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The uprising of the slaves against the Romans in 73 BC, led by the gladiator Spartacus, has been an inspiration to generations of people who have stood up against oppression. By the time he was captured by Marcus Licinius Crassus in 71 BC and executed by crucifixion, his army of around 90 000 slaves and dispossessed had defeated several Roman armies and devastated much of the southern part of the Italian peninsula. For Karl Marx, Spartacus was 'the most splendid fellow that all ancient history has to show; great general, noble character, real representative of the ancient proletariat'. For Grassic Gibbon, a lifelong Marxist International and successful historian of early civilisations, Spartacus allowed him to focus on his fiercely held beliefs in the nature of society, the freedom of the individual, and the inevitable collapse of 'civilisation'.
- Sales Rank: #973119 in eBooks
- Published on: 2013-06-15
- Released on: 2013-06-15
- Format: Kindle eBook
Review
“Spartacus is told with Gibbon’s characteristic verve and economy. As everywhere in Gibbon’s work, the reader is drawn without preamble into the fully active plot. On balance, the style works triumphantly. Narrow, brutal, shaped by forces beyond its control, continuously threatened by sudden death or agonizing retribution by a ruthless army of Masters, the slave experience forming the totality of this narrative is caught with unpleasant but accurate forces. It was a desperate time—and Gibbon realistically recreates that desperation.” —Ian Campbell, from the Introduction
About the Author
Lewis Grassic Gibbon (1901-1935) was the pen name of James Leslie Mitchell, one of the outstanding figures in Scottish literature. Acclaimed the world over for stories of great power and originality, his trilogy of novels A Scots Quair is his most renowned work. Gibbon was amazingly prolific and literally worked himself to death, producing seventeen books in seven years.
Excerpt. © Reprinted by permission. All rights reserved.
“Spartacus is told with Gibbon’s characteristic verve and economy. As everywhere in Gibbon’s work, the reader is drawn without preamble into the fully active plot. On balance, the style works triumphantly. Narrow, brutal, shaped by forces beyond its control, continuously threatened by sudden death or agonizing retribution by a ruthless army of Masters, the slave experience forming the totality of this narrative is caught with unpleasant but accurate forces. It was a desperate time—and Gibbon realistically recreates that desperation.”—Ian Campbell, from the Introduction
Most helpful customer reviews
23 of 24 people found the following review helpful.
Immensely rich
By ilmk
Lewis Grassic Gibbon (or James Leslie Mitchell) has written a novel of Spartacus that is as refreshing as it is clearly one of the forerunners of historical fiction. Opening through the eyes of the eunuch Kleon and his mission to find the heroic leader of the Slaves the novel centers more around Spartacus 'inner circle' and his relationship with Elpinice. Book I is told through Kleon and deals with the period up to the defeat after the Battle of the Lake. Books II and III with Spatracus' victories until we move towards the well-known and inexorable end on the Appian way at the hands of Marcus Licinius Crassus at the end of Book VI. The novel ends as it begins, with Kleon, and his crucifixion
The novel is well written, well-paced and pauses sufficiently to voice greater philospohical views than historical novels of the current generation. It is easy to see why this has been heralded as one of the great novels of its genre.
6 of 6 people found the following review helpful.
A flawed novel of striking narrative style
By Anson Cassel Mills
The strength of this novel is its strong prose style, a style that Ian Campbell has correctly described as "flexible and arresting." (xxvi) The novel's weakness is its limited characterization. For all its fine evocative passages, the characters are flat and fail to develop. Perhaps we can excuse former slaves for being emotionally stunted, but the reader may soon cease to care whether such people live or die.
And die they all do. This is a novel littered with corpses. Even though Mitchell, writing in the 1930s, could not have anticipated the sort of blood lust in which twenty-first-century Hollywood wallows, his numerous unpleasant deaths, coolly observed, are still multiple deaths from which the humanity has been drained.
Finally, mention should be made of what Campbell calls Mitchell's "occasionally injudicious reliance on one effect." (xxix) Some characters have a leitmotif that follows them insistently (and sometimes irritatingly) through the story. The author also has a fascination with Latin, Greek, and obscure English words. Although the reader can usually deduce what the unknown word must mean, occasionally Mitchell goes overboard, as when he writes that "beyond the horreum itself, through a fence of osiers, the steadings of a farm loomed." (56)
6 of 7 people found the following review helpful.
Amazing!
By Michael Harmon
This novel is an amazing masterpiece of prose. I cannot praise this book enough! The opening scene is one of the most memorable and epic works of writing I have ever read.
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