Livy
Titus Livius (fictitious portrait)
Born	ca. 59 BC Padua
Died	ca. AD 17
Occupation	Historian
Genres	History
Subjects	History, biography, oratory
Literary movement	Golden Age of Latin

Titus Livius Patavinus (59 BC – AD 17) — known as Livy in English — was a Roman historian who wrote a monumental history of Rome and the Roman people. Ab Urbe Condita Libri, "Books from the Foundation of the City," covering the period from the earliest legends of Rome well before the traditional foundation in 753 BC through the reign of Augustus in Livy's own time. He was on familiar terms with the Julio-Claudian family, advising Augustus's grandnephew, the future emperor Claudius, as a young man not long before 14 AD in a letter to take up the writing of history.^[1] Livy and Augustus's wife, Livia, were from the same clan in different locations, although not related by blood.

Life[link]

Livy was born as Titus Livius in Patavium in northern Italy, now modern Padua. There is a debate about the year of Titus Livius' birth, 64 BC or more likely 59 BC. At the time of Livy’s birth, his home city of Patavium was the second wealthiest city in the Italian peninsula. Patavium was a part of the province of Cisalpine Gaul at the time. In his works, Livy often expressed his deep affection and pride for Patavium, and the city was well known for its conservative values in morality and politics.^[2]

Livy’s teen years were during the 40s BC, a time that coincided with the civil wars that were occurring throughout the Roman world. The governor of Cisalpine Gaul at the time, a man called Asinius Pollio, had tried to bring Patavium into the camp of Marcus Antonius (Mark Antony), who was one of the three men in the fight for control over Rome. The wealthier citizens of Patavium refused to contribute money and arms to Asinius Pollio and went into hiding. Asinius Pollio then attempted to bribe the slaves of the wealthy citizens of Patavium to expose the whereabouts of their masters. Asinius Pollio's bribery did not work, and the citizens of Patavium pledged their allegiance to conservatism and the senate instead. Therefore, Livy and the other citizens of Patavium did not end up supporting Marcus Antonius in his campaign for control over Rome. It is likely, then, that the Roman civil wars prevented Livy from pursuing a higher education in Rome or going on a Grand Tour of Greece, which was common for adolescent males during the time. Later on, Asinius Pollio made a jibe at Livy's "patavinity," saying that Livy's Latin showed certain "provincialisms" frowned on at Rome. His jibe at Livy and his "patavinity", however, may have been said because of the fact that the city of Patavium had rejected Asinius Pollio, and he still harboured harsh feelings toward the city as a whole.^[3]

Titus Livius probably went to Rome in the 30s BC, and it is likely that he spent a large amount of time in the city after this, although it may not have been his primary home. During his time in Rome, he was never a senator nor held any other governmental position. His elementary mistakes in military matters show that he was never a soldier. However, he was educated in philosophy and rhetoric. It seems that Livy had the financial resources and means to live an independent life. He devoted a large part of his life to his writings, which he was able to do because of his financial freedom.^[4]

Livy was known to give recitations to small audiences, but he was not heard of to engage in declamation, which was a common pastime. He was familiar with the emperor Augustus, formerly Octavian, and the imperial family. Octavian was one of the three men fighting for the control of Rome during the Civil Wars in the 40s BC. Octavian gained power after defeating Marcus Antonius and Cleopatra, and was later given the honorary name of Augustus. Considering Augustus came to be known as the greatest Roman Emperor in the eyes of the Romans, being a historian under Augustus was very beneficial to Livy’s career even after his death. It is said that Livy was the one who encouraged the future emperor Claudius, who was born in 10 BC, to explore the writing of history during his childhood. Livy himself was married and had at least one daughter and one son.^[4]

Perhaps Livy’s most famous work was his history of Rome. In it he explains the complete history of the city of Rome, from its foundation to the death of Augustus. Because he was writing under the emperor Augustus, Livy’s history emphasizes the great triumphs of Rome.^[5] He wrote his history with embellished accounts of Roman heroism in order to promote the new type of government implemented by Augustus when he became emperor.^[6] In Livy’s preface to his history, he said that he did not care whether his personal fame remained in darkness, as long as his work helped to “preserve the memory of the deeds of the world’s preeminent nation.”^[7] Because Livy was writing about events that had occurred hundreds of years beforehand, the value of his history was questionable, although many Romans came to believe what he wrote to be the true history of Rome’s foundation.^[8] He had also written other works, including an essay in the form of a letter to his son, and numerous dialogues, most likely using Cicero as a model.^[9]

Titus Livius is said to have died in the year AD 17 (three years after the death of the emperor Augustus) in his home city of Patavium.^[2]

Works[link]

Bust of Caesar Augustus from the Musei Capitolini, Rome

Livy's only surviving work is the "History of Rome" (Ab Urbe Condita), which was his career from an age in middle life, probably 32, until he left Rome for Padua in old age, probably after the death of Augustus in the reign of Tiberius. When he began this work he was already past his youth; presumably, events in his life prior to that time had led to his intense activity as a historian. Seneca the Younger gives brief mention that he was also known as an orator and philosopher and had written some treatises in those fields from a historical point of view.^[10]

Reception[link]

In Roman Empire[link]

Livy's History of Rome was in demand from the publication of the first packet. Livy became so famous that a man from Cadiz travelled to Rome just to see him, and once he had seen, returned home.^[11] The popularity of the work continued through the entire classical period. A number of Roman authors used Livy, including Aurelius Victor, Cassiodorus, Eutropius, Festus, Florus, Granius Licinianus and Orosius. Julius Obsequens used Livy, or a source with access to Livy, to compose his De Prodigiis, an account of supernatural events in Rome, from the consulship of Scipio and Laelius to that of Paulus Fabius and Quintus Aelius.

Livy wrote during the reign of Augustus, who came to power after a civil war with generals and consuls claiming to be defending the Roman Republic, such as Pompey. Patavium had been pro-Pompey. To clarify his status, the victor of the civil war, Octavian Caesar, had wanted to take the title Romulus (the first king of Rome) but in the end accepted the senate proposal of Augustus. He did not abolish the republic de facto but adapted its institutions into the empire.

Livy's enthusiasm for the republic is evident from the first pentade of his work, and yet the Julio-Claudian family (the imperial family) were as much fans of Livy as anyone. He could not have been an advocate of any sort of sedition in favor of restoring the Republic; he would have been put on trial for treason and executed, as many had been and would be. He must have been viewed as a harmless and relevant advocate of the ancient morality, which was a known public stance of the citizens of Patavium. His relationship to Augustus is defined primarily by a passage from Tacitus^[12] in which Cremutius Cordus is put on trial for his life for offenses no worse than Livy's and defends himself face-to-face with the frowning Tiberius as follows:

"I am said to have praised Brutus and Cassius, whose careers many have described and no one mentioned without eulogy. Titus Livius, pre-eminently famous for eloquence and truthfulness, extolled Cneius Pompeius in such a panegyric that Augustus called him Pompeianus, and yet this was no obstacle to their friendship.

To avoid conviction, while waiting for a verdict Cordus committed suicide by self-starvation. His worst fears were realized in absentia: his books were sentenced to be burned by the aediles, but they performed the task without zeal and many escaped. Livy's reasons for returning to Padua after the death of Augustus (if he did) are unclear, but the circumstances of Tiberius' reign certainly allow for speculation.

Later[link]

During the Middle Ages interest in Livy declined.^[13] Due to the length of the work the literate class were already reading summaries rather than the work itself, which was tedious to copy, expensive, and required a lot of storage space. It must have been during this period, if not before, that manuscripts began to be lost without replacement.

The Renaissance was a time of intense revival; the population discovered that Livy was being lost and large amounts of money changed hands in the rush to collect Livy manuscripts. The poet Beccadelli sold a country home for the money to purchase one manuscript copied by Poggio.^[13] Petrarch and Pope Nicholas V launched a search for the now missing books. Laurentius Valla published an emended text initiating the field of Livy scholarship. Dante speaks highly of him in his poetry, and Francis I of France commissioned extensive artwork treating Livian themes; Niccolò Machiavelli's work on republics, the Discourses on Livy is presented as a commentary on the History of Rome. Respect for Livy rose to lofty heights.

After a few hundred years of Livy being studied by the youth of every Western population, moderns have developed their own views of Livy and his place in the ancient world, which were not current in ancient times. For example, one text on western civilization pronounces: "Livy was the prose counterpart of Vergil", as both have been standard in the study of Golden Age Latin literature.^[14] Golden Age Latin was not known as such in classical times and the ancient reader could choose from a vastly larger bibliography; but in fact, private reading was a privilege of the literate few, who had the wealth to buy manuscripts or have them copied and had the time for library research. Public readings of works, however, were common and were the main way in which an author became known.

Dates[link]

The authority supplying information from which possible vital data on Livy can be deduced is Eusebius of Caesaria, an early Christian-era bishop. One of his works was a summary of world history in ancient Greek, termed the Chronikon, dating from the early 4th century. This work was lost except for fragments (mainly excerpts), but not before it had been translated in whole and in part by various authors such as St. Jerome. The entire work survives in Armenian. St. Jerome wrote in Latin. Fragments in Syriac exist.^[15]

Eusebius' work consists of two books, the Chronographia, a summary of history in annalist form, and the Chronikoi Kanones, tables of years and events. St. Jerome translated the tables into Latin as the Chronicon, probably adding some information of his own from unknown sources. Livy's dates appear in Jerome's Chronicon.

The main problem with the information given in the MSS is that between them they often give different dates for the same events or different events, do not include the same material entirely and reformat what they do include. A date may be in Ab urbe condita or in Olympiads or in some other form, such as age. These variations may have occurred through scribal error or scribal license. Some material has been inserted under the aegis of Eusebius.

The topic of manuscript variants is a large and specialized one, on which authors of works on Livy seldom care to linger. As a result standard information in a standard rendition is used, which gives the impression of a standard set of dates for Livy. There are no such dates. A typical presumption is of a birth in the 2nd year of the 180th Olympiad and a death in the first year of the 199th Olympiad, which are coded 180.2 and 199.1 respectively.^[16] All sources use the same first Olympiad, 776/775-773/772 BC by the modern calendar. By a complex formula (made so by the 0 reference point not falling on the border of an Olympiad) these codes correspond to 59 BC for the birth, 17 AD for the death. In another manuscript the birth is in 180.4, or 57 BC.^[17]

Jerome says that Livy was born the same year as Marcus Valerius Messala Corvinus and died the same year as Ovid.^[16] Messala, however, was born earlier, in 64 BC, and Ovid's death, usually taken to be the same year as Livy's, is more uncertain. As an alternative view, Ronald Syme argues for 64 BC-12 AD as a range for Livy, setting the death of Ovid at 12.^[18] A death date of 12, however, removes Livy from Augustus' best years and makes him depart for Padua without the good reason of the second emperor, Tiberius, being not as tolerant of his republicanism. The contradiction remains.

Notes[link]

Bibliography[link]

• Foster, B.O. (2008) [1874]. Livy. Trollope Press. ISBN 0-674-99256-3. 
• Livy; Christina Shuttleworth Kraus (Editor) (1994). Ab vrbe condita Book VI. Cambridge: Cambridge University Press. ISBN 0-521-41002-9. 

Additional reading[link]

• Dorey, T.A., ed. (1971). London & Toronto: Routledge & K. Paul 
• Fotheringham, John Knight (1905). The Bodleian Manuscript of Jerome's Version of the Chronicles of Eusebius. Oxford: The Clarendon Press. 
• Hornblower, Simon; Spawforth, Antony, eds. (2003). The Oxford Classical Dictionary. Oxford University Press. ISBN 978-0-19-860641-3. 
• Kraus, C. S.; Woodman, A. J. (2006). Latin Historians. Oxford University Press. ISBN 978-0-19-922293-3. 
• Syme, Ronald (1959). "Livy and Augustus". Harvard Studies in Classical Philology 64: 27–87. DOI:10.2307/310937. JSTOR 310937.  Also in Badian, E., ed. (1979). I. Oxford: Oxford University Press. pp. 400–454 .
• Walsh, P.G. (1966). Dorey, Thomas Alan; Thompson, E.A.. eds. Ch 5 Livy. Studies in Latin Literature and its Influence. London: Routledge & K. Paul. pp. 115–142 

External links[link]

Wikiquote has a collection of quotations related to: Livy

Wikisource has the text of the 1911 Encyclopædia Britannica article Livy.

• Works by Livy at Project Gutenberg
• Lendering, Jona (2006-2009). "Livy (1): Life". Livius Articles on Ancient History. Livius.org. http://www.livius.org/li-ln/livy/livy.htm. Retrieved 13 August 2009. 

Anthony Warlow
Anthony Warlow, 2008: Last Phantom of the Opera musical performance, Sydney.
Born	(1961-11-18) 18 November 1961 (age 50) Wollongong, New South Wales, Australia
Occupation	Opera Singer, Actor
Spouse	Celia
Children	1 daughter, Phoebe Rose

Anthony Warlow (born 18 November 1961 in Wollongong, New South Wales, Australia) is an Australian opera and musical theatre performer, noted for his character acting and considerable vocal range (from tenor to baritone).

He is married to Celia and they have a daughter, Phoebe Rose.

Performances[link]

Musical[link]

Notable musical roles include lead roles in The Phantom of the Opera (as "The Phantom"), The Secret Garden (as "Archibald Craven"), Annie (as Daddy Warbucks), Guys and Dolls (as "Sky Masterson"), My Fair Lady (as "Henry Higgins"), Jekyll and Hyde (original gothic thriller cast recording only, as "Dr. Henry Jekyll / Edward Hyde"), Man of La Mancha (as Don Quixote), and A Little Night Music (as Frederik Egerman), as well as a significant supporting role in Les Misérables (as Enjolras). Circa 1988, he was internationally regarded as the best Enjolras and was honoured by being selected for the Complete Symphonic Recording, along with leading Les Misérables performers from around the world. This was arguably his break-through role, as he was cast as the Phantom as the Australian tour of Les Misérables was ending. Currently he is performing the role of Doctor Yurii Zhivago in the new musical adaptation of Boris Pasternak's novel, Doctor Zhivago. From 5 January 2012 he will be reprising his role as Daddy Warbucks in Annie at the Lyric Theatre, Star City for a strictly limited season of 12 weeks.

Opera[link]

His opera roles include major roles in Die Fledermaus (as "Gabriel Eisenstein"), The Magic Flute (as "Papageno"), A Midsummer Night's Dream (as "Puck") and The Tales of Hoffman.

Gilbert and Sullivan[link]

His Gilbert and Sullivan roles for Opera Australia include the featured comedic role of "Ko-Ko" in The Mikado (2004/2009), "Archibald Grosvenor" in Patience (1996), "Pirate King" in The Pirates of Penzance (2006-2007/2010) and in the 2005 double-bill of Trial by Jury (as the "Learned Judge") and H.M.S. Pinafore (as "Captain Corcoran"). Apart from The Mikado, these Gilbert and Sullivan productions are available on DVD. In 1987, Warlow also performed a one man show originally written for John Reed, called A Song to Sing, O, about George Grossmith, the comedian who originated the principal comic roles for Gilbert and Sullivan from 1877 through the 1880s.

Other performances[link]

Warlow performed Advance Australia Fair at the 2008 NRL Grand Final on 5 October 2008.

Phantom of the Opera[link]

2007-2009

Warlow first portrayed the Phantom in Andrew Lloyd Webber’s The Phantom of the Opera in the original Australian production, circa 1990.

It was announced in October 2006 that Phantom would reopen in Melbourne the following year and that Warlow had agreed to reprise his role as "The Phantom".^[1]

Phantom reopened in Melbourne at the Princess Theatre, its original home, on Thursday, 19 July 2007. Alongside Warlow, Australia's Ana Marina and John Bowles were cast as Christine Daae and Raoul, the Vicomte de Chagny. Although he performed for the industry opening night, Warlow was struck down by a bout of influenza that had also claimed many of the other cast and crew and he missed the first two and a half weeks of the show's Melbourne season. Understudy Simon Pryce performed in his place^[2] until Warlow made a triumphant return on 9 August 2007.^[3]

Unlike the original Australian Phantom, Warlow played the Phantom for the two-year tour of Australia and New Zealand. The Phantom of the Opera opened at Melbourne's Princess Theatre on 28 July 2007, then at Brisbane's Lyric Theatre in February 2008 followed by Sydney's Lyric Theatre in May 2008. After closing in Sydney on 14 September, the production moved to Auckland, New Zealand and following a holiday break, subsequently opened in Perth in February 2009. The last stop on the tour was Adelaide where Warlow donned the mask for the final time on 23 May 2009. Warlow recently appeared as a guest at the 25th Anniversary Concert of The Phantom of the Opera at the Royal Albert Hall in London.

The Pirates of Penzance[link]

Opera Australia — 2006–2007 tour

Between 2 August 2006 and 2 June 2007, Warlow appeared in the Opera Australia production of "The Pirates of Penzance" (a popular Gilbert and Sullivan comic opera), in which he played the role of the "Pirate King" — with performances during 2006 in Sydney, New South Wales (at the Sydney Opera House), in Canberra, ACT and in Brisbane, Queensland (at the Lyric Theatre, Queensland Performing Arts Centre), as well as enjoying full houses in Melbourne, Victoria in 2007.

Anthony Warlow's Pirate King appeared in dress, voice and mannerism very similar to Captain Jack Sparrow from "Pirates of the Caribbean". In a press interview in Brisbane, Anthony Warlow said that he had deliberately based his Pirate King on Johnny Depp's character from "Pirates of the Caribbean" so that people who may not know the opera but are aware of the "Pirates of the Caribbean" trilogy of movies could enjoy the opera more.^[4] David Hobson (as "Frederic") and Suzanne Johnston (as "Ruth") also appeared in this production. The lead female role of Mabel, initially played by Emma Matthews was taken over by soprano Taryn Fiebig for most of the tour. John Bolton-Wood, originally cast as "Major-General Stanley" was replaced by Reg Livermore for the Melbourne season, and the role of the "Sergeant of Police" in Melbourne given to Shane Lorencev after the departure of bass Richard Alexander, the original "Sergeant".

This production of "The Pirates of Penzance" was shown on television by the Australian Broadcasting Corporation on Saturday 9 December 2006. A DVD of the production was subsequently released.

Health and work[link]

Anthony Warlow was diagnosed with Non-Hodgkin's Lymphoma in 1992, during the early publicity for the arena production of Jesus Christ Superstar where he was to appear as Pilate. This forced him to put his career on hold for about a year while he battled the disease, and his role in the production was given to John Waters. He returned to the performance circuit in the second half of 1993 with a national concert tour for the launch of his Back In The Swing album. He has since done promotional work for the Leukaemia Foundation of Australia.

His fourth solo album, Midnight Dreaming, reached the top ten of the Australian Aria Charts. Warlow also briefly appeared on the ARIA Singles Chart in 1998 with the double A-side single "Beauty School Dropout/My Prayer". Warlow was back on television, in a concert performance, on the night of 24 December 2006 (the concert was shown by the Australian Broadcasting Corporation).

On Doctor Zhivago's opening night in Sydney (February 2011), Warlow tore a calf muscle four hours before the show was due to start, and was thus cut short. Understudy Anton Berezin covered the role and after about a week's worth of rest, Warlow was back on the boards performing to critical acclaim.

Recordings[link]

DVDs[link]

• "The Pirates of Penzance" — Opera Australia production (2006)
• "H.M.S. Pinafore" / "Trial by Jury" — Opera Australia production (2005)
• "Die Fledermaus" — Opera Australia production (1997)
• "Patience" — Opera Australia production (1996)
• "The Main Event" — with John Farnham and Olivia Newton-John (1998)

Albums[link]

• "Annie" — Australian Cast Recording (2012)
• "Tenor and Baritone" (2005)
• "The Snow Goose" (2005)
• "Face the Music" (2003)
• "Highlights from The Main Event" — with John Farnham and Olivia Newton-John (1998)
• "Best of Act One" (1996)
• "The Secret Garden" — Australian Cast Recording (1995)
• "Jekyll and Hyde" — Concept Recording (1994)
• "Midnight Dreaming" (1994)
• "Back in the Swing" (1993)
• "On the Boards" (1992)
• "Centre Stage" (1990)
• "Les Misérables" — Complete Symphonic Recording (1988)

Audio samples can be found on his official website.

References[link]

1. ^ New day dawning for Music of the Night
2. ^ Simon covers Phantom illness
3. ^ Warlow back from Phantom Illness
4. ^ Anthony Warlow interview published in "Brisbane News" during November 2006

External links[link]

• Anthony Warlow at the Internet Movie Database
• Unexpected Song: Celebrating the Life of Anthony Warlow - Anthony Warlow Fan Site
• Anthony Warlow - Opera Australia website
• Anthony manages success alone - "The Age"
• Warlow, hauntingly ours again - "Herald Sun"
• Sullivan Centenary Meeting
• "Fine Music" 2MBS-FM Magazine — February 2006
• Return of the Phantom — 15 July 2007
• Wiser Warlow Returns — 27 July 2007

Professional ratings
Review scores
Source	Rating
Allmusic	[1]
Pitchfork Media	[2]
Rolling Stone	[3]

Keep It Together is an album by the band Guster released in June 2003. The album was recorded from 2001 to 2003 in Bearsville, New York, New York City, Burbank, California, and Shokan, New York. This is the first album by Guster that features Brian Rosenworcel on kit drums instead of hand percussion. Keep It Together went through several working titles, including Bitch Magic, Olympia Dukakis and Come Downstairs & Say Hello.

Joe Pisapia contributed guest vocals on "Jesus on the Radio." Just months after the release of the album, he became the new member of the band.

The song "I Hope Tomorrow Is Like Today" features Ben Kweller on vocals.

Track listing[link]

1. "Diane" – 3:46
2. "Careful" – 3:42
3. "Amsterdam" – 3:37
4. "Backyard" – 2:55
5. "Homecoming King" – 3:37
6. "Ramona" – 3:06
7. "Jesus on the Radio" – 2:17
8. "Keep It Together" – 3:43
9. "Come Downstairs and Say Hello" – 5:16
10. "Red Oyster Cult" – 3:27
11. "Long Way Down" – 4:34
12. "I Hope Tomorrow Is Like Today" – 3:22
13. "Silence" – 0:30
14. "Two at a Time" (hidden track – 4:57)

Charts[link]

Album - Billboard (North America)

Singles - Billboard (North America)

Song facts[link]

• "Jesus on the Radio" - When the band plays the song live, they often play it "unplugged", without any instruments or microphones plugged in.^[4]

• "Keep It Together" - The song can be heard at the end of the Season 1 The O.C. episode The Rescue.

• "I Hope Tomorrow Is Like Today" - The song can be heard during the film Wedding Crashers, when John and Jeremy "break up".

See also[link]

• The Meowstro Sings - Guster's Keep It Together

References[link]