A finales del siglo IV antes de Cristo, Roma se encontraba a punto de ser aniquilada por los ejércitos cartagineses al mando de Aníbal. Ese era su inexorable destino hasta que surgió un solo hombre, un joven oficial de las legiones, que transformó lo que debía ocurrir en lo que finalmente fue: la génesis de un imperio y una civilización secular en el tiempo y en la historia del mundo.

Aquel niño recibió el nombre de su progenitor, Publio Cornelio Escipión, quien fuera cónsul de Roma durante el primer año de aquella guerra. Las hazañas del hijo del cónsul alcanzaron tal magnitud que el pueblo le concedió un sobrenombre especial, un apelativo referente a uno de los territorios que conquistó: Africanus.

Africanus, el hijo del cónsul narra con una prosa ágil y directa el tormentoso y a la vez fascinante mundo de la juventud de Publio Cornelio Escipión, el Africano. Esta novela describe con detalle las batallas de Tesino, Trebia, Trasimeno y Cannae, los asedios de Sagunto, Tarento o Cartago Nova, los tensos debates en el senado, las marchas forzadas de las legiones, el avance de los elefantes, las frías noches previas al combate, la amistad de los legionarios durante la campaña, el dolor de la muerte, el sinsentido de la guerra, el significado de la gloria y el honor, las costumbres y las tradiciones de una Roma milenaria.

Caligula is a fascinating exploration of the complexities of human nature, penned by the illustrious Albert Camus. Originally conceived before the war, Caligula is portrayed as an angel in search of the absolute, as well as a bloodthirsty monster. This duality makes him one of the most intriguing figures in theater.

In 1945, the play was received as a fable reflecting the horrors of Nazism. Over time, different versions and stagings, along with the evolving sensibilities of audiences, have contributed to making Caligula a deeply unsettling character. His image is forever intertwined with the faces of Gérard Philipe, who originated the role, and Albert Camus himself, who combined a need for tenderness and purity with a peculiar obsession with murder and an "inner violence" that animates his Roman emperor.

Plutarch's Parallel Lives is a series of biographies, arranged in pairs, illuminating virtues and vices. The surviving Lives contain 23 pairs, each with a Greek and a Roman Life, and 4 unpaired Lives.

As explained in the opening of his Life of Alexander, Plutarch wasn't concerned with history so much as the influence of character on life and destiny. While he sometimes barely touched on great events, he devoted much space to anecdotes and incidental triviality, often revealing more about his subjects than their famous accomplishments.

He sought to provide rounded portraits, likening his craft to painting. Indeed, he went to great, often tenuous, lengths to draw parallels between physical appearance and character.

Amongst the earliest moral philosophers, some of the Lives, like those of Heracles, Philip II of Macedon, and Scipio Africanus, are lost. Many remaining Lives are truncated, contain lacunae, or have been tampered with. Extant are those on Solon, Themistocles, Aristides, Pericles, Alcibiades, Nicias, Demosthenes, Pelopidas, Philopoemen, Timoleon, Dion of Syracuse, Alexander the Great, Pyrrhus of Epirus, Romulus, Numa Pompilius, Coriolanus, Theseus, Aemilius Paullus, Tiberius Gracchus, Gaius Gracchus, Gaius Marius, Sulla, Sertorius, Lucullus, Pompey, Julius Caesar, Cicero, Cato the Younger, Mark Antony, and Marcus Junius Brutus.