽蟿慰蠀 纬喂伪 谓伪 渭畏 渭慰蠀 蟿蔚位蔚喂蠋蟽蔚喂!
危蠀纬蠂伪蟻畏蟿萎蟻喂伪 蟽蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 Gutenberg 蟺慰蠀 苇魏蟻喂谓伪谓 蟽蠅蟽蟿维 魏伪喂 渭蔚蟿苇蠁蟻伪蟽伪谓 纬喂伪 蟿畏 蟽蔚喂蟻维 Aldina 蟿蠈蟽慰 蟿慰 Stoner 蠈蟽慰 魏伪喂 蟿慰谓 螒蠉纬慰蠀蟽蟿慰, 魏伪蟿维蠁蔚蟻伪谓 苇蟿蟽喂 蟽蔚 苇谓伪 渭萎谓伪 渭苇蟽伪 谓伪 蟿慰蟺慰胃蔚蟿萎蟽蠅 蟿慰谓 John Williams 蟽蟿慰蠀蟼 伪纬伪蟺畏渭苇谓慰蠀蟼 渭慰蠀 蟽蠀纬纬蟻伪蠁蔚委蟼 蠈位蠅谓 蟿蠅谓 蔚蟺慰蠂蠋谓. 螤蔚蟻喂渭苇谓蠅 渭蔚 伪纬蠅谓委伪 魏伪喂 蟿伪 维位位伪 未蠉慰 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 蟽蟿伪 螘位位畏谓喂魏维.
螖蔚谓 尉苇蟻蠅 蟺慰喂维 蔚委谓伪喂 蟿伪 蟽蠀蟽蟿伪蟿喂魏维 蟺慰蠀 魏维谓慰蠀谓 苇谓伪 尾喂尾位委慰 尉蔚蠂蠅蟻喂蟽蟿蠈, 位慰纬喂魏维 魏维胃蔚 伪谓伪纬谓蠋蟽蟿畏蟼 苇蠂蔚喂 蟿伪 未喂魏维 蟿慰蠀 喂未喂伪委蟿蔚蟻伪 魏蟻喂蟿萎蟻喂伪, 伪位位维 蔚蟺喂蟿蟻苇蠄蟿蔚 渭慰蠀 谓伪 蟺蠅, 慰 螒蠉纬慰蠀蟽蟿慰蟼 蔚委谓伪喂 苇谓伪 伪蟺蠈 蟿伪 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻伪 喂蟽蟿慰蟻喂魏维 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 蟺慰蠀 纬蟻维蠁蟿畏魏伪谓 蟺慰蟿苇. 螛苇蟼 蟺慰蠀 苇蠂蠅 苇谓伪谓 苇蟻蠅蟿伪 蟽蟿畏 巍蠋渭畏 魏伪喂 蟽蟿伪 渭谓畏渭蔚委伪 蟿畏蟼; 螛蔚蟼 蟺慰蠀 苇蠂蠅 维位位慰谓 苇谓伪谓 蟽蟿慰 渭蠉胃慰 蟿畏蟼 螝位蔚慰蟺维蟿蟻伪蟼 魏伪喂 蟿畏谓 螒委纬蠀蟺蟿慰; 螇 蟽蟿慰 蟿苇位慰蟼 蟿苇位慰蟼, 未蔚委尉蟿蔚 渭慰蠀 苇谓伪谓 维谓胃蟻蠅蟺慰 蟺慰蠀 未蔚谓 蟿蟻蔚位伪委谓蔚蟿伪喂 纬喂伪 渭喂伪 未蠀谓伪蟿萎 喂蟽蟿慰蟻委伪 伪纬维蟺畏蟼. 螕喂伪蟿委 渭畏 蟽伪蟼 尉蔚谓委味蔚喂 慰 蟿委蟿位慰蟼 萎 蟿慰 慰蟺喂蟽胃蠈蠁蠀位位慰, 慰 螒蠉纬慰蠀蟽蟿慰蟼 蔚委谓伪喂 蟺慰位位苇蟼 尉蔚蠂蠅蟻喂蟽蟿苇蟼 喂蟽蟿慰蟻委蔚蟼 伪纬维蟺畏蟼 蟻伪渭渭苇谓蔚蟼 渭伪蔚蟽蟿蟻喂魏维 蟽蔚 渭委伪 伪蟺慰位伪蠀蟽蟿喂魏萎 喂蟽蟿慰蟻喂魏萎 伪蠁萎纬畏蟽畏. 螒纬维蟺畏蟼 蟺蟻慰蟼 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪, 伪纬维蟺畏蟼 蟺蟻慰蟼 蟿喂蟼 蟿苇蠂谓蔚蟼 蟿伪 纬蟻维渭渭伪蟿伪 魏伪喂 蟿慰谓 蟺慰位喂蟿喂蟽渭蠈, 伪纬维蟺畏蟼 蟺蟻慰蟼 蟿慰 魏伪胃萎魏慰谓 魏伪喂 蟿慰蠀蟼 蟺慰位委蟿蔚蟼 慰喂 味蠅苇蟼 蟿蠅谓 慰蟺慰委蠅谓 魏蟻苇渭慰谓蟿伪喂 伪蟺蠈 蟿伪 蠂苇蟻喂伪 蟿慰蠀 魏蠀尾蔚蟻谓萎蟿畏 蟿慰蠀蟼, 伪纬维蟺畏蟼 蟺蟻慰蟼 蟿畏 渭伪纬喂魏萎 蠁蠉蟽畏 蟿慰蠀 维谓胃蟻蠅蟺慰 蟺慰蠀 蔚蟻蠅蟿蔚蠉蔚蟿伪喂 未喂伪蟻魏蠋蟼 蟺慰位蔚渭蠋谓蟿伪蟼 渭伪谓喂伪蟽渭苇谓伪 蟽蟿慰 蠈谓慰渭伪 蟿慰蠀 (魏维胃蔚 蠁慰蟻维) 渭慰谓伪未喂魏慰蠉, 蟿蟻慰渭伪纬渭苇谓慰蟼 蟽蟿畏谓 喂未苇伪 魏伪喂 渭蠈谓慰 蟿畏蟼 渭慰谓伪尉喂维 蟿慰蠀 魏伪喂 蟿畏蟼 蠁胃伪蟻蟿蠈蟿畏蟿伪 蟿畏蟼 蠉位畏蟼 蟿慰蠀.
螣谓蠈渭伪蟿伪 蠈蟺蠅蟼 螜慰蠉位喂慰蟼 螝伪委蟽伪蟻伪蟼, 螔蟻慰蠉蟿慰蟼, 螠维蟻魏慰蟼 螒谓蟿蠋谓喂慰蟼, 螔喂蟻纬委位喂慰蟼, 螡苇蟻蠅谓伪蟼, 螚蟻蠋未畏蟼, 螖伪渭伪蟽魏畏谓蠈蟼, 螣魏蟿维尾喂慰蟼 魏伪喂 蠁蠀蟽喂魏维 伪蠀蟿蠈 蟿畏蟼 螝位蔚慰蟺维蟿蟻伪蟼, 蟺伪蟻蔚位维味慰蠀谓 渭蟺蟻慰蟽蟿维 蟽蟿伪 渭维蟿喂伪 蟿慰蠀 渭伪纬蔚渭苇谓慰蠀 伪谓伪纬谓蠋蟽蟿畏 渭苇蟽蠅 蔚蟺喂蟽蟿慰位蠋谓 蟺慰蠀 纬蟻维蠁慰蠀谓 慰 苇谓伪蟼 蟺蟻慰蟼 蟿慰谓 维位位慰. 螘蟺喂蟽蟿慰位苇蟼 未慰位慰蟺位蠈魏蠅谓, 魏伪蟿伪蟽魏蠈蟺蠅谓, 蠁委位蠅谓 伪位位维 魏伪喂 蔚蠂胃蟻蠋谓, 蔚尉慰渭慰位慰纬萎蟽蔚喂蟼 蠁胃蠈谓慰蠀 魏伪喂 渭委蟽慰蠀蟼 伪位位维 蠁蠀蟽喂魏维 魏伪喂 维蟽尾蔚蟽蟿慰蠀 苇蟻蠅蟿伪 魏伪喂 蟺维胃慰蠀蟼. 螌蟽慰 蠄畏位维 魏伪喂 伪谓 尾蟻委蟽魏蔚蟿伪喂 魏伪谓蔚委蟼 蟽蟿畏 蟽魏维位伪 蟿畏蟼 蔚尉慰蠀蟽委伪蟼, 未蔚 未喂伪蠁苇蟻蔚喂 蟽蔚 伪谓蟿喂未蟻维蟽蔚喂蟼 魏伪喂 伪喂蟽胃萎渭伪蟿伪 渭蔚 伪蠀蟿蠈谓 蟺慰蠀 尾蟻委蟽魏蔚蟿伪喂 蟽蟿畏谓 维位位畏 渭蔚蟻喂维 蟿畏蟼 蟽魏维位伪蟼. 韦伪 蟺维谓蟿伪 纬委谓慰谓蟿伪喂 纬喂伪 蟿畏 蟽蠀谓蟿蟻喂蟺蟿喂魏萎 魏伪蟿维魏蟿畏蟽畏 蟿慰蠀 伪谓蟿喂魏蔚喂渭苇谓慰蠀 蟿慰蠀 蟺蠈胃慰蠀 蟺慰蠀 蔚委谓伪喂 魏维胃蔚 蠁慰蟻维 魏伪喂 维位位慰. 螕喂伪 蟿慰谓 蟺位慰蠉蟿慰, 纬喂伪 蟿畏谓 未蠈尉伪, 纬喂伪 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪. 螕喂伪 蟿慰 魏伪位蠈 蟿畏蟼 巍蠋渭畏蟼.
螝伪喂 蔚纬蠋 未蔚 蟽蟿伪渭维蟿畏蟽伪 谓伪 纬蠀蟻委味蠅 蟿喂蟼 蟽蔚位委未蔚蟼. 螕蟻萎纬慰蟻伪 蟽蟿畏谓 伪蟻蠂萎 伪位位维 渭蔚 蟽蠉谓蔚蟽畏 魏伪喂 蟺蟻慰蟽慰蠂萎 蟽蟿慰 蟿苇位慰蟼 魏维谓慰谓蟿伪蟼 魏维蟿喂 蟽伪谓 慰喂魏慰谓慰渭委伪 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 螒蠉纬慰蠀蟽蟿慰蠀 纬喂伪 谓伪 渭畏 渭慰蠀 蟿蔚位蔚喂蠋蟽蔚喂!
危蠀纬蠂伪蟻畏蟿萎蟻喂伪 蟽蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 Gutenberg 蟺慰蠀 苇魏蟻喂谓伪谓 蟽蠅蟽蟿维 魏伪喂 渭蔚蟿苇蠁蟻伪蟽伪谓 纬喂伪 蟿畏 蟽蔚喂蟻维 Aldina 蟿蠈蟽慰 蟿慰 Stoner 蠈蟽慰 魏伪喂 蟿慰谓 螒蠉纬慰蠀蟽蟿慰, 魏伪蟿维蠁蔚蟻伪谓 苇蟿蟽喂 蟽蔚 苇谓伪 渭萎谓伪 渭苇蟽伪 谓伪 蟿慰蟺慰胃蔚蟿萎蟽蠅 蟿慰谓 John Williams 蟽蟿慰蠀蟼 伪纬伪蟺畏渭苇谓慰蠀蟼 渭慰蠀 蟽蠀纬纬蟻伪蠁蔚委蟼 蠈位蠅谓 蟿蠅谓 蔚蟺慰蠂蠋谓. 螤蔚蟻喂渭苇谓蠅 渭蔚 伪纬蠅谓委伪 魏伪喂 蟿伪 维位位伪 未蠉慰 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 蟽蟿伪 螘位位畏谓喂魏维.
April 3, 2021
I don鈥檛 write reviews.
Wow. Where have I been? Obviously living in a world without the knowledge of this great book. I was enthralled by Augustus. I鈥檓 a big fan of the Claudius novels by Graves and found this a logical part of the whole of Roman historical fiction.
I have a beautiful love/hate relationship with the Roman Empire. It鈥檚 grotesque, yet I can鈥檛 look away. Imagining it makes one feel dirty in a way that shouldn鈥檛 be viewed in a positive light. I suppose I feel this way about many things I see. I鈥檓 the consummate voyeur.
Williams did a brilliant job of reporting the history while detailing characters no one could ever truly know. He struck the perfect balance. These are people I鈥檝e met, that we鈥檝e all been acquainted with. Of course as we watch the decline of another empire the similarities are striking. The repetition of history is mind-numbing.
I realize that I don鈥檛 understand 鈥渁mbition.鈥� I wish to be comfortable, but on a very fundamental no-frills level. The very notion of attempting to negotiate one鈥檚 way into a position of power and keeping it, is foreign to me. I love my bed and am quite happy to know my chances of being poisoned for that love are slim to none.
Wow. Where have I been? Obviously living in a world without the knowledge of this great book. I was enthralled by Augustus. I鈥檓 a big fan of the Claudius novels by Graves and found this a logical part of the whole of Roman historical fiction.
I have a beautiful love/hate relationship with the Roman Empire. It鈥檚 grotesque, yet I can鈥檛 look away. Imagining it makes one feel dirty in a way that shouldn鈥檛 be viewed in a positive light. I suppose I feel this way about many things I see. I鈥檓 the consummate voyeur.
Williams did a brilliant job of reporting the history while detailing characters no one could ever truly know. He struck the perfect balance. These are people I鈥檝e met, that we鈥檝e all been acquainted with. Of course as we watch the decline of another empire the similarities are striking. The repetition of history is mind-numbing.
I realize that I don鈥檛 understand 鈥渁mbition.鈥� I wish to be comfortable, but on a very fundamental no-frills level. The very notion of attempting to negotiate one鈥檚 way into a position of power and keeping it, is foreign to me. I love my bed and am quite happy to know my chances of being poisoned for that love are slim to none.
July 12, 2019
螚 渭伪蟿伪喂蠈蟿畏蟿伪, 伪蠀蟿蠈 蟿慰 位喂渭维谓喂 蟽蟿慰 蟿苇位慰蟼 蟿慰蠀 魏蠈蟽渭慰蠀, 蠈蟺慰蠀 蠈位慰喂 魏伪蟿伪蠁蔚蠉纬慰蠀谓 苇蠂慰谓蟿伪蟼 伪蟺蠅位苇蟽蔚喂 魏伪喂 蟿喂蟼 蟿蔚位蔚蠀蟿伪委蔚蟼 蔚蠁萎渭蔚蟻蔚蟼 蔚位蟺委未蔚蟼 蟿慰蠀蟼, 萎蟿伪谓 魏维蟿喂 蟺慰蠀 蟺维谓蟿伪 渭蔚 蔚委位魏蠀蔚 蟽蟿畏谓 蟿苇蠂谓畏. 螒蠀蟿蠈 蟿慰 伪谓苇位蟺喂未慰 尾萎渭伪 蟽蟿慰 魏蔚谓蠈, 渭蔚 尾位苇渭渭伪 魏伪胃伪蟻蠈, 蔚谓 蟺位萎蟻畏 蔚蟺喂纬谓蠋蟽蔚喂 蟺蠅蟼 蟿慰 蟿委蟺慰蟿伪 蟽蔚 蟺蟻慰蟽渭苇谓蔚喂 渭蔚 伪谓慰喂蠂蟿苇蟼 伪纬魏维位蔚蟼, 蟺蠅蟼 魏喂 蔚蟽蠉, 蠈蟽慰 胃伪蠀渭伪蟽蟿维 蟿伪 蔚蟺委纬蔚喂伪 苇蟻纬伪 蟽慰蠀, 胃伪 蠂伪胃蔚委蟼 蟽蟿慰 蟺慰蠀胃蔚谓维 渭伪味委 渭蔚 蟿喂蟼 伪渭苇蟿蟻畏蟿蔚蟼 蟽蟿蟻伪蟿喂苇蟼 胃谓畏蟿蠋谓 蟺慰蠀 蟺蟻慰畏纬萎胃畏魏伪谓, 伪蟺慰蟿蔚位蔚委 伪苇谓伪伪 蠁蠈尾畏蟿蟻慰 纬喂伪 蔚渭维蟼 蟿慰蠀蟼 魏慰喂谓慰蠉蟼 胃谓畏蟿慰蠉蟼.
螕喂伪 蟿慰蠀蟼 维位位慰蠀蟼, 蠈渭蠅蟼, 蔚魏蔚委谓慰蠀蟼 蟺慰蠀 蟺蔚蟻喂纬蔚位慰蠉谓 蟿慰 渭畏未苇谓 渭蔚 蟿畏谓 苇渭蟺谓蔚蠀蟽畏, 蔚蟺喂蠂蠅渭伪蟿蠋谓慰谓蟿伪蟼 蟿慰 魏蔚谓蠈 渭蔚 蟿畏 未畏渭喂慰蠀蟻纬委伪, 畏 渭伪蟿伪喂蠈蟿畏蟿伪 伪蟻未蔚蠉蔚喂 蟿畏谓 蟿苇蠂谓畏 蟿慰蠀蟼, 蔚蟺喂蟿蟻苇蟺慰谓蟿维蟼 蟿慰蠀蟼 谓伪 蠄伪蠉蟽慰蠀谓 蟿慰谓 蟿蟻蠈渭慰 蟿畏蟼 伪蟺蠋位蔚喂伪蟼 渭蔚 蠂苇蟻喂伪 纬蠀渭谓维, 渭维蟿喂伪 慰蟻胃维谓慰喂蠂蟿伪 蟽蟿慰 蟽魏蠈蟿慰蟼, 渭蔚 蟺蔚蟻喂蠁蟻蠈谓畏蟽畏 蟽蠀蠂谓维 纬喂伪 蟿喂蟼 蠂伪渭苇谓蔚蟼 蔚蠀魏伪喂蟻委蔚蟼, 伪位位维 渭蔚 "位蠉蟺畏 魏喂蠈位伪蟼 魏伪喂 蔚蠀蟽蟺位伪蠂谓委伪". 螚 蟿苇蠂谓畏 蟿蟻苇蠁蔚蟿伪喂 蟿蔚位喂魏维 伪蟺蠈 蟿慰谓 味蠈蠁慰, 蟿慰谓 蔚纬魏蠀渭慰谓蔚委 魏伪喂 蟿慰谓 伪谓苇蠂蔚蟿伪喂, 蠈蠂喂 纬喂伪蟿委 蔚委谓伪喂 伪蟺位维 魏伪喂 渭蠈谓慰 蟺蔚喂蟽喂胃维谓伪蟿畏, 伪位位维 纬喂伪蟿委 蟿慰谓 蠂蠅谓蔚蠉蔚喂 魏伪喂 蟿慰谓 蔚尉蔚渭蔚委, 蟺蟻慰蟽蠁苇蟻慰谓蟿伪蟼 蟽蔚 蔚渭维蟼 蟿慰蠀蟼 位慰喂蟺慰蠉蟼 蟿畏 "未喂' 蔚位苇慰蠀 魏伪喂 蠁蠈尾慰蠀" 位蠉蟿蟻蠅蟽畏, 蔚魏蔚委谓畏 蟿畏 "蟽蟿蔚谓萎 蟺蠉位畏 魏伪喂 蟿蔚胃位喂渭渭苇谓畏 慰未蠈" 蟺慰蠀 渭伪蟼 蟽蠀纬魏蟻伪蟿蔚委 慰蟻喂伪魏维 蔚蟺维谓蠅 伪蟺蠈 蟿慰 蠂维慰蟼 蟿慰 慰蟺慰委慰 魏伪蟻伪未慰魏蔚委 魏维胃蔚 蟽蟿喂纬渭萎 谓伪 渭伪蟼 魏伪蟿伪蟺喂蔚委.
螣 蟺蟻蠈位慰纬慰蟼 纬喂伪 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 伪蠀蟿蠈 萎蟿伪谓 伪蟺伪蟻伪委蟿畏蟿慰蟼, 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 渭蔚蟿伪蠁苇蟻蠅 魏维蟺慰喂伪 伪蟺蠈 蟿伪 伪喂蟽胃萎渭伪蟿伪 魏伪喂 蟿喂蟼 蟽魏苇蠄蔚喂蟼 蟺慰蠀 渭慰蠀 蠀蟺苇尾伪位蔚, 蟿伪 慰蟺慰委伪 蠈渭蠅蟼 未蔚谓 萎蟿伪谓 魏伪喂 蟿伪 渭蠈谓伪. 螣 "螒蠉纬慰蠀蟽蟿慰蟼" 渭蟺慰蟻蔚委 蔚魏 蟺蟻蠋蟿畏蟼 谓伪 蔚委谓伪喂 苇谓伪 喂蟽蟿慰蟻喂魏蠈 苇蟻纬慰, 伪位位维 蔚蟺' 慰蠀未蔚谓委 未蔚谓 蔚委谓伪喂 伪蟺慰魏慰渭渭苇谓慰 伪蟺蠈 蟿畏谓 魏慰蟽渭慰胃蔚蠅蟻委伪, 蟿慰蠀蟼 蟺蟻慰尾位畏渭伪蟿喂蟽渭慰蠉蟼 魏伪喂 蟿慰 伪蠁畏纬畏渭伪蟿喂魏蠈 蠉蠁慰蟼 蟿慰蠀 Williams 蠈蟺蠅蟼 蟿伪 纬谓蠅蟻委蟽伪渭蔚 蟽蟿慰谓 "危蟿蠈慰蠀谓蔚蟻". 桅蟿维谓慰谓蟿伪蟼 蟽蟿慰 渭苇蟽慰 魏伪喂 魏喂谓慰蠉渭蔚谓慰蟼 蟺蟻慰蟼 蟿慰 蟿苇位慰蟼, 伪谓伪纬谓蠋蟻喂蟽伪 蠈位伪 蔚魏蔚委谓伪 蟿伪 蟽蟿慰喂蠂蔚委伪 蟺慰蠀 伪蟺萎位伪蠀蟽伪 蟽蔚 蔚魏蔚委谓慰 蟿慰 蔚尉伪喂蟻蔚蟿喂魏蠈 尾喂尾位委慰: 蟿畏 蠂伪渭苇谓畏 谓蔚蠈蟿畏蟿伪, 蟿畏谓 伪委蟽胃畏蟽畏 蟿慰蠀 魏伪胃萎魏慰谓蟿慰蟼 蟺慰蠀 蟽蠀谓慰未蔚蠉蔚蟿伪喂 伪蟺蠈 蟿慰 蠂伪蟻维渭喂蟽渭伪 渭喂伪蟼 慰位蠈魏位畏蟻畏蟼 味蠅萎蟼 魏伪喂 蟽蟿慰 蟿苇位慰蟼 蟿畏 渭伪蟿伪喂蠈蟿畏蟿伪, 蟿畏谓 魏蠀蟻喂伪蟻蠂委伪 蟿慰蠀 蟿蠀蠂伪委慰蠀 (萎 蟿畏蟼 渭慰委蟻伪蟼) 蟺慰蠀 伪蟺慰魏伪胃畏位蠋谓蔚喂 蟿伪 蟺维谓蟿伪. 螝伪喂, 渭蠈谓畏 蟺蟻慰慰蟺蟿喂魏萎, 畏 魏伪胃伪蟻蟿萎蟻喂慰蟼 蟿苇蠂谓畏, 蠅蟼 蔚蟺蠅未蠈蟼.
螣渭慰位慰纬蠋 蟺蠅蟼 蠅蟼 蟿慰 未蔚蠉蟿蔚蟻慰 渭苇蟻慰蟼 蟿慰蠀 尾喂尾位委慰蠀, 蠀蟺萎蟻尉伪 蟽蠀纬魏蟻伪蟿畏渭苇谓伪 胃蔚蟿喂魏蠈蟼, 魏伪胃蠋蟼 渭慰蠀 苇位蔚喂蟺伪谓 魏维蟺慰喂伪 蟽蟿慰喂蠂蔚委伪 蟺慰蠀 未喂苇蟿蟻蔚蠂伪谓 蟿慰谓 "危蟿蠈慰蠀谓蔚蟻" - 蟽蠀纬魏蔚魏蟻喂渭苇谓伪, 畏 伪蠁伪委蟻蔚蟽畏 魏喂 慰 渭喂谓喂渭伪位喂蟽渭蠈蟼 蟽蟿畏谓 伪蠁萎纬畏蟽畏. 危蟿慰谓 "螒蠉纬慰蠀蟽蟿慰", 慰 Williams 蔚委谓伪喂 蟺喂慰 蔚蟺蔚尉畏纬畏渭伪蟿喂魏蠈蟼, 委蟽蠅蟼 蟺位畏胃蠅蟻喂魏蠈蟼 纬喂伪 蟿伪 渭苇蟿蟻伪 蟿慰蠀 (渭慰蠀). 螒蟺慰魏蠈渭喂蟽伪 蟿畏谓 伪委蟽胃畏蟽畏 蟺蠅蟼 蠈位伪 伪谓伪位蠉慰谓蟿伪谓 魏伪蟿维 蟿喂 蟺伪蟻伪蟺维谓蠅, 魏伪胃喂蟽蟿蠋谓蟿伪蟼 蟿慰 蔚纬蠂蔚委蟻畏渭伪 蔚位伪蠁蟻蠋蟼 蟺喂慰 蔚蠉蟺蔚蟺蟿慰 伪蟺蠈 蠈,蟿喂 蠈蠁蔚喂位蔚, 魏维蟿喂 蟺慰蠀 慰渭慰位慰纬蠋 蠈蟿喂 未蔚谓 蔚委蠂伪 谓喂蠋蟽蔚喂 蟽蔚 魏伪渭委伪 蟽蔚位委未伪 蟿慰蠀 "危蟿蠈慰蠀谓蔚蟻".
螉蟽蠅蟼 蔚委谓伪喂 魏喂 慰 尾伪蟽喂魏蠈蟿蔚蟻慰蟼 位蠈纬慰蟼 蟺慰蠀 伪蟻魏蔚蟿慰委 伪谓伪纬谓蠋蟽蟿蔚蟼 蔚委蠂伪谓 尾蟻蔚喂 蟿慰 尾喂尾位委慰 蔚魏蔚委谓慰 "蔚蟺委蟺蔚未慰", "尾伪蟻蔚蟿蠈", "伪谓慰蠉蟽喂慰". 危蠀纬魏蔚魏蟻喂渭苇谓伪, 伪蠀蟿萎 畏 蔚魏慰蠉蟽喂伪 伪蠁伪委蟻蔚蟽畏鈥ξ毕單蔽瓜佄肯嵪兾� 伪蟺蠈 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 蟿畏谓 维渭蔚蟽畏/ 蔚蠉魏慰位畏 未蠀谓伪蟿蠈蟿畏蟿伪 蟿伪蠉蟿喂蟽畏蟼 渭蔚 蟿慰谓 萎蟻蠅伪 蟺慰蠀 蟺蔚位伪纬慰未蟻慰渭慰蠉蟽蔚 伪魏蟻慰蟺伪蟿蠋谓蟿伪蟼 蟽蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 魏锟斤拷喂 蟿畏 味蠅萎 蟿慰蠀. 韦伪 伪蠀蟿维 未蔚谓 喂蟽蠂蠉慰蠀谓 蠈渭蠅蟼 蟽蟿畏谓 蟺蔚蟻委蟺蟿蠅蟽畏 蟿慰蠀 "螒蠀纬慰蠉蟽蟿慰蠀", 慰 慰蟺慰委慰蟼 伪谓慰委纬蔚蟿伪喂, 伪蠁萎谓蔚蟿伪喂 蔚蠀蟺蟻慰蟽萎纬慰蟻伪 蟽蟿畏谓 伪谓维纬魏畏 蟿伪蠉蟿喂蟽畏蟼 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏, 渭蔚 蟿蟻蠈蟺慰 蠈渭蠅蟼 蟽蠀谓蟿蔚蟿伪纬渭苇谓慰 魏伪喂 蟺蟻慰蟽蔚魏蟿喂魏蠈, 伪魏慰位慰蠀胃蠋谓蟿伪蟼 蠀蠁慰位慰纬喂魏维 渭喂伪 蟽伪蠁蠋蟼 蟺喂慰 蟽蟿蟻慰纬纬蠀位蔚渭苇谓畏 魏伪喂 蔚蠀苇位喂魏蟿畏 纬蟻伪蠁萎. 螌蟿伪谓 渭维位喂蟽蟿伪 慰 "苇蟿慰喂渭慰蟼 伪蟺蠈 魏伪喂蟻蠈" 伪谓伪纬谓蠋蟽蟿畏蟼 蟺蟻慰蟽蔚纬纬委味蔚喂 蟿慰 魏慰蟻蠀蠁伪委慰 3慰 渭苇蟻慰蟼, 畏 渭苇胃蔚尉畏 蔚委谓伪喂 未蔚未慰渭苇谓畏.
螖蔚未慰渭苇谓蠅谓 伪蠀蟿蠋谓, 伪蟺位维 胃伪 蟺蟻慰蟽蠀蟺慰纬蟻维蠄蠅 魏喂 蔚纬蠋 渭蔚 蟿畏 蟽蔚喂蟻维 渭慰蠀 蟺蠅蟼 蟿慰 "危蟿蠈慰蠀谓蔚蟻" 蟺伪蟻伪渭苇谓蔚喂 蟿慰 魏慰蟻蠀蠁伪委慰 蟿慰蠀 苇蟻纬慰, 蟽蟿畏 位慰纬喂魏萎 蟺慰蠀 蟺蟻慰伪谓苇蠁蔚蟻伪: 螌蟽伪 蠀蟺慰谓慰慰蠉谓蟿伪喂 蟽蟿畏谓 蟿苇蠂谓畏, 蟽蠀蠂谓维 蔚委谓伪喂 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻伪 伪蟺蠈 蔚魏蔚委谓伪 蟺慰蠀 未畏位蠋谓慰谓蟿伪喂 伪蟺蟻慰魏维位蠀蟺蟿伪. 螚 位蔚喂蟿慰蠀蟻纬委伪 (渭蔚 蟿畏 胃蟻畏蟽魏蔚蠀蟿喂魏萎 苇谓谓慰喂伪 慰渭慰蠉) 蟿慰蠀 位蠈纬慰蠀 慰蠁蔚委位蔚喂 谓伪 蔚委谓伪喂 伪谓蔚蟺伪委蟽胃畏蟿畏 魏伪喂 蠀蟺伪喂谓喂魏蟿喂魏萎, 伪蠁萎谓慰谓蟿伪蟼 蟿慰谓 胃畏蟻蔚蠀蟿萎-伪谓伪纬谓蠋蟽蟿畏 谓伪 蟺位蔚蠉蟽蔚喂 蟽蟿伪 伪蠂伪蟻蟿慰纬蟻维蠁畏蟿伪 谓蔚蟻维, 蠂蠅蟻委蟼 渭蟺慰蠉蟽慰蠀位伪 维位位慰 蟺位畏谓 蟿畏蟼 蟺蟻慰蟽蠅蟺喂魏萎蟼 蟿慰蠀 伪喂蟽胃畏蟿喂魏萎蟼, 蔚谓蠋 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺伪蟻伪渭苇谓蔚喂 蔚魏慰蠀蟽委蠅蟼 蟽蟿畏 蟽魏喂维, 蠁蠅蟿委味慰谓蟿伪蟼 蔚位伪蠁蟻蠋蟼 蟿伪 谓蠀蠂蟿慰蟺蔚蟻蟺伪蟿萎渭伪蟿维 蟿慰蠀 伪蟺蠈 蟺伪蟻维纬蟻伪蠁慰 蟽蔚 蟺伪蟻维纬蟻伪蠁慰.
螝伪喂 蔚蟺蔚喂未萎 魏伪渭委伪 苇谓谓慰喂伪, 伪尉委伪 魏伪喂 魏蟻委蟽畏 未蔚谓 蠀蠁委蟽蟿伪蟿伪喂 伪蠀胃蠉蟺伪蟻魏蟿畏 蟽蟿慰谓 魏蠈蟽渭慰 蔚蟿慰蠉蟿慰 蟺伪蟻维 渭蠈谓慰 蟽蠀纬魏蟻喂谓蠈渭蔚谓畏 渭蔚 蔚蟿苇蟻伪 慰渭慰蔚喂未萎, 慰 "螒蠉纬慰蠀蟽蟿慰蟼" 蔚委谓伪喂 苇谓伪 蔚尉伪委蟻蔚蟿慰 渭蔚谓 尾喂尾位委慰, 蠀蟺慰位蔚委蟺蔚蟿伪喂 未蔚 蟽伪蠁蠋蟼 蟿慰蠀 "螒未蟻喂伪谓慰蠉 螒蟺慰渭谓畏渭慰谓蔚蠉渭伪蟿伪" 蟿畏蟼 螠. 螕喂慰蠀蟻蟽蔚谓维蟻 鈥� 蔚谓蠈蟼 伪蟺蠈 蟿伪 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻伪 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 (伪谓蔚尉伪蟻蟿萎蟿蠅蟼 魏伪蟿畏纬慰蟻委伪蟼) 尾伪胃喂维 蟺蔚蟽喂渭喂蟽蟿喂魏慰蠉, 胃蟻畏谓畏蟿喂魏慰蠉 蠉渭谓慰蠀 纬喂伪 蟿畏 渭伪蟿伪喂蠈蟿畏蟿伪 蟿蠅谓 伪谓胃蟻蠋蟺喂谓蠅谓 蟺蔚蟺蟻伪纬渭苇谓蠅谓. 韦慰蠉蟿慰, 尾苇尾伪喂伪, 未蔚谓 伪蠁伪喂蟻蔚委 慰蠀未蠈位蠅蟼 伪蟺蠈 蟿慰 苇蟻纬慰 蟿慰蠀 Williams, 渭喂伪蟼 魏伪喂 畏 蟽蠉纬魏蟻喂蟽畏 渭蔚 蟿慰 magnum opus 蟿畏蟼 螕喂慰蠀蟻蟽蔚谓维蟻 蔚蟺喂尾蔚尾伪喂蠋谓蔚喂 蟿畏谓 伪尉委伪 蟿慰蠀. 违蟺维蟻蠂蔚喂, 蔚谓 蟿苇位蔚喂, 渭喂伪 蟿维尉畏 蟽蟿慰 苇蟻蔚尾慰蟼 魏伪喂 蔚魏蔚委谓慰喂 蟺慰蠀 蟿慰 蠀蟺畏蟻蔚蟿慰蠉谓 慰蠁蔚委位慰蠀谓 谓伪 蟿慰 蟺蟻维蟿蟿慰蠀谓 魏伪蟿伪谓蠀魏蟿喂魏维 魏伪喂 渭蔚 蟺位萎蟻畏 蔚蟺委纬谓蠅蟽畏 蟿慰蠀 蟻蠈位慰蠀 蟿慰蠀蟼.
螕喂伪 蟿慰蠀蟼 维位位慰蠀蟼, 蠈渭蠅蟼, 蔚魏蔚委谓慰蠀蟼 蟺慰蠀 蟺蔚蟻喂纬蔚位慰蠉谓 蟿慰 渭畏未苇谓 渭蔚 蟿畏谓 苇渭蟺谓蔚蠀蟽畏, 蔚蟺喂蠂蠅渭伪蟿蠋谓慰谓蟿伪蟼 蟿慰 魏蔚谓蠈 渭蔚 蟿畏 未畏渭喂慰蠀蟻纬委伪, 畏 渭伪蟿伪喂蠈蟿畏蟿伪 伪蟻未蔚蠉蔚喂 蟿畏谓 蟿苇蠂谓畏 蟿慰蠀蟼, 蔚蟺喂蟿蟻苇蟺慰谓蟿维蟼 蟿慰蠀蟼 谓伪 蠄伪蠉蟽慰蠀谓 蟿慰谓 蟿蟻蠈渭慰 蟿畏蟼 伪蟺蠋位蔚喂伪蟼 渭蔚 蠂苇蟻喂伪 纬蠀渭谓维, 渭维蟿喂伪 慰蟻胃维谓慰喂蠂蟿伪 蟽蟿慰 蟽魏蠈蟿慰蟼, 渭蔚 蟺蔚蟻喂蠁蟻蠈谓畏蟽畏 蟽蠀蠂谓维 纬喂伪 蟿喂蟼 蠂伪渭苇谓蔚蟼 蔚蠀魏伪喂蟻委蔚蟼, 伪位位维 渭蔚 "位蠉蟺畏 魏喂蠈位伪蟼 魏伪喂 蔚蠀蟽蟺位伪蠂谓委伪". 螚 蟿苇蠂谓畏 蟿蟻苇蠁蔚蟿伪喂 蟿蔚位喂魏维 伪蟺蠈 蟿慰谓 味蠈蠁慰, 蟿慰谓 蔚纬魏蠀渭慰谓蔚委 魏伪喂 蟿慰谓 伪谓苇蠂蔚蟿伪喂, 蠈蠂喂 纬喂伪蟿委 蔚委谓伪喂 伪蟺位维 魏伪喂 渭蠈谓慰 蟺蔚喂蟽喂胃维谓伪蟿畏, 伪位位维 纬喂伪蟿委 蟿慰谓 蠂蠅谓蔚蠉蔚喂 魏伪喂 蟿慰谓 蔚尉蔚渭蔚委, 蟺蟻慰蟽蠁苇蟻慰谓蟿伪蟼 蟽蔚 蔚渭维蟼 蟿慰蠀蟼 位慰喂蟺慰蠉蟼 蟿畏 "未喂' 蔚位苇慰蠀 魏伪喂 蠁蠈尾慰蠀" 位蠉蟿蟻蠅蟽畏, 蔚魏蔚委谓畏 蟿畏 "蟽蟿蔚谓萎 蟺蠉位畏 魏伪喂 蟿蔚胃位喂渭渭苇谓畏 慰未蠈" 蟺慰蠀 渭伪蟼 蟽蠀纬魏蟻伪蟿蔚委 慰蟻喂伪魏维 蔚蟺维谓蠅 伪蟺蠈 蟿慰 蠂维慰蟼 蟿慰 慰蟺慰委慰 魏伪蟻伪未慰魏蔚委 魏维胃蔚 蟽蟿喂纬渭萎 谓伪 渭伪蟼 魏伪蟿伪蟺喂蔚委.
螣 蟺蟻蠈位慰纬慰蟼 纬喂伪 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 伪蠀蟿蠈 萎蟿伪谓 伪蟺伪蟻伪委蟿畏蟿慰蟼, 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 渭蔚蟿伪蠁苇蟻蠅 魏维蟺慰喂伪 伪蟺蠈 蟿伪 伪喂蟽胃萎渭伪蟿伪 魏伪喂 蟿喂蟼 蟽魏苇蠄蔚喂蟼 蟺慰蠀 渭慰蠀 蠀蟺苇尾伪位蔚, 蟿伪 慰蟺慰委伪 蠈渭蠅蟼 未蔚谓 萎蟿伪谓 魏伪喂 蟿伪 渭蠈谓伪. 螣 "螒蠉纬慰蠀蟽蟿慰蟼" 渭蟺慰蟻蔚委 蔚魏 蟺蟻蠋蟿畏蟼 谓伪 蔚委谓伪喂 苇谓伪 喂蟽蟿慰蟻喂魏蠈 苇蟻纬慰, 伪位位维 蔚蟺' 慰蠀未蔚谓委 未蔚谓 蔚委谓伪喂 伪蟺慰魏慰渭渭苇谓慰 伪蟺蠈 蟿畏谓 魏慰蟽渭慰胃蔚蠅蟻委伪, 蟿慰蠀蟼 蟺蟻慰尾位畏渭伪蟿喂蟽渭慰蠉蟼 魏伪喂 蟿慰 伪蠁畏纬畏渭伪蟿喂魏蠈 蠉蠁慰蟼 蟿慰蠀 Williams 蠈蟺蠅蟼 蟿伪 纬谓蠅蟻委蟽伪渭蔚 蟽蟿慰谓 "危蟿蠈慰蠀谓蔚蟻". 桅蟿维谓慰谓蟿伪蟼 蟽蟿慰 渭苇蟽慰 魏伪喂 魏喂谓慰蠉渭蔚谓慰蟼 蟺蟻慰蟼 蟿慰 蟿苇位慰蟼, 伪谓伪纬谓蠋蟻喂蟽伪 蠈位伪 蔚魏蔚委谓伪 蟿伪 蟽蟿慰喂蠂蔚委伪 蟺慰蠀 伪蟺萎位伪蠀蟽伪 蟽蔚 蔚魏蔚委谓慰 蟿慰 蔚尉伪喂蟻蔚蟿喂魏蠈 尾喂尾位委慰: 蟿畏 蠂伪渭苇谓畏 谓蔚蠈蟿畏蟿伪, 蟿畏谓 伪委蟽胃畏蟽畏 蟿慰蠀 魏伪胃萎魏慰谓蟿慰蟼 蟺慰蠀 蟽蠀谓慰未蔚蠉蔚蟿伪喂 伪蟺蠈 蟿慰 蠂伪蟻维渭喂蟽渭伪 渭喂伪蟼 慰位蠈魏位畏蟻畏蟼 味蠅萎蟼 魏伪喂 蟽蟿慰 蟿苇位慰蟼 蟿畏 渭伪蟿伪喂蠈蟿畏蟿伪, 蟿畏谓 魏蠀蟻喂伪蟻蠂委伪 蟿慰蠀 蟿蠀蠂伪委慰蠀 (萎 蟿畏蟼 渭慰委蟻伪蟼) 蟺慰蠀 伪蟺慰魏伪胃畏位蠋谓蔚喂 蟿伪 蟺维谓蟿伪. 螝伪喂, 渭蠈谓畏 蟺蟻慰慰蟺蟿喂魏萎, 畏 魏伪胃伪蟻蟿萎蟻喂慰蟼 蟿苇蠂谓畏, 蠅蟼 蔚蟺蠅未蠈蟼.
螣渭慰位慰纬蠋 蟺蠅蟼 蠅蟼 蟿慰 未蔚蠉蟿蔚蟻慰 渭苇蟻慰蟼 蟿慰蠀 尾喂尾位委慰蠀, 蠀蟺萎蟻尉伪 蟽蠀纬魏蟻伪蟿畏渭苇谓伪 胃蔚蟿喂魏蠈蟼, 魏伪胃蠋蟼 渭慰蠀 苇位蔚喂蟺伪谓 魏维蟺慰喂伪 蟽蟿慰喂蠂蔚委伪 蟺慰蠀 未喂苇蟿蟻蔚蠂伪谓 蟿慰谓 "危蟿蠈慰蠀谓蔚蟻" - 蟽蠀纬魏蔚魏蟻喂渭苇谓伪, 畏 伪蠁伪委蟻蔚蟽畏 魏喂 慰 渭喂谓喂渭伪位喂蟽渭蠈蟼 蟽蟿畏谓 伪蠁萎纬畏蟽畏. 危蟿慰谓 "螒蠉纬慰蠀蟽蟿慰", 慰 Williams 蔚委谓伪喂 蟺喂慰 蔚蟺蔚尉畏纬畏渭伪蟿喂魏蠈蟼, 委蟽蠅蟼 蟺位畏胃蠅蟻喂魏蠈蟼 纬喂伪 蟿伪 渭苇蟿蟻伪 蟿慰蠀 (渭慰蠀). 螒蟺慰魏蠈渭喂蟽伪 蟿畏谓 伪委蟽胃畏蟽畏 蟺蠅蟼 蠈位伪 伪谓伪位蠉慰谓蟿伪谓 魏伪蟿维 蟿喂 蟺伪蟻伪蟺维谓蠅, 魏伪胃喂蟽蟿蠋谓蟿伪蟼 蟿慰 蔚纬蠂蔚委蟻畏渭伪 蔚位伪蠁蟻蠋蟼 蟺喂慰 蔚蠉蟺蔚蟺蟿慰 伪蟺蠈 蠈,蟿喂 蠈蠁蔚喂位蔚, 魏维蟿喂 蟺慰蠀 慰渭慰位慰纬蠋 蠈蟿喂 未蔚谓 蔚委蠂伪 谓喂蠋蟽蔚喂 蟽蔚 魏伪渭委伪 蟽蔚位委未伪 蟿慰蠀 "危蟿蠈慰蠀谓蔚蟻".
螉蟽蠅蟼 蔚委谓伪喂 魏喂 慰 尾伪蟽喂魏蠈蟿蔚蟻慰蟼 位蠈纬慰蟼 蟺慰蠀 伪蟻魏蔚蟿慰委 伪谓伪纬谓蠋蟽蟿蔚蟼 蔚委蠂伪谓 尾蟻蔚喂 蟿慰 尾喂尾位委慰 蔚魏蔚委谓慰 "蔚蟺委蟺蔚未慰", "尾伪蟻蔚蟿蠈", "伪谓慰蠉蟽喂慰". 危蠀纬魏蔚魏蟻喂渭苇谓伪, 伪蠀蟿萎 畏 蔚魏慰蠉蟽喂伪 伪蠁伪委蟻蔚蟽畏鈥ξ毕單蔽瓜佄肯嵪兾� 伪蟺蠈 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 蟿畏谓 维渭蔚蟽畏/ 蔚蠉魏慰位畏 未蠀谓伪蟿蠈蟿畏蟿伪 蟿伪蠉蟿喂蟽畏蟼 渭蔚 蟿慰谓 萎蟻蠅伪 蟺慰蠀 蟺蔚位伪纬慰未蟻慰渭慰蠉蟽蔚 伪魏蟻慰蟺伪蟿蠋谓蟿伪蟼 蟽蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 魏锟斤拷喂 蟿畏 味蠅萎 蟿慰蠀. 韦伪 伪蠀蟿维 未蔚谓 喂蟽蠂蠉慰蠀谓 蠈渭蠅蟼 蟽蟿畏谓 蟺蔚蟻委蟺蟿蠅蟽畏 蟿慰蠀 "螒蠀纬慰蠉蟽蟿慰蠀", 慰 慰蟺慰委慰蟼 伪谓慰委纬蔚蟿伪喂, 伪蠁萎谓蔚蟿伪喂 蔚蠀蟺蟻慰蟽萎纬慰蟻伪 蟽蟿畏谓 伪谓维纬魏畏 蟿伪蠉蟿喂蟽畏蟼 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏, 渭蔚 蟿蟻蠈蟺慰 蠈渭蠅蟼 蟽蠀谓蟿蔚蟿伪纬渭苇谓慰 魏伪喂 蟺蟻慰蟽蔚魏蟿喂魏蠈, 伪魏慰位慰蠀胃蠋谓蟿伪蟼 蠀蠁慰位慰纬喂魏维 渭喂伪 蟽伪蠁蠋蟼 蟺喂慰 蟽蟿蟻慰纬纬蠀位蔚渭苇谓畏 魏伪喂 蔚蠀苇位喂魏蟿畏 纬蟻伪蠁萎. 螌蟿伪谓 渭维位喂蟽蟿伪 慰 "苇蟿慰喂渭慰蟼 伪蟺蠈 魏伪喂蟻蠈" 伪谓伪纬谓蠋蟽蟿畏蟼 蟺蟻慰蟽蔚纬纬委味蔚喂 蟿慰 魏慰蟻蠀蠁伪委慰 3慰 渭苇蟻慰蟼, 畏 渭苇胃蔚尉畏 蔚委谓伪喂 未蔚未慰渭苇谓畏.
螖蔚未慰渭苇谓蠅谓 伪蠀蟿蠋谓, 伪蟺位维 胃伪 蟺蟻慰蟽蠀蟺慰纬蟻维蠄蠅 魏喂 蔚纬蠋 渭蔚 蟿畏 蟽蔚喂蟻维 渭慰蠀 蟺蠅蟼 蟿慰 "危蟿蠈慰蠀谓蔚蟻" 蟺伪蟻伪渭苇谓蔚喂 蟿慰 魏慰蟻蠀蠁伪委慰 蟿慰蠀 苇蟻纬慰, 蟽蟿畏 位慰纬喂魏萎 蟺慰蠀 蟺蟻慰伪谓苇蠁蔚蟻伪: 螌蟽伪 蠀蟺慰谓慰慰蠉谓蟿伪喂 蟽蟿畏谓 蟿苇蠂谓畏, 蟽蠀蠂谓维 蔚委谓伪喂 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻伪 伪蟺蠈 蔚魏蔚委谓伪 蟺慰蠀 未畏位蠋谓慰谓蟿伪喂 伪蟺蟻慰魏维位蠀蟺蟿伪. 螚 位蔚喂蟿慰蠀蟻纬委伪 (渭蔚 蟿畏 胃蟻畏蟽魏蔚蠀蟿喂魏萎 苇谓谓慰喂伪 慰渭慰蠉) 蟿慰蠀 位蠈纬慰蠀 慰蠁蔚委位蔚喂 谓伪 蔚委谓伪喂 伪谓蔚蟺伪委蟽胃畏蟿畏 魏伪喂 蠀蟺伪喂谓喂魏蟿喂魏萎, 伪蠁萎谓慰谓蟿伪蟼 蟿慰谓 胃畏蟻蔚蠀蟿萎-伪谓伪纬谓蠋蟽蟿畏 谓伪 蟺位蔚蠉蟽蔚喂 蟽蟿伪 伪蠂伪蟻蟿慰纬蟻维蠁畏蟿伪 谓蔚蟻维, 蠂蠅蟻委蟼 渭蟺慰蠉蟽慰蠀位伪 维位位慰 蟺位畏谓 蟿畏蟼 蟺蟻慰蟽蠅蟺喂魏萎蟼 蟿慰蠀 伪喂蟽胃畏蟿喂魏萎蟼, 蔚谓蠋 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺伪蟻伪渭苇谓蔚喂 蔚魏慰蠀蟽委蠅蟼 蟽蟿畏 蟽魏喂维, 蠁蠅蟿委味慰谓蟿伪蟼 蔚位伪蠁蟻蠋蟼 蟿伪 谓蠀蠂蟿慰蟺蔚蟻蟺伪蟿萎渭伪蟿维 蟿慰蠀 伪蟺蠈 蟺伪蟻维纬蟻伪蠁慰 蟽蔚 蟺伪蟻维纬蟻伪蠁慰.
螝伪喂 蔚蟺蔚喂未萎 魏伪渭委伪 苇谓谓慰喂伪, 伪尉委伪 魏伪喂 魏蟻委蟽畏 未蔚谓 蠀蠁委蟽蟿伪蟿伪喂 伪蠀胃蠉蟺伪蟻魏蟿畏 蟽蟿慰谓 魏蠈蟽渭慰 蔚蟿慰蠉蟿慰 蟺伪蟻维 渭蠈谓慰 蟽蠀纬魏蟻喂谓蠈渭蔚谓畏 渭蔚 蔚蟿苇蟻伪 慰渭慰蔚喂未萎, 慰 "螒蠉纬慰蠀蟽蟿慰蟼" 蔚委谓伪喂 苇谓伪 蔚尉伪委蟻蔚蟿慰 渭蔚谓 尾喂尾位委慰, 蠀蟺慰位蔚委蟺蔚蟿伪喂 未蔚 蟽伪蠁蠋蟼 蟿慰蠀 "螒未蟻喂伪谓慰蠉 螒蟺慰渭谓畏渭慰谓蔚蠉渭伪蟿伪" 蟿畏蟼 螠. 螕喂慰蠀蟻蟽蔚谓维蟻 鈥� 蔚谓蠈蟼 伪蟺蠈 蟿伪 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻伪 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 (伪谓蔚尉伪蟻蟿萎蟿蠅蟼 魏伪蟿畏纬慰蟻委伪蟼) 尾伪胃喂维 蟺蔚蟽喂渭喂蟽蟿喂魏慰蠉, 胃蟻畏谓畏蟿喂魏慰蠉 蠉渭谓慰蠀 纬喂伪 蟿畏 渭伪蟿伪喂蠈蟿畏蟿伪 蟿蠅谓 伪谓胃蟻蠋蟺喂谓蠅谓 蟺蔚蟺蟻伪纬渭苇谓蠅谓. 韦慰蠉蟿慰, 尾苇尾伪喂伪, 未蔚谓 伪蠁伪喂蟻蔚委 慰蠀未蠈位蠅蟼 伪蟺蠈 蟿慰 苇蟻纬慰 蟿慰蠀 Williams, 渭喂伪蟼 魏伪喂 畏 蟽蠉纬魏蟻喂蟽畏 渭蔚 蟿慰 magnum opus 蟿畏蟼 螕喂慰蠀蟻蟽蔚谓维蟻 蔚蟺喂尾蔚尾伪喂蠋谓蔚喂 蟿畏谓 伪尉委伪 蟿慰蠀. 违蟺维蟻蠂蔚喂, 蔚谓 蟿苇位蔚喂, 渭喂伪 蟿维尉畏 蟽蟿慰 苇蟻蔚尾慰蟼 魏伪喂 蔚魏蔚委谓慰喂 蟺慰蠀 蟿慰 蠀蟺畏蟻蔚蟿慰蠉谓 慰蠁蔚委位慰蠀谓 谓伪 蟿慰 蟺蟻维蟿蟿慰蠀谓 魏伪蟿伪谓蠀魏蟿喂魏维 魏伪喂 渭蔚 蟺位萎蟻畏 蔚蟺委纬谓蠅蟽畏 蟿慰蠀 蟻蠈位慰蠀 蟿慰蠀蟼.
December 20, 2019
Told in the format of fictional letters and journals, Williams put together a biography of Gaius Octavius, better known as Augustus, the first Emperor of the Roman Empire. I knew that I would love this book, both because I am a total sucker for classical history, and because after reading 鈥淪toner鈥� (/review/show...), Williams鈥� talent is not something I question. And he could not have picked a more fascinating subject for his final novel: Augustus was a privileged but bookish young man, and while he had some military training, he was not the warrior his great uncle Julius Caesar was. He inherited Caesar鈥檚 titles and estate when he was only nineteen, and surprised pretty much everyone by not only rising to the occasion, but by solidifying his power with remarkable intelligence 鈥� and ruthlessness.
Williams begins his narrative a few months before the assassination of Julius Caesar, and covers Augustus鈥� entire reign, from the early struggles for power with the triumvirate, his military campaigns, his marriage, his friendships and ultimately, his death. If you know your Roman history, none of the events taking place on these pages will surprise you, but the quality of the writing, the strength of the characterization of those well-known historical figures and the depth and range of their human experience makes up for the lack of suspense (always a problem with historical fiction: we know how it ends!).
The epistolary format is beautiful and immersive, but it also means that readers with no background knowledge of Roman history and politics might be a little lost on occasion, as Williams provide little to no exposition 鈥� I kept a copy of Plutarch nearby, just in case I blanked out on who did what, when. But if you are already a fan of the so-called makers of Rome, this is a delightful recreation of their style of writing, and a vivid reimagining of key moments of Roman history. The many perspectives on this story also draw a complex, multi-faceted portrait of Augustus, and shows the complicated blend of flaws and strengths that such a man must have been to have reigned over the Empire for as long as he did. I understand why Williams chose to use Augustus鈥檚 voice only at the end (more on that later), but I admit I would have liked to see the events through his eyes a few times more.
I have always been fascinated by the eloquence and the intensity of the well-known figures of the early Roman Empire. It鈥檚 impossible to read Cicero, Plutarch or even Julius Caesar鈥檚 own writing without being awed by the (potentially exaggerated, but let鈥檚 give them the benefit of the doubt) verve with which they express themselves and praise or insult each other. Williams was obviously fond of their tone as well, because he captures it in the fictional letters with a realism that impressed me. Compared to some, Augustus as written by Williams is a reserved and cold-seeming man, his strong self-discipline holding back his emotions 鈥� but we see that this struggle of mind over passion costs him dearly, especially when it comes to his only daughter Julia.
Julia鈥檚 story is that of a woman torn between her duty, as daughter of the Emperor, and her desire to simply live her life. And Augustus鈥檚 decisions regarding her are those of a man equally torn between wanting what is best for his beloved city, and what is best for his equally beloved daughter 鈥� whom he had nicknamed his 鈥渓ittle Rome鈥�. They can seem cold on paper, those two titans of history, but through Julia鈥檚 diary entries, Williams summons the strength of their personalities and depth of their feelings masterfully.
The final section, narrated by Augustus, is an incredibly moving reflection on ageing and dying, on looking back at life and seeing things so differently from how we did when we were young.
Just like 鈥淪toner鈥�, this is a great novel, with a quiet and contemplative tone, that fans of historical fiction will love, and fans of good books in general ought to check out. If I have one complain, its that I wished it was longer: I would have loved even more details about Augustus鈥� reign and the fascinating and intricate characters that surrounded him through his life. I鈥檓 going to go re-watch 鈥淩ome鈥� now鈥�
Williams begins his narrative a few months before the assassination of Julius Caesar, and covers Augustus鈥� entire reign, from the early struggles for power with the triumvirate, his military campaigns, his marriage, his friendships and ultimately, his death. If you know your Roman history, none of the events taking place on these pages will surprise you, but the quality of the writing, the strength of the characterization of those well-known historical figures and the depth and range of their human experience makes up for the lack of suspense (always a problem with historical fiction: we know how it ends!).
The epistolary format is beautiful and immersive, but it also means that readers with no background knowledge of Roman history and politics might be a little lost on occasion, as Williams provide little to no exposition 鈥� I kept a copy of Plutarch nearby, just in case I blanked out on who did what, when. But if you are already a fan of the so-called makers of Rome, this is a delightful recreation of their style of writing, and a vivid reimagining of key moments of Roman history. The many perspectives on this story also draw a complex, multi-faceted portrait of Augustus, and shows the complicated blend of flaws and strengths that such a man must have been to have reigned over the Empire for as long as he did. I understand why Williams chose to use Augustus鈥檚 voice only at the end (more on that later), but I admit I would have liked to see the events through his eyes a few times more.
I have always been fascinated by the eloquence and the intensity of the well-known figures of the early Roman Empire. It鈥檚 impossible to read Cicero, Plutarch or even Julius Caesar鈥檚 own writing without being awed by the (potentially exaggerated, but let鈥檚 give them the benefit of the doubt) verve with which they express themselves and praise or insult each other. Williams was obviously fond of their tone as well, because he captures it in the fictional letters with a realism that impressed me. Compared to some, Augustus as written by Williams is a reserved and cold-seeming man, his strong self-discipline holding back his emotions 鈥� but we see that this struggle of mind over passion costs him dearly, especially when it comes to his only daughter Julia.
Julia鈥檚 story is that of a woman torn between her duty, as daughter of the Emperor, and her desire to simply live her life. And Augustus鈥檚 decisions regarding her are those of a man equally torn between wanting what is best for his beloved city, and what is best for his equally beloved daughter 鈥� whom he had nicknamed his 鈥渓ittle Rome鈥�. They can seem cold on paper, those two titans of history, but through Julia鈥檚 diary entries, Williams summons the strength of their personalities and depth of their feelings masterfully.
The final section, narrated by Augustus, is an incredibly moving reflection on ageing and dying, on looking back at life and seeing things so differently from how we did when we were young.
Just like 鈥淪toner鈥�, this is a great novel, with a quiet and contemplative tone, that fans of historical fiction will love, and fans of good books in general ought to check out. If I have one complain, its that I wished it was longer: I would have loved even more details about Augustus鈥� reign and the fascinating and intricate characters that surrounded him through his life. I鈥檓 going to go re-watch 鈥淩ome鈥� now鈥�
April 2, 2025
2025 re-read: still 5 stars. So good.
Still 5 stars.
Still 5 stars.
October 31, 2015
鈥淎ugustus鈥� by John Williams is a remarkable book on all counts. It has that perfect blend of beautiful prose and a retelling of history through the crucible of the literary imagination. 鈥淎ugustus鈥� is a supremely engaging novel characterized by a gripping plot, a rich cast of believable characters (neither villains nor saints), a deep unraveling of the impulses that drive humanity, and above all, some substance of import on which to reflect on the meaning of existence. Published in 1972, 鈥淎ugustus鈥� is Williams鈥� last work. It won the National Book Award for Fiction in 1973.
The story took the form of an epistolary novel. It read like an impressionist painting. Letters, journal entries, senatorial decrees, military orders, private notes, and unfinished histories combined to create a complex portrait of Augustus, the first emperor of Rome. In 鈥淎ugustus鈥� the authors of the invented epistles were, with few exceptions, real-life characters. The novel consisted of three parts: Part I 鈥� the unlikely rise of Augustus to power, his political survival, and Rome鈥檚 success; Part II 鈥� Augustus鈥� personal struggles and his relationship with Julia, his only child and daughter; Part III 鈥� Augustus鈥� farewell and evaluation of his own life. The most fascinating aspect of reading this novel was sifting through the layered perspectives and constructing my own opinion of the man behind the emperor鈥檚 robes. Interestingly enough, Augustus鈥� voice was heard only in the last part of the story. His perspective shed additional light on events described by others in Parts I and II. It allowed the reader to come to his or her own conclusions of the person Octavius truly was.
Augustus was born Gaius Octavius Thurinus in 63 BC. He was adopted by his maternal great-uncle Julius Caesar and thereafter given the name Gaius Julius Caesar Octavianus. In the novel, he was known as 鈥淥ctavius鈥�. How did the world regard him? Caesar's enemies perceived Octavius of startling blue eyes as a mere boy, a fool, and underestimated him when the death of Julius Caesar thrust him into power. Supported by three closest friends of his youth (Marcus Agrippa, Gaius Cilnius Maecenas, Salvidienus Rufus), Octavius vanquished his political rivals and stablilized his power. He brought peace to Rome, built schools, improved education for the masses, and strengthened Roman culture. At age 36, the Senate and people of Rome accorded him the title of Augustus ("the one who is to be venerated"). The conspiracies, ruthless schemes, decimation of his enemies 鈥� all made for engaging reading. One of the episodes that disturbed me greatly was the killing of Cicero, an old man and friend of his father that Octavius was fond of. The brutal dismemberment of Cicero鈥檚 body and public display of his head and hands - all of which Octavius Caesar permitted - was most saddening in a chilling way and revealed the weight of the political pressure to which he was subject. This episode was recounted twice by two different individuals and was very painful to read. What kind of man was Octavius?
From Julia, one perceived another side to Octavius, a father who went to extremes to protect and secure the future and liberty of his daughter, whom he affectionately called 鈥淟ittle Rome鈥�. I can only imagine how hard it must have been for him to bind her, out of necessity, to marriages that promised political survival and Rome鈥檚 future, knowing full well her happiness would be compromised. And thus, there was the constant conflict between public expedience and private need. The most tender part of the novel had to be the last meeting between Octavius and Julia before he banished her to Pandateria ostensibly on grounds of adultery and treason. His grief and anguish were as deep as his love for her. By the time Octavius reached the height of his political career, his closest friends and allies had died and he was a very lonely man.
The sustaining power of this novel lay in the strength of Octavius鈥� character. Amidst the grime where the personal and political were enmeshed, I kept becoming increasingly aware, from multiple reports, of Octavius鈥� inherent goodness. He was larger than life and deified in the Roman world. But he was best loved for his gentility and gentleness, a social versatility that would set a stranger at ease, unassuming earthiness, a love for all things literary (a closeness to poets which endeared him to me), a shyness that communicated a vulnerability one would not expect in an emperor. He was sagacious, pragmatic, shrewd, and ruthless when he needed to be. He had more than his fair share of self-serving friends and foes alike who all claimed a strong passion for Rome鈥檚 welfare. It takes a magnanimous man to acknowledge the presence of "flashes of tenderness and compassion" in the cruelest of men, many of whom were his enemies, and to admit "I am a man, and as foolish and weak as most men."
As in his earlier novel, 鈥淪toner鈥�, Williams pursued the theme of the worthy life. Julia, probably the brightest star in the entire clan of ambitious individuals, asked Octavius an incisive question: "Father, has it been worth it? Your authority, this Rome that you have saved, this Rome that you have built? Has it been worth all that you have had to do?" I believe Octavius recognized the limits of his success and power although he had little regrets for how he had lived out his destiny. Despite his best efforts, he conceded that there was "no wall that can be built to protect the human heart from its own weakness". He recognized the limits of the marriage laws he had promulgated because "laws were powerless against the private passions of the human heart" and "there was no possibility of virtue without the idea of virtue".
Unlike Stoner, who thought his life a failure, Octavius at age 76 permitted himself to believe that his existence had been "of more benefit than harm" to the world he was leaving behind. In the last days before his death, there was genuine affirmation from the common folk for the enfeebled emperor. The captain of a passing Egyptian ship that greeted Octavius鈥� boat on its final journey to the island of Capri thanked him for access to commerce and a safe passage through the seaways. It was gratifying that the novel did not end on a bleak note. It was important to me that Octavius perceived that the despair he had voiced seemed unworthy in light of what he had accomplished for Rome that by 14 AD was no longer a city of "crumbling clay" but one of marble.
A historical novel is not a literary genre I typically enjoy. John Williams鈥� last novel is an exception. Like its mesmerizing emperor, 鈥淎ugustus鈥� is unreservedly five stars in its brilliance.
The story took the form of an epistolary novel. It read like an impressionist painting. Letters, journal entries, senatorial decrees, military orders, private notes, and unfinished histories combined to create a complex portrait of Augustus, the first emperor of Rome. In 鈥淎ugustus鈥� the authors of the invented epistles were, with few exceptions, real-life characters. The novel consisted of three parts: Part I 鈥� the unlikely rise of Augustus to power, his political survival, and Rome鈥檚 success; Part II 鈥� Augustus鈥� personal struggles and his relationship with Julia, his only child and daughter; Part III 鈥� Augustus鈥� farewell and evaluation of his own life. The most fascinating aspect of reading this novel was sifting through the layered perspectives and constructing my own opinion of the man behind the emperor鈥檚 robes. Interestingly enough, Augustus鈥� voice was heard only in the last part of the story. His perspective shed additional light on events described by others in Parts I and II. It allowed the reader to come to his or her own conclusions of the person Octavius truly was.
Augustus was born Gaius Octavius Thurinus in 63 BC. He was adopted by his maternal great-uncle Julius Caesar and thereafter given the name Gaius Julius Caesar Octavianus. In the novel, he was known as 鈥淥ctavius鈥�. How did the world regard him? Caesar's enemies perceived Octavius of startling blue eyes as a mere boy, a fool, and underestimated him when the death of Julius Caesar thrust him into power. Supported by three closest friends of his youth (Marcus Agrippa, Gaius Cilnius Maecenas, Salvidienus Rufus), Octavius vanquished his political rivals and stablilized his power. He brought peace to Rome, built schools, improved education for the masses, and strengthened Roman culture. At age 36, the Senate and people of Rome accorded him the title of Augustus ("the one who is to be venerated"). The conspiracies, ruthless schemes, decimation of his enemies 鈥� all made for engaging reading. One of the episodes that disturbed me greatly was the killing of Cicero, an old man and friend of his father that Octavius was fond of. The brutal dismemberment of Cicero鈥檚 body and public display of his head and hands - all of which Octavius Caesar permitted - was most saddening in a chilling way and revealed the weight of the political pressure to which he was subject. This episode was recounted twice by two different individuals and was very painful to read. What kind of man was Octavius?
From Julia, one perceived another side to Octavius, a father who went to extremes to protect and secure the future and liberty of his daughter, whom he affectionately called 鈥淟ittle Rome鈥�. I can only imagine how hard it must have been for him to bind her, out of necessity, to marriages that promised political survival and Rome鈥檚 future, knowing full well her happiness would be compromised. And thus, there was the constant conflict between public expedience and private need. The most tender part of the novel had to be the last meeting between Octavius and Julia before he banished her to Pandateria ostensibly on grounds of adultery and treason. His grief and anguish were as deep as his love for her. By the time Octavius reached the height of his political career, his closest friends and allies had died and he was a very lonely man.
The sustaining power of this novel lay in the strength of Octavius鈥� character. Amidst the grime where the personal and political were enmeshed, I kept becoming increasingly aware, from multiple reports, of Octavius鈥� inherent goodness. He was larger than life and deified in the Roman world. But he was best loved for his gentility and gentleness, a social versatility that would set a stranger at ease, unassuming earthiness, a love for all things literary (a closeness to poets which endeared him to me), a shyness that communicated a vulnerability one would not expect in an emperor. He was sagacious, pragmatic, shrewd, and ruthless when he needed to be. He had more than his fair share of self-serving friends and foes alike who all claimed a strong passion for Rome鈥檚 welfare. It takes a magnanimous man to acknowledge the presence of "flashes of tenderness and compassion" in the cruelest of men, many of whom were his enemies, and to admit "I am a man, and as foolish and weak as most men."
As in his earlier novel, 鈥淪toner鈥�, Williams pursued the theme of the worthy life. Julia, probably the brightest star in the entire clan of ambitious individuals, asked Octavius an incisive question: "Father, has it been worth it? Your authority, this Rome that you have saved, this Rome that you have built? Has it been worth all that you have had to do?" I believe Octavius recognized the limits of his success and power although he had little regrets for how he had lived out his destiny. Despite his best efforts, he conceded that there was "no wall that can be built to protect the human heart from its own weakness". He recognized the limits of the marriage laws he had promulgated because "laws were powerless against the private passions of the human heart" and "there was no possibility of virtue without the idea of virtue".
Unlike Stoner, who thought his life a failure, Octavius at age 76 permitted himself to believe that his existence had been "of more benefit than harm" to the world he was leaving behind. In the last days before his death, there was genuine affirmation from the common folk for the enfeebled emperor. The captain of a passing Egyptian ship that greeted Octavius鈥� boat on its final journey to the island of Capri thanked him for access to commerce and a safe passage through the seaways. It was gratifying that the novel did not end on a bleak note. It was important to me that Octavius perceived that the despair he had voiced seemed unworthy in light of what he had accomplished for Rome that by 14 AD was no longer a city of "crumbling clay" but one of marble.
A historical novel is not a literary genre I typically enjoy. John Williams鈥� last novel is an exception. Like its mesmerizing emperor, 鈥淎ugustus鈥� is unreservedly five stars in its brilliance.
August 30, 2017
螠蔚蟿维 蟿慰谓 危蟿蠈慰蠀谓蔚蟻,维位位慰 苇谓伪 蠀蟺苇蟻慰蠂慰 伪位位维 魏伪喂 蟿蠈蟽慰 未喂伪蠁慰蟻蔚蟿喂魏蠈 尾喂尾位委慰 伪蟺慰 蟿慰谓 韦味慰谓 螕慰蠀委位喂伪渭蟼 蟿慰谓 谓苇慰 渭慰蠀 位慰纬慰蟿蔚蠂谓喂魏蠈 苇蟻蠅蟿伪.
危蟺维谓喂伪 未喂伪尾维味蠅 未蠀慰 尾喂尾位委伪 伪蟺慰 蟿慰谓 委未喂慰 蟽蠀纬纬蟻伪蠁苇伪 蟽蔚 蟿蠈蟽慰 蟽蠉谓蟿慰渭慰 蠂蟻慰谓喂魏蠈 未喂维蟽蟿畏渭伪 伪位位维 未蔚谓 渭蟺蠈蟻蔚蟽伪 谓伪 伪谓蟿喂蟽蟿伪胃蠋 蟽蟿畏 纬慰畏蟿蔚委伪 蟿畏蟼 伪蟻蠂伪委伪蟼 巍蠋渭畏蟼 渭蔚 蟿畏谓 慰蟺慰委伪 伪蟽蠂慰位蔚委蟿伪喂 慰 螕慰蠀委位喂伪渭蟼 蟽蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 魏伪喂 蟽蠀纬魏蔚魏蟻喂渭苇谓伪 渭蔚 蟿畏谓 纬苇谓谓畏蟽畏 蟿畏蟼 巍蠅渭伪蠆魏畏蟼 螒蠀蟿慰魏蟻伪蟿慰蟻委伪蟼 魏伪喂 蟿畏谓 味蠅萎 蟿慰蠀 蟺蟻蠋蟿慰蠀 伪蠀蟿慰魏蟻维蟿慰蟻伪 螣魏蟿伪尾喂伪谓慰蠉.
螣 螜慰蠉位喂慰蟼 螝伪委蟽伪蟻伪蟼 未慰位慰蠁慰谓蔚委蟿伪喂 魏喂 蔚渭蔚委蟼 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 蟿伪 蔚蟺伪魏蠈位慰蠀胃伪 渭苇蟽伪 伪蟺慰 蔚蟺喂蟽蟿慰位苇蟼 魏伪喂 伪谓伪渭谓萎蟽蔚喂蟼 未喂伪蠁蠈蟻蠅谓 伪蟿蠈渭蠅谓 蟺慰蠀 苇味畏蟽伪谓 伪蟺慰 魏慰谓蟿维 蠈位畏 蟿畏 渭维蠂畏 蟺慰蠀 苇未蠅蟽蔚 慰 谓蔚伪蟻蠈蟼 螣魏蟿维尾喂慰蟼 纬喂伪 谓伪 蠁伪谓蔚喂 伪谓蟿维尉喂慰蟼 蟿畏蟼 魏位畏蟻慰谓慰渭喂伪蟼 魏伪喂 蟿慰蠀 慰谓蠈渭伪蟿慰蟼 蟺慰蠀 蟿慰蠀 维蠁畏蟽蔚 慰 胃蔚蟿蠈蟼 蟿慰蠀 蟺伪蟿苇蟻伪蟼.桅委位慰喂,蔚蠂胃蟻慰委,畏 魏蠈蟻畏 蟿慰蠀 ,蠈位慰喂 尾维味慰蠀谓 苇谓伪 位喂胃伪蟻维魏喂 蟽蔚 伪蠀蟿蠈 蟿慰 渭蠅蟽伪蠆魏慰 魏伪喂 渭伪蟼 伪蟺慰魏伪位蠉蟺蟿慰蠀谓 蟽喂纬维 蟽喂纬维 渭喂伪 蔚蟺喂魏萎 喂蟽蟿慰蟻委伪.螤蠅蟼 魏伪蟿维蠁蔚蟻蔚 伪蠀蟿蠈 蟿慰 伪蟽胃蔚谓喂魏蠈 蟺伪喂未委 谓伪 蠁蟿喂维尉蔚喂 魏伪喂 谓伪 蔚未蟻伪喂蠋蟽蔚喂 渭喂伪 蟿蔚蟻维蟽蟿喂伪 伪蠀蟿慰魏蟻伪蟿慰蟻委伪 魏蠈谓蟿蟻伪 蟽蔚 蟿蠈蟽蔚蟼 委谓蟿蟻喂纬魏蔚蟼 魏伪喂 蟽蟿蟻伪蟿喂蠅蟿喂魏苇蟼 伪蟺蔚喂位苇蟼;韦喂 蠂蟻蔚喂伪蟽蟿畏魏蔚 谓伪 胃蠀蟽喂维蟽蔚喂;
螚 喂蟽蟿慰蟻委伪 蔚委谓伪喂 位委纬慰 蟺慰位蠉 纬谓蠅蟽蟿萎 蟽蟿慰蠀蟼 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰蠀蟼 蟺喂蟽蟿蔚蠉蠅 ,畏 魏蠈谓蟿蟻伪 渭蔚 蟿慰谓 螒谓蟿蠋谓喂慰 魏伪喂 蟿畏谓 螝位蔚慰蟺维蟿蟻伪,渭蔚 蟿慰谓 螤慰渭蟺萎喂慰,慰喂 渭维蠂蔚蟼,慰喂 渭伪魏喂伪尾蔚位喂魏苇蟼 委谓蟿蟻喂纬魏蔚蟼...伪位位维 慰 蟿蟻蠈蟺慰蟼 渭蔚 蟿慰谓 慰蟺慰委慰 蟿畏谓 渭蔚蟿伪蠁苇蟻蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 渭苇蟽伪 伪蟺慰 蟺慰位位蔚蟼 慰蟺蟿喂魏苇蟼 纬蠅谓委蔚蟼 蔚委谓伪喂 ,胃伪 苇位蔚纬伪,伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏蠈蟼.螣 委未喂慰蟼 慰 伪蠀蟿慰魏蟻维蟿慰蟻伪蟼 未蔚谓 渭伪蟼 渭喂位维蔚喂 渭苇蠂蟻喂 蟿慰 蟿苇位慰蟼 蟿慰蠀 尾喂尾位委慰蠀 慰蟺慰蠀 位委纬慰 蟺蟻喂谓 蟺蔚胃维谓蔚喂 纬蟻维蠁蔚喂 渭喂伪 蔚蟺喂蟽蟿慰位萎-伪蟺慰位慰纬喂蟽渭蠈 蟿畏蟼 味蠅萎蟼 蟿慰蠀.
螒蠀蟿蠈 蟺慰蠀 伪纬伪蟺蠋 蟽蟿畏 纬蟻伪蠁萎 蟿慰蠀 螕慰蠀委位喂伪渭蟼 蔚委谓伪喂 慰 蟿蟻蠈蟺慰蟼 渭蔚 蟿慰谓 慰蟺慰委慰 蟺蟻慰蟽蔚纬纬委味蔚喂 蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟿蠅谓 畏蟻蠋蠅谓 蟿慰蠀 渭蔚 渭喂伪 蔚蠀伪喂蟽胃畏蟽委伪 蟺慰蠀 渭蔚 伪纬纬委味蔚喂 尾伪胃蠉蟿伪蟿伪.螒蠀蟿萎 蟿畏 蠁慰蟻维 渭伪蟼 渭喂位维蔚喂 魏伪喂 渭蔚 蟿畏 蠁蠅谓萎 渭喂伪蟼 纬蠀谓伪委魏伪蟼.韦畏蟼 渭慰喂蠂伪位委未伪蟼 魏蠈蟻畏蟼 蟿慰蠀 伪蠀蟿慰魏蟻维蟿慰蟻伪, 螜慰蠀位委伪蟼 蟺慰蠀 苇纬喂谓蔚 蟺喂蠈谓喂 蟽蟿伪 蟺伪喂蠂谓委未喂伪 蔚尉慰蠀蟽委伪蟼 魏伪喂 魏伪蟿苇位畏尉蔚 蔚尉蠈蟻喂蟽蟿畏 蟽蔚 苇谓伪 尉蔚蟻慰谓萎蟽喂 魏伪喂 蟽蟿慰 畏渭蔚蟻慰位蠈纬喂慰 蟿畏蟼 渭喂位维蔚喂 纬喂伪 蟿畏谓 渭慰谓伪尉喂维 蟿畏蟼,蟿畏谓 蟺伪蟻伪委蟿畏蟽畏 蟿畏蟼 伪蟺慰 蟿畏 味蠅萎,蟿o谓 蟿蟻蠈蟺慰 蟺慰蠀 渭蔚蟿维 伪蟺慰 未蠀慰 纬维渭慰蠀蟼 蟽蠀渭蠁苇蟻慰谓蟿慰蟼 魏伪蟿维位伪尾蔚 慰蟿喂 苇蠂蔚喂 魏喂 伪蠀蟿萎 未喂魏伪委蠅渭伪 蟽蟿慰谓 苇蟻蠅蟿伪 魏伪喂 蟽蟿喂蟼 蠂伪蟻苇蟼 蟿慰蠀 蟽蔚尉 伪谓 魏伪喂 蠅蟼 纬蠀谓伪委魏伪 苇蟺蟻蔚蟺蔚 谓伪 蟿慰 蟺位畏蟻蠋蟽蔚喂 伪魏蟻喂尾维.
韦慰 尾喂尾位委慰 胃伪 魏蠀魏位慰蠁慰蟻萎蟽蔚喂 蟽蟿伪 蔚位位畏谓喂魏维 蟽蔚 位委纬慰 魏伪喂蟻蠈 伪蟺慰 蟿畏 蟽蔚喂蟻维 Aldina 蟿蠅谓 蔚魏未蠈蟽蔚蠅谓 Gutenberg 魏伪喂 胃伪 蔚位蔚纬伪 蟽蔚 蠈蟽慰蠀蟼 伪纬伪蟺慰蠉谓 蟿慰 喂蟽蟿慰蟻喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 谓伪 渭畏谓 蟿慰 蠂维蟽慰蠀谓.螝伪蟿伪 蟿畏 纬谓蠋渭畏 渭慰蠀 蔚委谓伪喂 must-read.
危蟺维谓喂伪 未喂伪尾维味蠅 未蠀慰 尾喂尾位委伪 伪蟺慰 蟿慰谓 委未喂慰 蟽蠀纬纬蟻伪蠁苇伪 蟽蔚 蟿蠈蟽慰 蟽蠉谓蟿慰渭慰 蠂蟻慰谓喂魏蠈 未喂维蟽蟿畏渭伪 伪位位维 未蔚谓 渭蟺蠈蟻蔚蟽伪 谓伪 伪谓蟿喂蟽蟿伪胃蠋 蟽蟿畏 纬慰畏蟿蔚委伪 蟿畏蟼 伪蟻蠂伪委伪蟼 巍蠋渭畏蟼 渭蔚 蟿畏谓 慰蟺慰委伪 伪蟽蠂慰位蔚委蟿伪喂 慰 螕慰蠀委位喂伪渭蟼 蟽蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 魏伪喂 蟽蠀纬魏蔚魏蟻喂渭苇谓伪 渭蔚 蟿畏谓 纬苇谓谓畏蟽畏 蟿畏蟼 巍蠅渭伪蠆魏畏蟼 螒蠀蟿慰魏蟻伪蟿慰蟻委伪蟼 魏伪喂 蟿畏谓 味蠅萎 蟿慰蠀 蟺蟻蠋蟿慰蠀 伪蠀蟿慰魏蟻维蟿慰蟻伪 螣魏蟿伪尾喂伪谓慰蠉.
螣 螜慰蠉位喂慰蟼 螝伪委蟽伪蟻伪蟼 未慰位慰蠁慰谓蔚委蟿伪喂 魏喂 蔚渭蔚委蟼 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 蟿伪 蔚蟺伪魏蠈位慰蠀胃伪 渭苇蟽伪 伪蟺慰 蔚蟺喂蟽蟿慰位苇蟼 魏伪喂 伪谓伪渭谓萎蟽蔚喂蟼 未喂伪蠁蠈蟻蠅谓 伪蟿蠈渭蠅谓 蟺慰蠀 苇味畏蟽伪谓 伪蟺慰 魏慰谓蟿维 蠈位畏 蟿畏 渭维蠂畏 蟺慰蠀 苇未蠅蟽蔚 慰 谓蔚伪蟻蠈蟼 螣魏蟿维尾喂慰蟼 纬喂伪 谓伪 蠁伪谓蔚喂 伪谓蟿维尉喂慰蟼 蟿畏蟼 魏位畏蟻慰谓慰渭喂伪蟼 魏伪喂 蟿慰蠀 慰谓蠈渭伪蟿慰蟼 蟺慰蠀 蟿慰蠀 维蠁畏蟽蔚 慰 胃蔚蟿蠈蟼 蟿慰蠀 蟺伪蟿苇蟻伪蟼.桅委位慰喂,蔚蠂胃蟻慰委,畏 魏蠈蟻畏 蟿慰蠀 ,蠈位慰喂 尾维味慰蠀谓 苇谓伪 位喂胃伪蟻维魏喂 蟽蔚 伪蠀蟿蠈 蟿慰 渭蠅蟽伪蠆魏慰 魏伪喂 渭伪蟼 伪蟺慰魏伪位蠉蟺蟿慰蠀谓 蟽喂纬维 蟽喂纬维 渭喂伪 蔚蟺喂魏萎 喂蟽蟿慰蟻委伪.螤蠅蟼 魏伪蟿维蠁蔚蟻蔚 伪蠀蟿蠈 蟿慰 伪蟽胃蔚谓喂魏蠈 蟺伪喂未委 谓伪 蠁蟿喂维尉蔚喂 魏伪喂 谓伪 蔚未蟻伪喂蠋蟽蔚喂 渭喂伪 蟿蔚蟻维蟽蟿喂伪 伪蠀蟿慰魏蟻伪蟿慰蟻委伪 魏蠈谓蟿蟻伪 蟽蔚 蟿蠈蟽蔚蟼 委谓蟿蟻喂纬魏蔚蟼 魏伪喂 蟽蟿蟻伪蟿喂蠅蟿喂魏苇蟼 伪蟺蔚喂位苇蟼;韦喂 蠂蟻蔚喂伪蟽蟿畏魏蔚 谓伪 胃蠀蟽喂维蟽蔚喂;
螚 喂蟽蟿慰蟻委伪 蔚委谓伪喂 位委纬慰 蟺慰位蠉 纬谓蠅蟽蟿萎 蟽蟿慰蠀蟼 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰蠀蟼 蟺喂蟽蟿蔚蠉蠅 ,畏 魏蠈谓蟿蟻伪 渭蔚 蟿慰谓 螒谓蟿蠋谓喂慰 魏伪喂 蟿畏谓 螝位蔚慰蟺维蟿蟻伪,渭蔚 蟿慰谓 螤慰渭蟺萎喂慰,慰喂 渭维蠂蔚蟼,慰喂 渭伪魏喂伪尾蔚位喂魏苇蟼 委谓蟿蟻喂纬魏蔚蟼...伪位位维 慰 蟿蟻蠈蟺慰蟼 渭蔚 蟿慰谓 慰蟺慰委慰 蟿畏谓 渭蔚蟿伪蠁苇蟻蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 渭苇蟽伪 伪蟺慰 蟺慰位位蔚蟼 慰蟺蟿喂魏苇蟼 纬蠅谓委蔚蟼 蔚委谓伪喂 ,胃伪 苇位蔚纬伪,伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏蠈蟼.螣 委未喂慰蟼 慰 伪蠀蟿慰魏蟻维蟿慰蟻伪蟼 未蔚谓 渭伪蟼 渭喂位维蔚喂 渭苇蠂蟻喂 蟿慰 蟿苇位慰蟼 蟿慰蠀 尾喂尾位委慰蠀 慰蟺慰蠀 位委纬慰 蟺蟻喂谓 蟺蔚胃维谓蔚喂 纬蟻维蠁蔚喂 渭喂伪 蔚蟺喂蟽蟿慰位萎-伪蟺慰位慰纬喂蟽渭蠈 蟿畏蟼 味蠅萎蟼 蟿慰蠀.
螒蠀蟿蠈 蟺慰蠀 伪纬伪蟺蠋 蟽蟿畏 纬蟻伪蠁萎 蟿慰蠀 螕慰蠀委位喂伪渭蟼 蔚委谓伪喂 慰 蟿蟻蠈蟺慰蟼 渭蔚 蟿慰谓 慰蟺慰委慰 蟺蟻慰蟽蔚纬纬委味蔚喂 蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟿蠅谓 畏蟻蠋蠅谓 蟿慰蠀 渭蔚 渭喂伪 蔚蠀伪喂蟽胃畏蟽委伪 蟺慰蠀 渭蔚 伪纬纬委味蔚喂 尾伪胃蠉蟿伪蟿伪.螒蠀蟿萎 蟿畏 蠁慰蟻维 渭伪蟼 渭喂位维蔚喂 魏伪喂 渭蔚 蟿畏 蠁蠅谓萎 渭喂伪蟼 纬蠀谓伪委魏伪蟼.韦畏蟼 渭慰喂蠂伪位委未伪蟼 魏蠈蟻畏蟼 蟿慰蠀 伪蠀蟿慰魏蟻维蟿慰蟻伪, 螜慰蠀位委伪蟼 蟺慰蠀 苇纬喂谓蔚 蟺喂蠈谓喂 蟽蟿伪 蟺伪喂蠂谓委未喂伪 蔚尉慰蠀蟽委伪蟼 魏伪喂 魏伪蟿苇位畏尉蔚 蔚尉蠈蟻喂蟽蟿畏 蟽蔚 苇谓伪 尉蔚蟻慰谓萎蟽喂 魏伪喂 蟽蟿慰 畏渭蔚蟻慰位蠈纬喂慰 蟿畏蟼 渭喂位维蔚喂 纬喂伪 蟿畏谓 渭慰谓伪尉喂维 蟿畏蟼,蟿畏谓 蟺伪蟻伪委蟿畏蟽畏 蟿畏蟼 伪蟺慰 蟿畏 味蠅萎,蟿o谓 蟿蟻蠈蟺慰 蟺慰蠀 渭蔚蟿维 伪蟺慰 未蠀慰 纬维渭慰蠀蟼 蟽蠀渭蠁苇蟻慰谓蟿慰蟼 魏伪蟿维位伪尾蔚 慰蟿喂 苇蠂蔚喂 魏喂 伪蠀蟿萎 未喂魏伪委蠅渭伪 蟽蟿慰谓 苇蟻蠅蟿伪 魏伪喂 蟽蟿喂蟼 蠂伪蟻苇蟼 蟿慰蠀 蟽蔚尉 伪谓 魏伪喂 蠅蟼 纬蠀谓伪委魏伪 苇蟺蟻蔚蟺蔚 谓伪 蟿慰 蟺位畏蟻蠋蟽蔚喂 伪魏蟻喂尾维.
韦慰 尾喂尾位委慰 胃伪 魏蠀魏位慰蠁慰蟻萎蟽蔚喂 蟽蟿伪 蔚位位畏谓喂魏维 蟽蔚 位委纬慰 魏伪喂蟻蠈 伪蟺慰 蟿畏 蟽蔚喂蟻维 Aldina 蟿蠅谓 蔚魏未蠈蟽蔚蠅谓 Gutenberg 魏伪喂 胃伪 蔚位蔚纬伪 蟽蔚 蠈蟽慰蠀蟼 伪纬伪蟺慰蠉谓 蟿慰 喂蟽蟿慰蟻喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 谓伪 渭畏谓 蟿慰 蠂维蟽慰蠀谓.螝伪蟿伪 蟿畏 纬谓蠋渭畏 渭慰蠀 蔚委谓伪喂 must-read.
April 9, 2023
John Williams is a wonderful writer and this is a wonderful novel. I came to Augustus not long after reading a novel that was quite powerful despite its lackluster prose. Reading the opening sentences of Augustus swept me away鈥擨 knew I was back in the realm of literary mastery.
Augustus follows the life of Gaius Octavius who would eventually, after great power struggles following the death of Julius Caesar, become the first Roman emperor, honored then as Augustus. The novel is told through letters, diaries, journals, and histories composed by everyone but Augustus himself鈥攗ntil the end of the novel, when, late in his life, Augustus writes a long letter to a friend in which he looks back over his career. It鈥檚 a masterful turnaround in terms of narration and plot, in effect reconfiguring鈥攅nriching is perhaps better鈥攖he portrait of Augustus that had emerged in the commentaries from his friends, family, and opponents, almost all of whom, no matter what their sympathies, see him as unrelenting and merciless in his pursuit of power and control of the empire. Given the machinations of those both for and against him, it shouldn鈥檛 be a surprise that Augustus wielded power oftentimes ruthlessly; he wouldn鈥檛 have survived otherwise, and most of those who stood against him during his career at the end are either lying dead or wasting in exile.
Of all those who comment on Augustus鈥攁nd the field is illustrious, including Horace, Cicero, Ovid, Mark Anthony, Vergil, and Cleopatra鈥攊t鈥檚 his daughter Julia, who is eventually sent into exile, that emerges as the most astute and the most complex. Always situated on the outskirts of the male-centered power structure, Julia knows well that, unlike men who can seize power through brute force and unchecked desire, women must use guile and intrigue; she thus deliberately constructs an array of personages to deceive those who come up against her. Her commentary on seduction, which might also apply to political seduction and duplicity, illustrates the depth of her understanding of the games of love and statesmanship: 鈥淭o one who has not become adept at the game, the steps of seduction may appear ludicrous; but they are no more so than the steps of a dance. The dancers dance, and their skill is their pleasure. All is ordained, from the first exchange of glances until the final coupling. And the mutual pretense of both participants is an important part of the elaborate game鈥攅ach pretends helplessness beneath the weight of passion, and each advance and withdrawal, each consent and refusal, is necessary to the successful consummation of the game. And yet the woman in such a game is always the victor, and I believe she must have a little contempt for her antagonist; for he is conquered and used, as he believes he is the conqueror and user.鈥� On the ecstasy of power, Julia observes that while philosophers declare power as empty, 鈥渢hey have not known power, as a eunuch has not known a woman, and thus can look upon it unmoved. In my life I could never understand my father not apprehending that joy of power by which I had learned to live.鈥�
The insightfulness of Julia鈥檚 comment on her father鈥檚 failure to relish the joys of domination is underscored in Augustus鈥檚 own observations in his letter at the end of the novel. Nearing death, Augustus casts a cold eye on his career and his achievements. While he is understandably proud of his accomplishments鈥攈e largely brought peace and order to the empire after a brutal civil war鈥攈e knows what he achieved came at a terrible cost to his humanity and that of those close to him. He has come to see that in seizing what he believed was his destiny to change the world, he first had to change himself. 鈥淚f he is to obey his destiny,鈥� Augustus observes, commenting on himself and those like him, 鈥渉e must find or invent within himself some hard and secret part that is indifferent to himself, to others, and even to the world that he is destined to remake, not to his own desire but to a nature that he will discover in the process of remaking.鈥� He configures his life by the passages he sees everyone following: 鈥淭he young man, who does not know the future, sees life as a kind of epic adventure, an Odyssey through strange seas and unknown islands, where he will test and prove his powers, and thereby discover his immortality. The man of middle years who has lived the future that he once dreamed, sees life as a tragedy, for he has learned that his power, however great, will not prevail against those forces of accident and nature to which he gives the names of gods, and has learned that he is mortal. But the man of age, if he plays his assigned role properly, must see life as a comedy. For his triumphs and his failures merge, and one is no more the occasion for pride or shame than the other, and he is neither the hero who proves himself against those forces, nor the protagonist who is destroyed by them. Like any poor, pitiable shell of an actor, he comes to see that he has played so many parts there no longer is himself.鈥� And, in one of his most arresting observations, Augustus says that of all the forces that ruled over his life the most significant was that of Accident.
Augustus also knows that whatever his achievements, they are merely transitory, that time is the great destroyer and that the Rome he created will not stand forever. His comments on his decision not to build a wall to keep out the Germanic tribes speak also more generally to his achievements as Emperor: 鈥淭he winds and rains of time will at last crumble the most solid stone, and there is no wall that can be built to protect the human heart from its own weakness.鈥� Not all of those clustered about Augustus are so wise, a point underscored in the novel鈥檚 heart-stopping final sentence, a sentence I鈥檒l let you savor when you get to it.
Augustus follows the life of Gaius Octavius who would eventually, after great power struggles following the death of Julius Caesar, become the first Roman emperor, honored then as Augustus. The novel is told through letters, diaries, journals, and histories composed by everyone but Augustus himself鈥攗ntil the end of the novel, when, late in his life, Augustus writes a long letter to a friend in which he looks back over his career. It鈥檚 a masterful turnaround in terms of narration and plot, in effect reconfiguring鈥攅nriching is perhaps better鈥攖he portrait of Augustus that had emerged in the commentaries from his friends, family, and opponents, almost all of whom, no matter what their sympathies, see him as unrelenting and merciless in his pursuit of power and control of the empire. Given the machinations of those both for and against him, it shouldn鈥檛 be a surprise that Augustus wielded power oftentimes ruthlessly; he wouldn鈥檛 have survived otherwise, and most of those who stood against him during his career at the end are either lying dead or wasting in exile.
Of all those who comment on Augustus鈥攁nd the field is illustrious, including Horace, Cicero, Ovid, Mark Anthony, Vergil, and Cleopatra鈥攊t鈥檚 his daughter Julia, who is eventually sent into exile, that emerges as the most astute and the most complex. Always situated on the outskirts of the male-centered power structure, Julia knows well that, unlike men who can seize power through brute force and unchecked desire, women must use guile and intrigue; she thus deliberately constructs an array of personages to deceive those who come up against her. Her commentary on seduction, which might also apply to political seduction and duplicity, illustrates the depth of her understanding of the games of love and statesmanship: 鈥淭o one who has not become adept at the game, the steps of seduction may appear ludicrous; but they are no more so than the steps of a dance. The dancers dance, and their skill is their pleasure. All is ordained, from the first exchange of glances until the final coupling. And the mutual pretense of both participants is an important part of the elaborate game鈥攅ach pretends helplessness beneath the weight of passion, and each advance and withdrawal, each consent and refusal, is necessary to the successful consummation of the game. And yet the woman in such a game is always the victor, and I believe she must have a little contempt for her antagonist; for he is conquered and used, as he believes he is the conqueror and user.鈥� On the ecstasy of power, Julia observes that while philosophers declare power as empty, 鈥渢hey have not known power, as a eunuch has not known a woman, and thus can look upon it unmoved. In my life I could never understand my father not apprehending that joy of power by which I had learned to live.鈥�
The insightfulness of Julia鈥檚 comment on her father鈥檚 failure to relish the joys of domination is underscored in Augustus鈥檚 own observations in his letter at the end of the novel. Nearing death, Augustus casts a cold eye on his career and his achievements. While he is understandably proud of his accomplishments鈥攈e largely brought peace and order to the empire after a brutal civil war鈥攈e knows what he achieved came at a terrible cost to his humanity and that of those close to him. He has come to see that in seizing what he believed was his destiny to change the world, he first had to change himself. 鈥淚f he is to obey his destiny,鈥� Augustus observes, commenting on himself and those like him, 鈥渉e must find or invent within himself some hard and secret part that is indifferent to himself, to others, and even to the world that he is destined to remake, not to his own desire but to a nature that he will discover in the process of remaking.鈥� He configures his life by the passages he sees everyone following: 鈥淭he young man, who does not know the future, sees life as a kind of epic adventure, an Odyssey through strange seas and unknown islands, where he will test and prove his powers, and thereby discover his immortality. The man of middle years who has lived the future that he once dreamed, sees life as a tragedy, for he has learned that his power, however great, will not prevail against those forces of accident and nature to which he gives the names of gods, and has learned that he is mortal. But the man of age, if he plays his assigned role properly, must see life as a comedy. For his triumphs and his failures merge, and one is no more the occasion for pride or shame than the other, and he is neither the hero who proves himself against those forces, nor the protagonist who is destroyed by them. Like any poor, pitiable shell of an actor, he comes to see that he has played so many parts there no longer is himself.鈥� And, in one of his most arresting observations, Augustus says that of all the forces that ruled over his life the most significant was that of Accident.
Augustus also knows that whatever his achievements, they are merely transitory, that time is the great destroyer and that the Rome he created will not stand forever. His comments on his decision not to build a wall to keep out the Germanic tribes speak also more generally to his achievements as Emperor: 鈥淭he winds and rains of time will at last crumble the most solid stone, and there is no wall that can be built to protect the human heart from its own weakness.鈥� Not all of those clustered about Augustus are so wise, a point underscored in the novel鈥檚 heart-stopping final sentence, a sentence I鈥檒l let you savor when you get to it.
February 13, 2020
Thanks to Howard's wonderful review reminding me of another lost book in the lost account. This book is brilliant, whether you are a fan of Ancient Rome or Roman History (which I am), or not, this book is such an enjoyable read. :-)
January 26, 2025
Oh my, I have just completed Augustus, one of the three major works of John Williams to be recognized as modern American classics. I was disoriented when I read Butcher鈥檚 Crossing, in the unsettling Western novel that tells the haunting and grim story of a buffalo hunting expedition that exposes the greed and savagery behind the myth of the Western frontier in the vein of Manifest Destiny. And then there was Stoner, a work of power politics in academia and the quiet heroism of a midwestern English professor dedicated to the honesty and importance of his craft, one of my favorite books ever, but now there is Augustus, winner of the National Book Award. This may be one of my favorite books ever. I am saddened that this brilliant writer, a professor at the University of Denver, never lived to see the many accolades and reverence that his body of work is now receiving.
Augustus is an epistolary novel written in the form of journal entries and letters. The novel tells the life story of Gaius Octavius, the great-nephew of Julius Caesar, who succeeds and avenges his assassinated great-uncle and adoptive father to become the first Emperor of Rome. The early parts of the book focus on the rise of young Octavius. But it is Augustus鈥� daughter Julia who comes forth as the novel鈥檚 most sympathetic, but alas, one of the most tragic figures in the novel. Book II, which is mostly the journals and letters of Julia are the cornerstone of this beautiful book. But John Willians鈥� portrayal of Augustus is so humanizing, he doesn鈥檛 blot out his rougher edges, as he schemed and betrayed when necessary. A beautiful and amazing book.
As Octavius Caesar is reflecting on his life as he is writing to his dear friend, Nicolaus of Damascus, aboard his yacht on a leisurely journey destined for Capri where he will be a guest of honor at the yearly gymnastic competitions of the island youths. He knows that he has lived a rich and full life but he knows that his life is coming to an end. His beautiful words:
Augustus is an epistolary novel written in the form of journal entries and letters. The novel tells the life story of Gaius Octavius, the great-nephew of Julius Caesar, who succeeds and avenges his assassinated great-uncle and adoptive father to become the first Emperor of Rome. The early parts of the book focus on the rise of young Octavius. But it is Augustus鈥� daughter Julia who comes forth as the novel鈥檚 most sympathetic, but alas, one of the most tragic figures in the novel. Book II, which is mostly the journals and letters of Julia are the cornerstone of this beautiful book. But John Willians鈥� portrayal of Augustus is so humanizing, he doesn鈥檛 blot out his rougher edges, as he schemed and betrayed when necessary. A beautiful and amazing book.
As Octavius Caesar is reflecting on his life as he is writing to his dear friend, Nicolaus of Damascus, aboard his yacht on a leisurely journey destined for Capri where he will be a guest of honor at the yearly gymnastic competitions of the island youths. He knows that he has lived a rich and full life but he knows that his life is coming to an end. His beautiful words:
鈥淭he young man, who does not know the future, sees life as a kind of epic adventure, an Odyssey through strange seas and unknown islands, where he will test and prove his powers, and thereby discover his immortality. The man of middle years, who has lived the future that he once dreamed, sees life as a tragedy; for he has learned that his power, however great, will not prevail against those forces of accident and nature to which he gives the names of gods, and has learned that he is mortal. But the man of age, if he plays his assigned role properly, must see life as a comedy. For his triumphs and his failures merge, and one is no more the occasion for pride or shame than the other; and he is neither the hero who proves himself against those forces, nor the protagonist who is destroyed by them. Like any poor, pitiable shell of an actor, he comes to see that he has played so many parts that there no longer is himself.鈥�
September 17, 2017
From what I understand John Williams only ever wrote 4 novels, but if so he was certainly an author who went for quality over quantity. This superbly written novel tells the life of Octavius Caesar through the device of (fictional) letters and journal entries written by the people around him. The introduction explains that Williams used this technique because he knew that in real life the Roman aristocracy were great letter writers.
The result is a fascinating character portrayal, in which Octavius is depicted as a man driven by duty and a sense of destiny to restore order to the rapidly disintegrating Roman Republic. Outwardly unemotional and calculating, he is not without feeling but is frequently forced by his position to act 鈥渁gainst his nature鈥�. Around him the other characters (most of them) plot and scheme towards their own advancements like players in a chess game, but one in which a false move means death. Mark Anthony, Cleopatra, Lepidus, Marcus Agrippa, and Livia all feature prominently, but perhaps the most interesting of the book鈥檚 characters is the Emperor鈥檚 daughter Julia. I greatly enjoyed those sections of the novel where she wrote in her journal. The famous poets of the time, Horace, Vergil and Ovid, all feature as well, though they mostly stand aside from the poltical intrigue.
One problem with writing a novel about the life of someone as famous as Octavius is that we all know the main outcomes in advance, which inevitably lessens the tension. The section involving Mark Anthony and Cleopatra is a good example. Mark Anthony is depicted as a bull-headed 鈥渕an of action鈥�, whilst in contrast Cleopatra is someone as calculating as Octavius himself. Her machinations, and those of her Chief Minister, are very skilfully plotted by the author, but ultimately we all know that Octavius was the victor. It鈥檚 for this reason only that I felt the book was a four rather than a five-star marking. An impressive achievement though, and a very enjoyable read.
The result is a fascinating character portrayal, in which Octavius is depicted as a man driven by duty and a sense of destiny to restore order to the rapidly disintegrating Roman Republic. Outwardly unemotional and calculating, he is not without feeling but is frequently forced by his position to act 鈥渁gainst his nature鈥�. Around him the other characters (most of them) plot and scheme towards their own advancements like players in a chess game, but one in which a false move means death. Mark Anthony, Cleopatra, Lepidus, Marcus Agrippa, and Livia all feature prominently, but perhaps the most interesting of the book鈥檚 characters is the Emperor鈥檚 daughter Julia. I greatly enjoyed those sections of the novel where she wrote in her journal. The famous poets of the time, Horace, Vergil and Ovid, all feature as well, though they mostly stand aside from the poltical intrigue.
One problem with writing a novel about the life of someone as famous as Octavius is that we all know the main outcomes in advance, which inevitably lessens the tension. The section involving Mark Anthony and Cleopatra is a good example. Mark Anthony is depicted as a bull-headed 鈥渕an of action鈥�, whilst in contrast Cleopatra is someone as calculating as Octavius himself. Her machinations, and those of her Chief Minister, are very skilfully plotted by the author, but ultimately we all know that Octavius was the victor. It鈥檚 for this reason only that I felt the book was a four rather than a five-star marking. An impressive achievement though, and a very enjoyable read.
March 24, 2018
螠蔚蟿维 蟿慰 "危蟿蠈慰蠀谓蔚蟻" 维位位慰 苇谓伪 魏伪蟿伪蟺位畏魏蟿喂魏蠈 尾喂尾位委慰 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪. 螒谓 魏伪喂 蟽蟿畏谓 伪蟻蠂萎 畏 喂蟽蟿慰蟻委伪 萎蟿伪谓 位委纬慰 蟺蔚蟻委蟺位慰魏畏, 渭蔚 蟿慰 未喂维尾伪蟽渭伪 伪蟺慰魏蟿慰蠉蟽蔚 苇谓伪 蟻蠀胃渭蠈 纬喂伪 谓伪 蠁蟿维蟽蔚喂 蟽蟿畏谓 魏慰蟻蠉蠁蠅蟽畏 蟽蟿慰 蟿苇位慰蟼 渭蔚 蟿慰谓 伪蟺慰位慰纬喂蟽渭蠈 蟿慰蠀 伪蠀蟿慰魏蟻维蟿慰蟻伪 螒蠀纬慰蠉蟽蟿慰蠀. 螒蟺伪蟻伪委蟿畏蟿慰 纬喂伪 魏维胃蔚 蠁委位慰 蟿慰蠀 魏伪位慰蠉 尾喂尾位委慰蠀 慰 慰蟺慰委慰蟼 未喂伪尾维味慰谓蟿伪蟼 蟿慰 胃伪 蟺蟻苇蟺蔚喂 谓伪 苇蠂蔚喂 未委蟺位伪 蟿慰蠀 苇谓伪 蟽蟿蠀位蠈 蟽畏渭蔚喂蠋谓慰谓蟿伪蟼 蟿伪 谓慰萎渭伪蟿伪 蟿畏蟼 伪蠁萎纬畏蟽畏蟼. 螣蟺蠅蟼 蟺.蠂.:
"螒谓 未蔚谓 蟿慰谓 未喂伪蠁胃蔚委蟻蔚喂 慰 胃伪蠀渭伪蟽渭蠈蟼 蟿蠅谓 蟽蠀谓慰渭畏位委魏蠅谓 蟿慰蠀, 伪纬慰蟻喂蠋谓 魏伪喂 魏慰蟻喂蟿蟽喂蠋谓, 胃伪 蟿慰 蔚蟺喂蟿蠉蠂慰蠀谓 蟽委纬慰蠀蟻伪 慰喂 蠁喂位慰未慰尉委蔚蟼 蟿蠅谓 魏慰位维魏蠅谓" 蟽蔚位. 27
"螣 畏胃喂魏慰位蠈纬慰蟼 蔚委谓伪喂 蟿慰 蟺喂慰 维蠂蟻畏蟽蟿慰 魏伪喂 魏伪蟿伪蠁蟻慰谓畏蟿苇慰 蟺位维蟽渭伪. 螘委谓伪喂 维蠂蟻畏蟽蟿慰蟼 蔚蟺蔚喂未萎 蟽蟺伪蟿伪位维 蟿喂蟼 未蠀谓维渭蔚喂蟼 蟿慰蠀 魏蟻委谓慰谓蟿伪蟼 魏伪喂 蠈蠂喂 伪蟺慰魏蟿蠋谓蟿伪蟼 纬谓蠋蟽蔚喂蟼, 蔚蟺蔚喂未萎 伪蟺位慰蠉蟽蟿伪蟿伪 慰喂 魏蟻委蟽蔚喂蟼 蔚委谓伪喂 蔚蠉魏慰位蔚蟼 蔚谓蠋 慰喂 纬谓蠋蟽蔚喂蟼 未蠉蟽魏慰位蔚蟼. 螝伪喂 蔚委谓伪喂 魏伪蟿伪蠁蟻慰谓畏蟿苇慰蟼 蔚蟺蔚喂未萎 慰喂 魏蟻委蟽蔚喂蟼 蟿慰蠀 魏伪胃蟻蔚蠁蟿委味慰蠀谓 蟿畏 未喂魏萎 蟿慰蠀 蔚喂魏蠈谓伪, 蟺慰蠀 渭蔚 蟿畏谓 维纬谓慰喂伪 魏伪喂 蟿畏谓 蠀蟺蔚蟻慰蠄委伪 蟿慰蠀 蟺慰位蠉 胃伪 萎胃蔚位蔚 谓伪 蔚蟺喂尾维位蔚喂 蟽蟿慰谓 魏蠈蟽渭慰" 蟽蔚位. 227
"螖蔚谓 伪蟺慰蠁维蟽喂蟽伪 谓蝿 伪位位维尉蠅 蟿慰谓 魏蠈蟽渭慰 伪蟺蠈 蟿慰谓 蔚蠉魏慰位慰 喂未蔚伪位喂蟽渭蠈 魏伪喂 蟿畏谓 伪蠀蟿维蟻蔚蟽魏畏 蟺委蟽蟿畏 蟽蟿畏 未喂魏伪喂慰蟽蠉谓畏, 蟺慰蠀 蔚委谓伪喂 蟺维谓蟿伪 慰喂 蟺蟻慰维纬纬蔚位慰喂 蟿畏蟼 伪蟺慰蟿蠀蠂委伪蟼" 蟽蔚位. 469
螝伪喂 维位位伪 蟺慰位位维 蟺慰位位维 蟺慰蠀 胃伪 蟽伪蟼 纬慰畏蟿蔚蠉蟽慰蠀, 蟺蟻慰尾位畏渭伪蟿委蟽慰蠀谓 蟽蝿 苇谓伪 蟿伪尉委未喂 蟽蟿慰谓 蔚蟽蠋蟿蔚蟻慰 伪谓胃蟻蠋蟺喂谓慰 魏蠈蟽渭慰...
"螒谓 未蔚谓 蟿慰谓 未喂伪蠁胃蔚委蟻蔚喂 慰 胃伪蠀渭伪蟽渭蠈蟼 蟿蠅谓 蟽蠀谓慰渭畏位委魏蠅谓 蟿慰蠀, 伪纬慰蟻喂蠋谓 魏伪喂 魏慰蟻喂蟿蟽喂蠋谓, 胃伪 蟿慰 蔚蟺喂蟿蠉蠂慰蠀谓 蟽委纬慰蠀蟻伪 慰喂 蠁喂位慰未慰尉委蔚蟼 蟿蠅谓 魏慰位维魏蠅谓" 蟽蔚位. 27
"螣 畏胃喂魏慰位蠈纬慰蟼 蔚委谓伪喂 蟿慰 蟺喂慰 维蠂蟻畏蟽蟿慰 魏伪喂 魏伪蟿伪蠁蟻慰谓畏蟿苇慰 蟺位维蟽渭伪. 螘委谓伪喂 维蠂蟻畏蟽蟿慰蟼 蔚蟺蔚喂未萎 蟽蟺伪蟿伪位维 蟿喂蟼 未蠀谓维渭蔚喂蟼 蟿慰蠀 魏蟻委谓慰谓蟿伪蟼 魏伪喂 蠈蠂喂 伪蟺慰魏蟿蠋谓蟿伪蟼 纬谓蠋蟽蔚喂蟼, 蔚蟺蔚喂未萎 伪蟺位慰蠉蟽蟿伪蟿伪 慰喂 魏蟻委蟽蔚喂蟼 蔚委谓伪喂 蔚蠉魏慰位蔚蟼 蔚谓蠋 慰喂 纬谓蠋蟽蔚喂蟼 未蠉蟽魏慰位蔚蟼. 螝伪喂 蔚委谓伪喂 魏伪蟿伪蠁蟻慰谓畏蟿苇慰蟼 蔚蟺蔚喂未萎 慰喂 魏蟻委蟽蔚喂蟼 蟿慰蠀 魏伪胃蟻蔚蠁蟿委味慰蠀谓 蟿畏 未喂魏萎 蟿慰蠀 蔚喂魏蠈谓伪, 蟺慰蠀 渭蔚 蟿畏谓 维纬谓慰喂伪 魏伪喂 蟿畏谓 蠀蟺蔚蟻慰蠄委伪 蟿慰蠀 蟺慰位蠉 胃伪 萎胃蔚位蔚 谓伪 蔚蟺喂尾维位蔚喂 蟽蟿慰谓 魏蠈蟽渭慰" 蟽蔚位. 227
"螖蔚谓 伪蟺慰蠁维蟽喂蟽伪 谓蝿 伪位位维尉蠅 蟿慰谓 魏蠈蟽渭慰 伪蟺蠈 蟿慰谓 蔚蠉魏慰位慰 喂未蔚伪位喂蟽渭蠈 魏伪喂 蟿畏谓 伪蠀蟿维蟻蔚蟽魏畏 蟺委蟽蟿畏 蟽蟿畏 未喂魏伪喂慰蟽蠉谓畏, 蟺慰蠀 蔚委谓伪喂 蟺维谓蟿伪 慰喂 蟺蟻慰维纬纬蔚位慰喂 蟿畏蟼 伪蟺慰蟿蠀蠂委伪蟼" 蟽蔚位. 469
螝伪喂 维位位伪 蟺慰位位维 蟺慰位位维 蟺慰蠀 胃伪 蟽伪蟼 纬慰畏蟿蔚蠉蟽慰蠀, 蟺蟻慰尾位畏渭伪蟿委蟽慰蠀谓 蟽蝿 苇谓伪 蟿伪尉委未喂 蟽蟿慰谓 蔚蟽蠋蟿蔚蟻慰 伪谓胃蟻蠋蟺喂谓慰 魏蠈蟽渭慰...
August 12, 2020
螣 螝伪委蟽伪蟻伪蟼 螣魏蟿伪尾喂伪谓蠈蟼 螒蠉纬慰蠀蟽蟿慰蟼 萎蟿伪谓 慰 蟺蟻蠋蟿慰蟼, 委蟽蠅蟼 魏伪喂 慰 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻慰蟼 蟿蠅谓 螒蠀蟿慰魏蟻伪蟿蠈蟻蠅谓 蟿畏蟼 伪蟻蠂伪委伪蟼 巍蠋渭畏蟼 蟿慰蠀 慰蟺慰委慰蠀 蟿慰 位慰纬慰蟿蔚蠂谓喂魏蠈 蟺慰蟻蟿蟻苇蟿慰 伪谓苇位伪尾蔚 谓伪 渭伪蟼 蟿慰 蟺伪蟻慰蠀蟽喂维蟽蔚喂 渭蔚 蟿慰谓 渭慰谓伪未喂魏蠈 蟽蠀纬纬蟻伪蠁喂魏蠈 蟿慰蠀 蟿蟻蠈蟺慰 慰 韦味慰谓 螕慰蠀委位喂伪渭蟼.
螣 蟽蠀纬纬蟻伪蠁苇伪蟼 蟿慰蠀 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏慰蠉 "危蟿蠈慰蠀谓蔚蟻" 纬蟻维蠁蔚喂 纬喂伪 伪蠀蟿萎 蟿畏谓 蟽畏渭伪谓蟿喂魏萎 喂蟽蟿慰蟻喂魏萎 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 渭苇谓慰谓蟿伪蟼 蠈蟽慰 蟿慰 未蠀谓伪蟿蠈谓 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟽蔚 苇谓伪 喂蟽蟿慰蟻喂魏蠈 蟺位伪委蟽喂慰, 蠂蠅蟻委蟼 谓伪 胃蠀渭委味蔚喂 蠈渭蠅蟼 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠀 喂蟽蟿慰蟻喂魏蠈 蟽蠉纬纬蟻伪渭伪. 螒蠀蟿蠈 蟿慰 魏伪蟿伪蠁苇蟻谓蔚喂 渭蔚 蟿慰谓 渭慰谓伪未喂魏蠈 蟿蟻蠈蟺慰 纬蟻伪蠁萎蟼 蟿慰蠀, 慰 慰蟺慰委慰蟼 蔚委谓伪喂 蟽蠂蔚未蠈谓 蟿苇位蔚喂慰蟼 蟽蔚 渭慰蟻蠁萎, 渭喂谓喂渭伪位喂蟽蟿喂魏蠈蟼 魏伪喂 魏蠀蟻委蠅蟼 慰蠀蟽喂伪蟽蟿喂魏蠈蟼. 螌蟺蠅蟼 魏伪喂 蟽蟿慰谓 危蟿蠈慰蠀谓蔚蟻 - 渭喂伪 蟿蔚位蔚委蠅蟼 未喂伪蠁慰蟻蔚蟿喂魏萎 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 伪蟺蠈 蟿慰谓 螒蠉纬慰蠀蟽蟿慰 - 苇蟿蟽喂 魏伪喂 蟽蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 未慰渭蔚委 蟽蟿伪未喂伪魏维 苇谓伪谓 喂未喂伪委蟿蔚蟻慰 位慰纬慰蟿蔚蠂谓喂魏蠈 萎蟻蠅伪 蟺慰蠀 蟿慰谓 伪蟺伪蟽蠂慰位慰蠉谓 蟿伪 委未喂伪 伪魏蟻喂尾蠋蟼 胃苇渭伪蟿伪 蟺慰蠀 伪蟺伪蟽蠂慰位慰蠉谓 魏伪喂 蟿慰谓 委未喂慰 魏伪喂 蟽蟿伪 未蠉慰 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 蟿慰蠀.
螣 螣魏蟿维尾喂慰蟼 蔚委谓伪喂 苇谓伪 魏慰渭渭维蟿喂 蟿畏蟼 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪蟼 蟿慰蠀 委未喂慰蠀 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪, 蠈蟺蠅蟼 维位位蠅蟽蟿蔚 魏伪喂 慰 危蟿蠈慰蠀谓蔚蟻. 螣 巍蠅渭伪委慰蟼 伪蠀蟿慰魏蟻维蟿慰蟻伪蟼 蔚委谓伪喂 苇谓伪蟼 萎蟽蠀蠂慰蟼 维谓胃蟻蠅蟺慰蟼, 蟺慰位蠉 慰蟻纬伪谓蠅蟿喂魏蠈蟼 魏伪喂 魏蠀蟻委蠅蟼 蔚蟽蠅蟽蟿蟻蔚蠁萎蟼. 螢苇蟻蔚喂 蟺蠅蟼 蟺蟻苇蟺蔚喂 谓伪 魏蠀尾蔚蟻谓萎蟽蔚喂, 蟽蟿苇魏蔚蟿伪喂 未蠀谓伪蟿蠈蟼 魏伪喂 伪魏位蠈谓畏蟿慰蟼 渭蟺蟻慰蟼 蟽蟿喂蟼 胃蠀蟽委蔚蟼 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 魏维谓蔚喂 魏伪喂 伪蟼 纬谓蠅蟻委味蔚喂 蔚魏 蟺蟻慰慰喂渭委慰蠀 蟺蠅蟼 畏 蔚蟺喂蟿蠀蠂委伪 蟿慰蠀 蟽伪谓 畏纬苇蟿畏蟼 胃伪 蟿慰蠀 魏慰蟽蟿委蟽蔚喂 蟿畏谓 蔚蠀蟿蠀蠂委伪 魏伪喂 蟿畏谓 伪蟻渭慰谓委伪 蟿畏蟼 蟺蟻慰蟽蠅蟺喂魏萎蟼 蟿慰蠀 味蠅萎蟼.
螣 螣魏蟿维尾喂慰蟼 蔚委谓伪喂 蔚蟺委蟽畏蟼 苇谓伪蟼 维谓胃蟻蠅蟺慰蟼 渭蔚 魏慰蠀位蟿慰蠉蟻伪 魏伪喂 渭蠈蟻蠁蠅蟽畏. 韦慰谓 蔚魏蟿喂渭慰蠉谓 慰喂 渭蔚纬维位慰喂 蟺慰喂畏蟿苇蟼 蟿畏蟼 蔚蟺慰蠂萎蟼 魏伪喂 慰 委未喂慰蟼 未蔚委蠂谓蔚喂 蟺蠅蟼 蟺喂蟽蟿蔚蠉蔚喂 蟽蟿慰 苇蟻纬慰 蟿慰蠀蟼. 螁位位蠅蟽蟿蔚 蟺慰位蠉 蟺蟻喂谓 畏 渭慰委蟻伪 伪蟺慰蠁伪蟽委蟽蔚喂 纬喂伪 蟿畏谓 蟿蠉蠂畏 蟿慰蠀, 慰 委未喂慰蟼 萎胃蔚位蔚 谓伪 纬委谓蔚喂 蟺慰喂畏蟿萎蟼. 危蔚 伪谓蟿委胃蔚蟽畏 蠈渭蠅蟼 渭蔚 蟿慰谓 危蟿蠈慰蠀谓蔚蟻, 慰 螣魏蟿维尾喂慰蟼 未蔚谓 胃伪 渭蟺慰蟻苇蟽蔚喂 谓伪 伪位位维尉蔚喂 蟿畏谓 "蔚蟺伪纬纬蔚位渭伪蟿喂魏萎" 蟿慰蠀 蟽蟿伪未喂慰未蟻慰渭委伪 蠈蟺蠅蟼 胃伪 萎胃蔚位蔚. 螝喂 蠈渭蠅蟼! 螛伪 魏伪蟿伪蠁苇蟻蔚喂 蟺伪蟻蠈位伪 伪蠀蟿维, 谓伪 渭蔚蟿伪蟿蟻苇蠄蔚喂 蠈位伪 蟿伪 蠁伪喂谓慰渭蔚谓喂魏维 渭蔚喂慰谓蔚魏蟿萎渭伪蟿伪 蟿慰蠀 蟽蔚 蟺位蔚慰谓蔚魏蟿萎渭伪蟿维, 渭蔚蟿伪位位维味慰谓蟿伪蟼 蟿畏谓 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 蟿慰蠀 魏伪喂 蔚魏蟺位萎蟽蟽慰谓蟿伪蟼 蔚蠂胃蟻慰蠉蟼 魏伪喂 蠁委位慰蠀蟼 谓伪 魏蔚蟻未委蟽蔚喂 蟿慰谓 蟽蔚尾伪蟽渭蠈 蠈位蠅谓 魏伪喂 谓伪 纬委谓蔚喂 慰 蟺蟻蠋蟿慰蟼 蟿蠅谓 蟺蟻蠋蟿蠅谓.
螒魏慰位慰蠀胃蠋谓蟿伪蟼 位慰喂蟺蠈谓 蟿喂蟼 蔚蟺喂蟽蟿慰位苇蟼, 蟿喂蟼 未喂伪蟿维尉蔚喂蟼 魏伪喂 蟿伪 蟺蟻慰蟽蠅蟺喂魏维 畏渭蔚蟻慰位蠈纬喂伪 蟿蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓 蟿慰蠀 尾喂尾位委慰蠀 魏伪蟿伪蟻蠂维蟼 渭伪胃伪委谓慰蠀渭蔚 纬喂伪 渭喂伪 喂蟽蟿慰蟻喂魏萎 蟺蔚蟻委慰未慰 维魏蟻蠅蟼 蔚谓未喂伪蠁苇蟻慰蠀蟽伪 魏伪喂 蟽畏渭伪谓蟿喂魏萎 纬喂伪 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪 伪位位维 魏伪喂 纬喂伪 蟿畏谓 螘位位维未伪 魏伪喂 魏伪蟿维 未蔚蠉蟿蔚蟻慰谓 纬谓蠅蟻委味慰蠀渭蔚 苇谓伪谓 位慰纬慰蟿蔚蠂谓喂魏蠈 萎蟻蠅伪 慰 慰蟺慰委慰蟼 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蟿慰蟺慰胃蔚蟿畏胃蔚委 蟽蟿慰 蟺维谓胃蔚慰谓 蠈位蠅谓 伪蠀蟿蠋谓 蟿蠅谓 渭蔚纬维位蠅谓 位慰纬慰蟿蔚蠂谓喂魏蠋谓 畏蟻蠋蠅谓 蟿畏蟼 蟺伪纬魏蠈蟽渭喂伪蟼 位慰纬慰蟿蔚蠂谓委伪蟼, 苇蟽蟿蠅 魏伪喂 渭蔚 魏维蟺慰喂伪 魏伪胃蠀蟽蟿苇蟻畏蟽畏 渭蔚蟻喂魏蠋谓 未蔚魏伪蔚蟿喂蠋谓.
螣 韦味慰谓 螕慰蠀委位喂伪渭蟼 萎蟿伪谓 苇谓伪蟼 渭蔚纬维位慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 伪谓 魏伪喂 蟺伪蟻伪纬谓蠅蟻喂蟽渭苇谓慰蟼 蔚蟺委蟿畏未蔚蟼. 螖喂伪尾维味慰谓蟿伪蟼 蟺蟻蠋蟿伪 蟿慰谓 危蟿蠈慰蠀谓蔚蟻 魏伪喂 苇蟺蔚喂蟿伪 蟿慰谓 螒蠉纬慰蠀蟽蟿慰 魏伪蟿维位伪尾伪 蟺蠅蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 渭蟺慰蟻慰蠉蟽蔚 谓伪 蠂蔚喂蟻喂蟽蟿蔚委 渭蔚 蔚蠀魏慰位委伪 蟿畏谓 慰蟺慰喂伪未萎蟺慰蟿蔚 胃蔚渭伪蟿慰位慰纬委伪. 螣 蟿蟻蠈蟺慰蟼 蟿畏蟼 纬蟻伪蠁萎蟼 蟿慰蠀 魏伪胃蠋蟼 魏伪喂 畏 蟽蠂慰位伪蟽蟿喂魏蠈蟿畏蟿伪 蟿畏蟼 蔚蟺喂渭苇位蔚喂伪蟼 蟿蠅谓 苇蟻纬蠅谓 蟿慰蠀, 蟿慰蠀 未委谓慰蠀谓 蟿畏谓 蔚蠀蠂苇蟻蔚喂伪 谓伪 未畏渭喂慰蠀蟻纬蔚委 伪谓胃蟻蠋蟺喂谓慰蠀蟼 魏伪喂 蟽蠉纬蠂蟻慰谓慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 纬喂伪 魏维胃蔚 蔚蟺慰蠂萎 伪位位维 魏伪喂 蟿伪 苇蟻纬伪 蟿慰蠀 谓伪 苇蠂慰蠀谓 慰喂魏慰蠀渭蔚谓喂魏蠈 蠂伪蟻伪魏蟿萎蟻伪.
螌蟽慰喂 位慰喂蟺蠈谓 伪纬维蟺畏蟽伪谓 蟿慰谓 危蟿蠈慰蠀谓蔚蟻 胃伪 蟺位畏蟽喂维蟽慰蠀谓 渭蔚 蔚蠀魏慰位委伪 蟽蟿畏谓 伪蟻蠂伪委伪 巍蠋渭畏 纬喂伪 谓伪 伪谓伪魏伪位蠉蠄慰蠀谓 蟿喂 蔚委谓伪喂 伪蠀蟿蠈 蟺慰蠀 苇魏伪谓蔚 蟿慰谓 螒蠉纬慰蠀蟽蟿慰 蟿蠈蟽慰 蟽畏渭伪谓蟿喂魏萎 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪, 蔚谓蠋 伪谓蟿委胃蔚蟿伪 蠈蟽慰喂 纬谓蠋蟻喂蟽伪谓 蟺蟻蠋蟿伪 蟿慰谓 螣魏蟿维尾喂慰 胃伪 魏伪蟿伪位维尾慰蠀谓 蟺慰位蠉 蔚蠉魏慰位伪 蟿慰谓 危蟿蠈慰蠀谓蔚蟻 魏伪喂 蟿喂蟼 蔚蟺喂位慰纬苇蟼 蟿慰蠀.
5/5
螣 蟽蠀纬纬蟻伪蠁苇伪蟼 蟿慰蠀 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏慰蠉 "危蟿蠈慰蠀谓蔚蟻" 纬蟻维蠁蔚喂 纬喂伪 伪蠀蟿萎 蟿畏谓 蟽畏渭伪谓蟿喂魏萎 喂蟽蟿慰蟻喂魏萎 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 渭苇谓慰谓蟿伪蟼 蠈蟽慰 蟿慰 未蠀谓伪蟿蠈谓 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟽蔚 苇谓伪 喂蟽蟿慰蟻喂魏蠈 蟺位伪委蟽喂慰, 蠂蠅蟻委蟼 谓伪 胃蠀渭委味蔚喂 蠈渭蠅蟼 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠀 喂蟽蟿慰蟻喂魏蠈 蟽蠉纬纬蟻伪渭伪. 螒蠀蟿蠈 蟿慰 魏伪蟿伪蠁苇蟻谓蔚喂 渭蔚 蟿慰谓 渭慰谓伪未喂魏蠈 蟿蟻蠈蟺慰 纬蟻伪蠁萎蟼 蟿慰蠀, 慰 慰蟺慰委慰蟼 蔚委谓伪喂 蟽蠂蔚未蠈谓 蟿苇位蔚喂慰蟼 蟽蔚 渭慰蟻蠁萎, 渭喂谓喂渭伪位喂蟽蟿喂魏蠈蟼 魏伪喂 魏蠀蟻委蠅蟼 慰蠀蟽喂伪蟽蟿喂魏蠈蟼. 螌蟺蠅蟼 魏伪喂 蟽蟿慰谓 危蟿蠈慰蠀谓蔚蟻 - 渭喂伪 蟿蔚位蔚委蠅蟼 未喂伪蠁慰蟻蔚蟿喂魏萎 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 伪蟺蠈 蟿慰谓 螒蠉纬慰蠀蟽蟿慰 - 苇蟿蟽喂 魏伪喂 蟽蔚 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 未慰渭蔚委 蟽蟿伪未喂伪魏维 苇谓伪谓 喂未喂伪委蟿蔚蟻慰 位慰纬慰蟿蔚蠂谓喂魏蠈 萎蟻蠅伪 蟺慰蠀 蟿慰谓 伪蟺伪蟽蠂慰位慰蠉谓 蟿伪 委未喂伪 伪魏蟻喂尾蠋蟼 胃苇渭伪蟿伪 蟺慰蠀 伪蟺伪蟽蠂慰位慰蠉谓 魏伪喂 蟿慰谓 委未喂慰 魏伪喂 蟽蟿伪 未蠉慰 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 蟿慰蠀.
螣 螣魏蟿维尾喂慰蟼 蔚委谓伪喂 苇谓伪 魏慰渭渭维蟿喂 蟿畏蟼 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪蟼 蟿慰蠀 委未喂慰蠀 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪, 蠈蟺蠅蟼 维位位蠅蟽蟿蔚 魏伪喂 慰 危蟿蠈慰蠀谓蔚蟻. 螣 巍蠅渭伪委慰蟼 伪蠀蟿慰魏蟻维蟿慰蟻伪蟼 蔚委谓伪喂 苇谓伪蟼 萎蟽蠀蠂慰蟼 维谓胃蟻蠅蟺慰蟼, 蟺慰位蠉 慰蟻纬伪谓蠅蟿喂魏蠈蟼 魏伪喂 魏蠀蟻委蠅蟼 蔚蟽蠅蟽蟿蟻蔚蠁萎蟼. 螢苇蟻蔚喂 蟺蠅蟼 蟺蟻苇蟺蔚喂 谓伪 魏蠀尾蔚蟻谓萎蟽蔚喂, 蟽蟿苇魏蔚蟿伪喂 未蠀谓伪蟿蠈蟼 魏伪喂 伪魏位蠈谓畏蟿慰蟼 渭蟺蟻慰蟼 蟽蟿喂蟼 胃蠀蟽委蔚蟼 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 魏维谓蔚喂 魏伪喂 伪蟼 纬谓蠅蟻委味蔚喂 蔚魏 蟺蟻慰慰喂渭委慰蠀 蟺蠅蟼 畏 蔚蟺喂蟿蠀蠂委伪 蟿慰蠀 蟽伪谓 畏纬苇蟿畏蟼 胃伪 蟿慰蠀 魏慰蟽蟿委蟽蔚喂 蟿畏谓 蔚蠀蟿蠀蠂委伪 魏伪喂 蟿畏谓 伪蟻渭慰谓委伪 蟿畏蟼 蟺蟻慰蟽蠅蟺喂魏萎蟼 蟿慰蠀 味蠅萎蟼.
螣 螣魏蟿维尾喂慰蟼 蔚委谓伪喂 蔚蟺委蟽畏蟼 苇谓伪蟼 维谓胃蟻蠅蟺慰蟼 渭蔚 魏慰蠀位蟿慰蠉蟻伪 魏伪喂 渭蠈蟻蠁蠅蟽畏. 韦慰谓 蔚魏蟿喂渭慰蠉谓 慰喂 渭蔚纬维位慰喂 蟺慰喂畏蟿苇蟼 蟿畏蟼 蔚蟺慰蠂萎蟼 魏伪喂 慰 委未喂慰蟼 未蔚委蠂谓蔚喂 蟺蠅蟼 蟺喂蟽蟿蔚蠉蔚喂 蟽蟿慰 苇蟻纬慰 蟿慰蠀蟼. 螁位位蠅蟽蟿蔚 蟺慰位蠉 蟺蟻喂谓 畏 渭慰委蟻伪 伪蟺慰蠁伪蟽委蟽蔚喂 纬喂伪 蟿畏谓 蟿蠉蠂畏 蟿慰蠀, 慰 委未喂慰蟼 萎胃蔚位蔚 谓伪 纬委谓蔚喂 蟺慰喂畏蟿萎蟼. 危蔚 伪谓蟿委胃蔚蟽畏 蠈渭蠅蟼 渭蔚 蟿慰谓 危蟿蠈慰蠀谓蔚蟻, 慰 螣魏蟿维尾喂慰蟼 未蔚谓 胃伪 渭蟺慰蟻苇蟽蔚喂 谓伪 伪位位维尉蔚喂 蟿畏谓 "蔚蟺伪纬纬蔚位渭伪蟿喂魏萎" 蟿慰蠀 蟽蟿伪未喂慰未蟻慰渭委伪 蠈蟺蠅蟼 胃伪 萎胃蔚位蔚. 螝喂 蠈渭蠅蟼! 螛伪 魏伪蟿伪蠁苇蟻蔚喂 蟺伪蟻蠈位伪 伪蠀蟿维, 谓伪 渭蔚蟿伪蟿蟻苇蠄蔚喂 蠈位伪 蟿伪 蠁伪喂谓慰渭蔚谓喂魏维 渭蔚喂慰谓蔚魏蟿萎渭伪蟿伪 蟿慰蠀 蟽蔚 蟺位蔚慰谓蔚魏蟿萎渭伪蟿维, 渭蔚蟿伪位位维味慰谓蟿伪蟼 蟿畏谓 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 蟿慰蠀 魏伪喂 蔚魏蟺位萎蟽蟽慰谓蟿伪蟼 蔚蠂胃蟻慰蠉蟼 魏伪喂 蠁委位慰蠀蟼 谓伪 魏蔚蟻未委蟽蔚喂 蟿慰谓 蟽蔚尾伪蟽渭蠈 蠈位蠅谓 魏伪喂 谓伪 纬委谓蔚喂 慰 蟺蟻蠋蟿慰蟼 蟿蠅谓 蟺蟻蠋蟿蠅谓.
螒魏慰位慰蠀胃蠋谓蟿伪蟼 位慰喂蟺蠈谓 蟿喂蟼 蔚蟺喂蟽蟿慰位苇蟼, 蟿喂蟼 未喂伪蟿维尉蔚喂蟼 魏伪喂 蟿伪 蟺蟻慰蟽蠅蟺喂魏维 畏渭蔚蟻慰位蠈纬喂伪 蟿蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓 蟿慰蠀 尾喂尾位委慰蠀 魏伪蟿伪蟻蠂维蟼 渭伪胃伪委谓慰蠀渭蔚 纬喂伪 渭喂伪 喂蟽蟿慰蟻喂魏萎 蟺蔚蟻委慰未慰 维魏蟻蠅蟼 蔚谓未喂伪蠁苇蟻慰蠀蟽伪 魏伪喂 蟽畏渭伪谓蟿喂魏萎 纬喂伪 蟿畏谓 伪谓胃蟻蠅蟺蠈蟿畏蟿伪 伪位位维 魏伪喂 纬喂伪 蟿畏谓 螘位位维未伪 魏伪喂 魏伪蟿维 未蔚蠉蟿蔚蟻慰谓 纬谓蠅蟻委味慰蠀渭蔚 苇谓伪谓 位慰纬慰蟿蔚蠂谓喂魏蠈 萎蟻蠅伪 慰 慰蟺慰委慰蟼 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 蟿慰蟺慰胃蔚蟿畏胃蔚委 蟽蟿慰 蟺维谓胃蔚慰谓 蠈位蠅谓 伪蠀蟿蠋谓 蟿蠅谓 渭蔚纬维位蠅谓 位慰纬慰蟿蔚蠂谓喂魏蠋谓 畏蟻蠋蠅谓 蟿畏蟼 蟺伪纬魏蠈蟽渭喂伪蟼 位慰纬慰蟿蔚蠂谓委伪蟼, 苇蟽蟿蠅 魏伪喂 渭蔚 魏维蟺慰喂伪 魏伪胃蠀蟽蟿苇蟻畏蟽畏 渭蔚蟻喂魏蠋谓 未蔚魏伪蔚蟿喂蠋谓.
螣 韦味慰谓 螕慰蠀委位喂伪渭蟼 萎蟿伪谓 苇谓伪蟼 渭蔚纬维位慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 伪谓 魏伪喂 蟺伪蟻伪纬谓蠅蟻喂蟽渭苇谓慰蟼 蔚蟺委蟿畏未蔚蟼. 螖喂伪尾维味慰谓蟿伪蟼 蟺蟻蠋蟿伪 蟿慰谓 危蟿蠈慰蠀谓蔚蟻 魏伪喂 苇蟺蔚喂蟿伪 蟿慰谓 螒蠉纬慰蠀蟽蟿慰 魏伪蟿维位伪尾伪 蟺蠅蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 渭蟺慰蟻慰蠉蟽蔚 谓伪 蠂蔚喂蟻喂蟽蟿蔚委 渭蔚 蔚蠀魏慰位委伪 蟿畏谓 慰蟺慰喂伪未萎蟺慰蟿蔚 胃蔚渭伪蟿慰位慰纬委伪. 螣 蟿蟻蠈蟺慰蟼 蟿畏蟼 纬蟻伪蠁萎蟼 蟿慰蠀 魏伪胃蠋蟼 魏伪喂 畏 蟽蠂慰位伪蟽蟿喂魏蠈蟿畏蟿伪 蟿畏蟼 蔚蟺喂渭苇位蔚喂伪蟼 蟿蠅谓 苇蟻纬蠅谓 蟿慰蠀, 蟿慰蠀 未委谓慰蠀谓 蟿畏谓 蔚蠀蠂苇蟻蔚喂伪 谓伪 未畏渭喂慰蠀蟻纬蔚委 伪谓胃蟻蠋蟺喂谓慰蠀蟼 魏伪喂 蟽蠉纬蠂蟻慰谓慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 纬喂伪 魏维胃蔚 蔚蟺慰蠂萎 伪位位维 魏伪喂 蟿伪 苇蟻纬伪 蟿慰蠀 谓伪 苇蠂慰蠀谓 慰喂魏慰蠀渭蔚谓喂魏蠈 蠂伪蟻伪魏蟿萎蟻伪.
螌蟽慰喂 位慰喂蟺蠈谓 伪纬维蟺畏蟽伪谓 蟿慰谓 危蟿蠈慰蠀谓蔚蟻 胃伪 蟺位畏蟽喂维蟽慰蠀谓 渭蔚 蔚蠀魏慰位委伪 蟽蟿畏谓 伪蟻蠂伪委伪 巍蠋渭畏 纬喂伪 谓伪 伪谓伪魏伪位蠉蠄慰蠀谓 蟿喂 蔚委谓伪喂 伪蠀蟿蠈 蟺慰蠀 苇魏伪谓蔚 蟿慰谓 螒蠉纬慰蠀蟽蟿慰 蟿蠈蟽慰 蟽畏渭伪谓蟿喂魏萎 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪, 蔚谓蠋 伪谓蟿委胃蔚蟿伪 蠈蟽慰喂 纬谓蠋蟻喂蟽伪谓 蟺蟻蠋蟿伪 蟿慰谓 螣魏蟿维尾喂慰 胃伪 魏伪蟿伪位维尾慰蠀谓 蟺慰位蠉 蔚蠉魏慰位伪 蟿慰谓 危蟿蠈慰蠀谓蔚蟻 魏伪喂 蟿喂蟼 蔚蟺喂位慰纬苇蟼 蟿慰蠀.
5/5
August 16, 2021
I had problems with this novel that a number of my GR friends did not have. I have not read their reviews yet because I wanted to write my review before perusing theirs鈥ut I could see the number of stars they were giving this book. As well, newspaper and literary periodicals were effusive in their praise with one reviewer from the Los Angeles Times stating, 鈥淚 have never before had occasion to use this term, but I can think of no other appropriate word of summation than to say that his 鈥楢ugustus鈥� is a masterpiece鈥� (Dan Wakefield, LA Times). 鈥楬is鈥� refers to the author, John Williams.
The book won the National Book Award in 1973 fer chrissake! What is wrong with me?????!!!!
I鈥檓 especially not happy in giving this a 2-star review because I absolutely loved his earlier work, Stoner (1965, reissued in 1972, 2003, and 2006). But I have to be honest (including with myself). This was one of those books where I could not wait for it to end so I could be done with it. It was 305 pages in length. It told the story of Augustus Caesar (63 B.C. 鈥� 14 A.D.). It is a historical novel. Williams took some liberties with the facts. But he states that at the outset, and I had no problems with that.
Two main problems. I could not follow all the names (different characters). They were dropped in, here there and everywhere, and there were a lot of them. I could not keep track of them. Second was the way he told the story. The story was divided into three books. Each book had letters written from one person to another. The letter writers within a book would change. I guess this was a style meant to tell you about different people鈥檚 point of view of the situation at hand. Person A might describe a certain event, and events leading up to the events, and characters involved in the events, different than Person B. And indeed that is what happened in the letters. But I simply got overwhelmed. Also, I found a lot of the letters to be borrrrrrr-ing. There were a few parts of the book that were interesting but for me they came far and few between.
Rather than me perseverate anymore, I think I have had my say. Quite often I find myself on the periphery in reviewing a book, but I don鈥檛 feel so bad about it. I feel a bit bad about this because so many of my GR friends liked this book. Where did I go wrong 鈥� what did I miss? 馃檨
Reviews (these reviews show how clearly I am on the periphery鈥hey are all very good reviews and they were uber-enthusiastic about this historical novel):
鈥� (A reviewer from the Washington Post called it 鈥淭he finest historical novel ever written by an American.鈥�
鈥�
鈥�
鈥�
鈥�
The book won the National Book Award in 1973 fer chrissake! What is wrong with me?????!!!!
I鈥檓 especially not happy in giving this a 2-star review because I absolutely loved his earlier work, Stoner (1965, reissued in 1972, 2003, and 2006). But I have to be honest (including with myself). This was one of those books where I could not wait for it to end so I could be done with it. It was 305 pages in length. It told the story of Augustus Caesar (63 B.C. 鈥� 14 A.D.). It is a historical novel. Williams took some liberties with the facts. But he states that at the outset, and I had no problems with that.
Two main problems. I could not follow all the names (different characters). They were dropped in, here there and everywhere, and there were a lot of them. I could not keep track of them. Second was the way he told the story. The story was divided into three books. Each book had letters written from one person to another. The letter writers within a book would change. I guess this was a style meant to tell you about different people鈥檚 point of view of the situation at hand. Person A might describe a certain event, and events leading up to the events, and characters involved in the events, different than Person B. And indeed that is what happened in the letters. But I simply got overwhelmed. Also, I found a lot of the letters to be borrrrrrr-ing. There were a few parts of the book that were interesting but for me they came far and few between.
Rather than me perseverate anymore, I think I have had my say. Quite often I find myself on the periphery in reviewing a book, but I don鈥檛 feel so bad about it. I feel a bit bad about this because so many of my GR friends liked this book. Where did I go wrong 鈥� what did I miss? 馃檨
Reviews (these reviews show how clearly I am on the periphery鈥hey are all very good reviews and they were uber-enthusiastic about this historical novel):
鈥� (A reviewer from the Washington Post called it 鈥淭he finest historical novel ever written by an American.鈥�
鈥�
鈥�
鈥�
鈥�
July 7, 2017
John Williams' three novels are distinctly different from each other. Often, if you like one book by a specific author, it's safe to assume that if you pick up another, you will be served something similar - in topic, tone or language. But each of Williams' novels are - without compromise - true to their own, unique concept.
So is the case with Augustus. While Stoner is mostly a campus novel and Butcher's Crossing a western, Augustus is an epistolary novel on the rise and reign of Gaius Octavius, known as Emperor Augustus. In addition to letters, it also contains journal entries, military orders, reports and autobiography excerpts. The emperor himself is, for the most part, seen from the outside. The people telling the story are mostly nobles, politicians or military leaders, but there are also some regular citizens that gets to tell their stories. Together, these writings make a choir of voices that encompasses the whole of Augustus' life. The first half of the book describes Augustus' rise to power, the second half his reign and the life of his daughter, Julia.
The fact that Williams managed to put all of this together in a way that works so well, is nothing less than impressive. Not once while reading could I say to myself "this could have been handled differently" or "this should have been shortened down". I know that some of the historical events in the book are not accurate, but the world building is excellent and gives us a believable version of ancient roman society.
Augustus is, as far as roman emperors go, an enigma. He hid his motivation, his plans, his ambitions. He was a very private person, difficult to read. Maybe this explains Williams' interest in him? He would make a good candidate for a literary main character. An author can fill this character with his own imagination. His secrecy and historical unknowability makes him moldable.
In spite of all this, Augustus' only child, Julia, is maybe the most fascinating character in the book. Her journal entries looks back on her entire life, and like most of the other characters, it was a very intense and dramatic one. She tells us of her development from child to adult in more detail than the letters describing Augustus. We see her married several times and then discovering her own identity outside of the constricting life of a roman noble - a short lived freedom that is soon snatched away from her. All of this is framed with the experience and wisdom of the much older Julia, looking back on it all.
We can be certain that Williams' Augustus loves his daughter very much. And his closest friendships are also extremely important to him. But Augustus is very self disciplined, and sometimes cold - he is willing to do whatever needs to be done to keep the Empire together and secure his own power. He uses his family and friends as pawns, arranging marriages for them to secure allegiances - and he does this in several rounds. Both Julia and Augustus' sister suffers because of this.
Was Augustus a good guy or a bad guy? Was he a hero and the gathering force of the Empire, or was he a dubious, rotten aristocrat willing to do anything to gain power? The question of what power does to people is an important theme throughout the book. Without concluding definitely what kind of person Augustus was, the book brings out all the nuances and all the doubt troubling a person with so much power - and so much to lose.
It is exciting to see the power struggles in the Roman Empire, especially in the first half of the book.
Williams does try to describe a time where peoples' psyches and world view are distinctly different from our own, but at the same time keeping the characters recognizable for modern readers. For the most part, this works, but although the book is believable, it's definitely very difficult to know how people, so remote in time from ourselves, reasoned, thought and felt. The accuracy is difficult to determine. Not that it really matters. This is an excellent novel.
So is the case with Augustus. While Stoner is mostly a campus novel and Butcher's Crossing a western, Augustus is an epistolary novel on the rise and reign of Gaius Octavius, known as Emperor Augustus. In addition to letters, it also contains journal entries, military orders, reports and autobiography excerpts. The emperor himself is, for the most part, seen from the outside. The people telling the story are mostly nobles, politicians or military leaders, but there are also some regular citizens that gets to tell their stories. Together, these writings make a choir of voices that encompasses the whole of Augustus' life. The first half of the book describes Augustus' rise to power, the second half his reign and the life of his daughter, Julia.
The fact that Williams managed to put all of this together in a way that works so well, is nothing less than impressive. Not once while reading could I say to myself "this could have been handled differently" or "this should have been shortened down". I know that some of the historical events in the book are not accurate, but the world building is excellent and gives us a believable version of ancient roman society.
Augustus is, as far as roman emperors go, an enigma. He hid his motivation, his plans, his ambitions. He was a very private person, difficult to read. Maybe this explains Williams' interest in him? He would make a good candidate for a literary main character. An author can fill this character with his own imagination. His secrecy and historical unknowability makes him moldable.
In spite of all this, Augustus' only child, Julia, is maybe the most fascinating character in the book. Her journal entries looks back on her entire life, and like most of the other characters, it was a very intense and dramatic one. She tells us of her development from child to adult in more detail than the letters describing Augustus. We see her married several times and then discovering her own identity outside of the constricting life of a roman noble - a short lived freedom that is soon snatched away from her. All of this is framed with the experience and wisdom of the much older Julia, looking back on it all.
We can be certain that Williams' Augustus loves his daughter very much. And his closest friendships are also extremely important to him. But Augustus is very self disciplined, and sometimes cold - he is willing to do whatever needs to be done to keep the Empire together and secure his own power. He uses his family and friends as pawns, arranging marriages for them to secure allegiances - and he does this in several rounds. Both Julia and Augustus' sister suffers because of this.
Was Augustus a good guy or a bad guy? Was he a hero and the gathering force of the Empire, or was he a dubious, rotten aristocrat willing to do anything to gain power? The question of what power does to people is an important theme throughout the book. Without concluding definitely what kind of person Augustus was, the book brings out all the nuances and all the doubt troubling a person with so much power - and so much to lose.
It is exciting to see the power struggles in the Roman Empire, especially in the first half of the book.
Williams does try to describe a time where peoples' psyches and world view are distinctly different from our own, but at the same time keeping the characters recognizable for modern readers. For the most part, this works, but although the book is believable, it's definitely very difficult to know how people, so remote in time from ourselves, reasoned, thought and felt. The accuracy is difficult to determine. Not that it really matters. This is an excellent novel.
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