Identifies and explores Roman modes of poetry as received by twentieth- and twenty-first-century Anglo-American, German, and French poets.

PrefaceIntroduction: The Roman ModePART I. AUGUSTAN ECHOES1. Virgil's EcloguesGide - Valéry - Frost - MacNeice - Tate - Hecht - Longley - Heaney2. Uses and Abuses of HoraceOwen - Brecht - Pound - Schroeder - Borchardt - Müller - Lange - Mickel - Krolow - Eich - Deppert - Meckel - Frost - Tate - Connolly - Durrell - NoyesLeishman - Michie - Bunting - Sisson - Auden - Lowell - Fagles - Wright - Pinsky - Elliott - Davie - Hecht - McClatchy - Hall - Brodsky - BullardPART II. REPUBLICAN COUNTERPOINTS3. Lucretius: Poet or Scientist?Marx - Einstein - Brecht - Mann - Handke - Grünbein - Schrott4. Catullus: Poet or Lover?Stevens - Baxter - Sisson - Ginsberg - McAfee - Budenz - Holland - Wilder - Hardy - Benton - Saylor - Dixon - DeMaria - Jaro - Dunmore - Grünbein - Schrott - Kling - Hartz5. Propertius and the OutsidersPound - Benda - Vagni - SchrottPART III. IMPERIAL DISSONANCES6. Ovidian WavesPound - Joyce - Mandelstam - Eliot - Rilke - Horia - Fischer - Von Naso - Ebersbach - Lange - Malouf - Walcott - Calvino - Kristeva - Desiato - Mincu - Lewin - Ransmayr - Nooteboom - Norfolk - Tabucchi - Tawada - Zimmerman7. Seneca: Poet or Philosopher?Gressieker - Hiebel - Lowenstein - Grass - Hacks - Müller - Grünbein8. Juvenal Delinquents from Lowell to GrünbeinLowell - Auden - Ansen - Gilson - GrünbeinConclusion: Why Roman Poets?Index