Holinshed's Chronicles, famous as the source for the stories in many Shakespeare's plays, such as King Lear and Cymbeline, were written in the sixteenth century as a collaborative effort, but consistently sustain a lively and highly readable style. A wide variety of sources were used, and carefully noted, but with little critical examination. This volume contains the first four books of the Historie of England, from the time of the Flood to the end of Roman rule and includes much that is the stuff of legend. For ease of reading, it has been typeset in a modern font, but all the original spellings and marginal notes have been preserved.

The passions were a topic of widespread interest in antiquity, as has been shown by the recent interest and research in the emotions in Greek and Roman literature. Until now, however, there has been very little focus on love elegy or its relation to contemporary philosophical positions. Yet Roman love elegy depends crucially upon the passions: without love, anger, jealousy, pity, and fear, elegy could not exist at all. The Elegiac Passion provides the first investigation of the ancient representation of jealousy in its Roman context, as well as its significance for Roman love elegy itself. The poems of Propertius, Tibullus, and Ovid are built upon the presumed existence of a love triangle involving poet, mistress, and rival: the very structure of elegy thus creates an ideal scenario for the arousal of jealousy.
This study begins by examining the differences between the elegiac treatment of love and that of philosophy, whether Stoic or Epicurean. Ruth Caston uses the main chapters to address the depiction of jealousy in the love relationship and explores in detail the role of the senses, the role of readers--both those internal and external to the poems--, and the use of violence as a response to jealousy. Elegy provides a multi-faceted perspective on jealousy that gives us details and nuances of the experience of jealousy not found elsewhere in ancient literature. She argues that jealousy turns centrally on the question of fides. The fear of broken obligations and the consequent lack of trust are relevant not only to the love affair that forms the subject of these poems but to many other relationships represented in elegy as well. Overall, she demonstrates that jealousy is not merely the subject matter of elegy: it creates and structures elegy's various generic features. Jealousy thus provides a much more satisfying explanation for the specific character of Roman elegy than the various theories about its origins that have typically been put forward.

One of the masterpieces of Greco-Roman literature is the history written by Ammianus Marcellinus near the end of the fourth century A.D. His work bears unique witness to an empire struggling at once toward traditional and transformation, the old Rome of Augustus and the new Rome of Christ. Embodied within Ammianus's history is a universally admired spirit of independence that has, however, led to a steady denaturing of the historian's personal commitment to particular causes. At the hands of modern critics, Ammianus frequently seems to lose his character, and his frequently seems to lose his character, and his religion too vanishes. Rike reconstructs Ammianus's religion from the beginning and concludes that he was an enthusiastic pagan whose firm commitment to traditional beliefs cannot be understood without changing our usual conceptions of late Roman religion. Rike's study widens our too narrowly philosophical sense of paganism; the historian's striving will remind us of the vital spiritual continuum which joined the ages of Augustus and Constantine. Accordingly, this book should itself serve as a useful bridge between students of Late Antiquity and traditional classicists. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1987.

Aelius Aristides' Hieroi Logoi present a unique first-person narrative from the ancient world-a narrative that seems at once public and private, artful and naive. While scholars have embraced the Logoi as a rich source for Imperial-era religion, politics, and elite culture, the style of the text has presented a persistent stumbling block to literary analysis. Setting this dream-memoir of illness and divine healing in the context of Aristides' professional concerns as an orator, this book investigates the text's rhetorical aims and literary aspirations. At the Limits of Art argues that the Hieroi Logoi are an experimental work. Incorporating numerous dream accounts and narratives of divine cure in a multi-layered and open text, Aristides works at the limits of rhetorical convention to fashion an authorial voice that is transparent to the divine. Reading the Logoi in the context of contemporary oratorical practices, and in tandem with Aristides' polemical orations and prose hymns, the book uncovers the professional agendas motivating this unusual self-portrait. Aristides' sober view of oratory as a sacred pursuit was in conflict with a widespread contemporary preference for spectacular public performance. In the Hieroi Logoi, Aristides claims a place in the world of the Second Sophistic on his own terms, offering a vision of his professional inspiration in a style that pushes the limits of literary convention.

In Sophene, Gordyene, and Adiabene, M. Marciak offers the first-ever comprehensive study of the history and culture of these three little-known countries of Northern Mesopotamia (3rd century BCE - 7th century CE). The book gives an overview of the historical geography, material culture, and political history of each of these countries. Furthermore, the summary offers a regional perspective by describing the history of this area as a subject of the political and cultural competition of great powers. This book answers both a recent growth of interest in ancient Mesopotamia as the frontier area, as well as the urgent need for documentation of the cultural heritage of a region that has recently become subject to the destructive influence of sectarian violence.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Exploring the political ideology of Republicanism under the Roman emperors of the first century AD, Sam Wilkinson puts forward the hypothesis that there was indeed opposition to the political structure and ideology of the rulers on the grounds of Republicanism. While some Romans wanted a return to the Republic, others wanted the emperor to ensure his reign was as close to Republican moral and political ideology as possible. Analysing the discourse of the period, the book charts how the view of law, morality and behaviour changed under the various Imperial regimes of the first century AD. Uniquely, this book explores how emperors could choose to set their regime in a more Republican or more Imperial manner, thus demonstrating it was possible for both the opposition and an emperor to be Republican. The book concludes by providing evidence of Republicanism in the first century AD which not only created opposition to the emperors, but also became part of the political debate in this period.

In April, 2008, an international colloquium was held at the University of Heidelberg-the fourth convocation of a group of scholars (with some rotating members) who gathered to discuss the status of Judah and the Judeans in the exilic and postexilic periods. The goal of this gathering was specifically to address the question of national identity in the period when many now believe this very issue was in significant foment and development, the era of the Persian/Achaemenid domination of the ancient Near East. This volume contains most of the papers delivered at the Heidelberg conference, considering the matter under two rubrics: (1) the biblical evidence (and the diversity of data from the Bible); and (2) the cultural, historical, social, and environmental factors affecting the formation of national identity. Contributors: K. Schmid, J. Schaper, A. C. Hagedorn, C. Nihan, J. Middlemas, D. Rom-Shiloni, J. Woehrle, Y. Dor, K. Southwood, D. N. Fulton, P.-A. Beaulieu, L. E. Pearce, D. Redford, A. Lemaire, J. F. Quack, B. Becking, R. G. Kratz, O. Tal, J. Blenkinsopp, R. Albertz, J. L. Wright, D. S. Vanderhooft, M. Oeming, and A. Kloner. Earlier volumes in the series of conferences are: Judah and the Judeans in the Neo-Babylonian Period, Judah and the Judeans in the Persian Period, and Judah and the Judeans in the in the Fourth Century B.C.E.

An influential view of ecphrasis--the literary description of art objects--chiefly treats it as a way for authors to write about their own texts without appearing to do so, and even insist upon the aesthetic dominance of the literary text over the visual image. However, when considering its use in ancient Roman literature, this interpretation proves insufficient. The Captor's Image argues for the need to see Roman ecphrasis, with its prevalent focus on Hellenic images, as a site of subtle, ongoing competition between Greek and Roman cultures. Through close readings of ecphrases in a wide range of Latin authors--from Plautus, Catullus, and Horace to Vergil, Ovid, and Martial, among others--Dufallo contends that Roman ecphrasis reveals an ambivalent receptivity to Greek culture, an attitude with implications for the shifting notions of Roman identity in the Republican and Imperial periods. Individual chapters explore how the simple assumption of a self-asserting ecphrastic text is called into question by comic performance, intentionally inconsistent narrative, satire, Greek religious iconography, the contradictory associations of epic imagery, and the author's subjection to a patron. Visual material such as wall painting, statuary, and drinkware vividly contextualizes the discussion. As the first book-length treatment of artistic ecphrasis at Rome, The Captor's Image resituates a major literary trope within its hybrid cultural context while advancing the idea of ecphrasis as a cultural practice through which the Romans sought to redefine their identity with, and against, Greekness.

Choreonarratives, a collection of essays by classicists, dance scholars, and dance practitioners, explores the uses of dance as a narrative medium. Case studies from Greek and Roman antiquity illustrate how dance contributed to narrative repertoires in their multimodal manifestations, while discussions of modern and contemporary dance shed light on practices, discourses, and ancient legacies regarding the art of dancing stories. Benefitting from the crossover of different disciplinary, historical, and artistic perspectives, the volume looks beyond current narratological trends and investigates the manifold ways in which dance can acquire meaning, disclose storyworlds ranging from myths to individual life-stories, elicit the narratees' responses, and generate powerful narratives of its own. Together, the eclectic approaches of Choreonarratives rethink dance's capacity to tell, enrich, and inspire stories. Contributors are Sophie M. Bocksberger, Iris J. Buhrle, Marie-Louise Crawley, Samuel N. Dorf, Karin Fenboeck, Susan L. Foster, Laura Gianvittorio-Ungar, Sarah Olsen, Lucia Ruprecht, Karin Schlapbach, Danuta Shanzer, Christina Thurner, Yana Zarifi-Sistovari, Bernhard Zimmermann

Biological literature of the Roman imperial period remains somehow 'underestimated'. It is even quite difficult to speak of biological literature for this period at all: biology (apart from medicine) did not represent, indeed, a specific 'subgenre' of scientific literature. Nevertheless, writings as disparate as Philo of Alexandria's Alexander, Plutarch's De sollertia animalium or Bruta ratione uti, Aelian's De Natura Animalium, Oppian's Halieutika, Pseudo-Oppian's Kynegetika, and Basil of Caeserea's Homilies on the Creation engage with zoological, anatomic, or botanical questions. Poikile Physis examines how such writings appropriate, adapt, classify, re-elaborate and present biological knowledge which originated within the previous, mainly Aristotelian, tradition. It offers a holistic approach to these works by considering their reception of scientific material, their literary as well as rhetorical aspects, and their interaction with different socio-cultural conditions. The result of an interdisciplinary discussion among scholars of Greek studies, philosophy and history of science, the volume provides an initial analysis of forms and functions of biological literature in the imperial period.