Tacitus was the greatest historian of the Roman empire. Born in about AD 55, he served as administrator and leading senator. This career gave him an intimate view of the empire at its highest levels, experience brought to bear on his writing. His major works are the Annals and the Histories, both of which have come down to us incomplete. Between them, they cover a period of about 80 years, from the death of the first emperor, Augustus, to the death of Domitian in 96AD. In addition, Tacitus also composed two short historical books or essays, the Agricola (about his father-in-law, a distinguished provincial governor) and the Germania, an account of the tribes beyond the Rhine. Tacitus is a brilliant narrator and master stylist who had ample material for his story in the dramatic, violent and often bloody events of the first century. His portraits - especially those of Tiberius, Nero, and Nero's immediate circle - are unforgettable, his scene-setting masterly, his psychological analysis as acute as any novelist. He is also a fierce critic of the decadence and corruption which marked struggles for the imperial succession. As Robin Lane Fox writes in his brilliant introduction,
For at least two and a half millennia, the figure of Orpheus has haunted humanity. Half-man, half-god, musician, magician, theologian, poet and lover, his story never leaves us. He may be myth, but his lyre still sounds, entrancing everything that hears it: animals, trees, water, stones, and men.
In this extraordinary work Ann Wroe goes in search of Orpheus, from the forests where he walked and the mountains where he worshipped to the artefacts, texts and philosophies built up round him. She traces the man, and the power he represents, through the myriad versions of a fantastical life: his birth in Thrace, his studies in Egypt, his voyage with the Argonauts to fetch the Golden Fleece, his love for Eurydice and journey to Hades, and his terrible death. We see him tantalising Cicero and Plato, and breathing new music into Gluck and Monteverdi; occupying the mind of Jung and the surreal dreams of Cocteau; scandalising the Fathers of the early Church, and filling Rilke with poems like a whirlwind. He emerges as not simply another mythical figure but the force of creation itself, singing the song of light out of darkness and life out of death.