This volume brings together 29 junior and senior scholars to discuss aspects of Hesiod's poetry and its milieu and to explore questions of reception over two and half millennia from shortly after the poems' conception to Twitter hashtags. Rather than an exhaustive study of Hesiodic themes, the Handbook is conceived as a guide through terrain, some familiar, other less charted, examining both Hesiodic craft and later engagements with Hesiod's stories of the gods and moralizing proscriptions of just human behavior. The volume opens with the "Hesiodic Question," to address questions of authorship, historicity, and the nature of composition of Hesiod's two major poems, the Theogony and Works and Days. Subsequent chapters on the archaeology and economic history of archaic Boiotia, Indo-European poetics, and Hesiodic style offer a critical picture of the sorts of questions that have been asked rather than an attempt to resolve debate. Other chapters discuss Hesiod's particular rendering of the supernatural and the performative nature of the Works and Days, as well as competing diachronic and synchronic temporalities and varying portrayals of female in the two poems. The rich story of reception ranges from Solon to comic books. These chapters continue to explore the nature of Hesiod's poetics, as different writers through time single out new aspects of his art less evident to earlier readers. Long before the advent of Christianity, classical writers leveled their criticism at Hesiod's version of polytheism. The relative importance of Hesiod's two major poems across time also tells us a tale of the age receiving the poems. In the past two centuries, artists and writers have come to embrace the Hesiodic stories for themselves for the insight they offer of the human condition but even as old allegory looks quaint to modern eyes new forms of allegory take form.

Besides his renowned prosecution of Gaius Verres, Cicero also appeared as defence counsel in a number of cases in which former governors were accused of misconduct in the provinces. This volume unites two such defences, both incompletely preserved, from an early phase of Cicero's career (ca. 69 BC) and from his maturity (54 BC). The first speech is on behalf of Marcus Fonteius. Fonteius was governor of Transalpine Gaul probably from 74 to 72 BC, a time when the Romans were consolidating their control of that province and simultaneously fighting a bitter war with rebels under Sertorius in the Iberian Peninsula. Cicero defends Fonteius with the argument that his measures, though severe, were in the state interest. The second speech is on behalf of Marcus Aemilius Scaurus, governor of Sardinia in 55, whose charges included not only peculation but also cruelty and hounding a woman to suicide through his unwanted attentions. In both cases Cicero seeks to stir Roman prejudice against the foreign witnesses testifying for the prosecution. The outcome of Fonteius' case is not clear from surviving evidence, but Scaurus was acquitted, only to be condemned and exiled on charges of corrupt electoral practices three years later. Dyck's volume provides a general introduction on the Roman extortion court and, for each speech, an introduction, English translation, and the first detailed commentary in English.

Politeness and Politics in Cicero's Letters presents a fresh examination of the letters exchanged between Cicero and correspondents, such as Pompey, Julius Caesar and Mark Antony during the final turbulent decades of the Roman Republic. Drawing upon sociolinguistic theories of politeness, it argues that formal relationships between powerful members of the elite were constrained by distinct conventions of courtesy and etiquette. By examining in detail these linguistic conventions of politeness, Jon Hall presents new insights into the social manners that shaped aristocratic relationships.
The book begins with a discussion of the role of letter-writing within the Roman aristocracy and the use of linguistic politeness to convey respect to fellow members of the elite. Hall then analyzes the deployment of conventionalized expressions of affection and goodwill to cultivate alliances with ambitious rivals and the diplomatic exploitation of "polite fictions" at times of political tension. The book also explores the strategies of politeness employed by Cicero and his correspondents when making requests and dispensing advice, and when engaging in epistolary disagreements. (His exchanges with Appius Claudius Pulcher, Munatius Plancus, and Mark Antony receive particular emphasis.) Its detailed analysis of specific letters places the reader at the very heart of Late Republican political negotiations and provides a new critical approach to Latin epistolography.

A bold reassessment of what caused the Late Bronze Age collapse In 1177 B.C., marauding groups known only as the "Sea Peoples" invaded Egypt. The pharaoh's army and navy managed to defeat them, but the victory so weakened Egypt that it soon slid into decline, as did most of the surrounding civilizations. After centuries of brilliance, the civilized world of the Bronze Age came to an abrupt and cataclysmic end. Kingdoms fell like dominoes over the course of just a few decades. No more Minoans or Mycenaeans. No more Trojans, Hittites, or Babylonians. The thriving economy and cultures of the late second millennium B.C., which had stretched from Greece to Egypt and Mesopotamia, suddenly ceased to exist, along with writing systems, technology, and monumental architecture. But the Sea Peoples alone could not have caused such widespread breakdown. How did it happen? In this major new account of the causes of this "First Dark Ages," Eric Cline tells the gripping story of how the end was brought about by multiple interconnected failures, ranging from invasion and revolt to earthquakes, drought, and the cutting of international trade routes. Bringing to life the vibrant multicultural world of these great civilizations, he draws a sweeping panorama of the empires and globalized peoples of the Late Bronze Age and shows that it was their very interdependence that hastened their dramatic collapse and ushered in a dark age that lasted centuries. A compelling combination of narrative and the latest scholarship, 1177 B.C. sheds new light on the complex ties that gave rise to, and ultimately destroyed, the flourishing civilizations of the Late Bronze Age-and that set the stage for the emergence of classical Greece.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.