Walter of Chatillon was one of the leading Medieval Latin poets, who flourished at the high point of Medieval Latin literature - the later twelfth century. This volume presents the Latin text and facing English translation of Walter's shorter poems, including love poems, satires, and (largely Christmas) hymns. His satirical poems, often written in Goliardic hexameters, of which he was an accomplished master, are fine examples of the form. The allusiveness of his hymns makes them often notoriously difficult, but they provide a fascinating insight into the mindset of the clergy of the time and the prevalence of allegorical interpretation of the Bible. This volume provides an outline of the author's life, and adds a further fifteen poems to the previously accepted canon of fifty-two poems which appear in earlier editions of Walter of Chatillon's poetry. The introduction discusses the attribution of the additional poems, Walter's use of rhythmical and metrical verse in these poems, the relevant manuscripts, the recurring themes of the Feast of Fools, and avarice and largesse, and the arrangement of the poems. This volume makes available in English for the first time the shorter poems of an important medieval poet together with an improved Latin text. Scholars of the twelfth century will find a great deal of primary evidence on a wide variety of social and religious issues now accessible to them.

This volume explores the relationship between Thucydides and ancient Greek historiography, sociology, and culture. Presenting a new interpretation of the Peloponnesian War and its historian, it focuses on the role of emotions and ethics in the context of political history and ethnic conflicts. Drawing on modern anthropological enquiries on kinship and the sociology of ethnicity and emotions, and on scholarly work on kinship diplomacy and Greek ethnicity, it argues that inter-communal kinship has a far more pervasive importance in Thucydides than has so far been acknowledged. Through close readings and contextualization of a variety of sources, Fragoulaki discusses the various ways in which ancient Greek communities could be related to each other (colonization, genealogies, belonging to the same ethnic group, socio-cultural symbols, political mechanisms, and institutions) and the largely cultural, emotional, and ethical expression of these ties. Through new readings of the History, such topics as Thucydides' narrative technique, his challenging silences, his interaction with other genres, and his intense engagement with Herodotus are dissected and discussed - offering a new appreciation of his unique contribution to historiography.

Speculum Vitae is the hitherto unedited translation into Middle English verse of Lorens of Orleans' profoundly influential pastoral treatise, Somme le roi. The translation into four-stress couplets in Yorkshire dialect was extremely popular, as more than forty extant copies testify. Itis the product of an important regional centre, and should take its place alongside the other monuments of this tradition: Cursor Mundi, The Prick of Conscience and the Northern Homily Cycle. Moreover, it is important as a versification of Lorens's catechetical classic, which was a ceaseless inspiration for Middle English prose translators - the Speculum is the only known verse translation. This edition is based on a collation of the five early manuscripts, all Yorkshire productions, which communicate a distinct, and usually more satisfactory, form of the text than the remaining copies. The introduction contains a full discussion of the manuscripts, authorship, dialect and date, with an account both of its source other works which it has influenced. Volume I (original series 331) contains the introduction and the first half of the text; volume II (original series 332) contains the second half of the text, together with the notes and glossary. Ralph Hanna is Professor of Palaeography at the University of Oxford, and Tutorial Fellow in English at Keble College.

OXFORD SHAKESPEARE TOPICS General Editors: Peter Holland and Stanley Wells Oxford Shakespeare Topics provide students and teachers with short books on important aspects of Shakespeare criticism and scholarship. Each book is written by an authority in its field, and combines accessible style with original discussion of its subject. This book explains that Shakespeare did not have 'small Latin and less Greek' as Ben Jonson claimed. Shakespeare and Classical Antiquity shows the range, extent and variety of Shakespeare's responses to classical antiquity. Individual chapters on Virgil, Ovid, Classical Comedy, Seneca, and Plutarch show how Shakespeare's understanding of and use of classical authors, and of the classical past more generally, changed and developed in the course of his career. An opening chapter shows the kind of classical learning he acquired through his education, and subsequent chapters provide stimulating introductions to a range of classical authors as well as to Shakespeare's responses to them. Shakespeare and Classical Antiquity shows how Shakespeare's relationship to classical authors changed in response to contemporary events and to contemporary authors. Above all, it shows that Shakespeare's reading in classical literature informed more or less every aspect of his work.

Greek Tragedy on Screen considers a wide range of films which engage openly with narrative and performative aspects of Greek tragedy. This volume situates these films within the context of on-going debates in film criticism and reception theory in relation to theoretical or critical readings of tragedy in contemporary culture. Michelakis argues that film adaptations of Greek tragedy need to be placed between the promises of cinema for a radical popular culture, and the divergent cultural practices and realities of commercial films, art-house films, silent cinema, and films for television, home video, and DVD. In an age where the boundaries between art and other forms of cultural production are constantly intersected and reconfigured, the appeal of Greek tragedy for the screen needs to be related to the longing it triggers for origins and authenticity, as well as to the many uncertainties, such as homelessness, violence, and loss of identity, with which it engages. The films discussed include not only critically recognized films by directors such Michael Cacoyannis, Jules Dassin, and Pier Paolo Pasolini, but also more recent films by Woody Allen, Tony Harrison, Werner Herzog, and Lars von Trier. Moreover, it also considers earlier and largely neglected films of cinematic traditions which lie outside Hollywood.

Niketas Choniates' History is the single most important source for a crucial period in Byzantine history, which began with the death of Alexios I Komnenos in 1118 and culminated with the capture of Constantinople by the armies of the Fourth Crusade in 1204. In this first book-length study of the History in English, Simpson reviews the complex manuscript tradition and transmission of the text, and examines the substantial differences in style, content, and purpose between the two main versions in which it has been preserved. Investigating issues related to historical narrative and imperial biography, including genre and characteristic features, narrative structure, and character depiction, the volume also explores the sources from which Niketas Choniates compiled his account and the literary models and historical concepts which guided him. It emphasizes his literary mimesis of earlier writers, his creative and often innovative use of rhetorical forms and techniques, and his historical methodology and outlook. Finally, the book delves into the author's world in order to uncover his personal prejudices and preoccupations, and takes into account his other works, namely the orations and letters as well as the theological treatise, the Dogmatike Panoplia.

Choruses, Ancient and Modern examines the ancient Greek chorus and its afterlives in western culture. Choruses, though absolutely central to the social, political, and religious life of classical Greece, no longer hold the same broad importance in modernity, yet the attraction of the Greek chorus has proved a strong impetus to reimagining. Artists and thinkers have continually appropriated Greek choruses to their own ends, and the body of these engagements constitutes a rich and hitherto-unexplored area of the reception of classical antiquity. Exploring the choral tradition from archaic Greece to the present across a variety of different media, the volume thematically juxtaposes perspectives on choruses to create a dialogue between ancient and modern contexts. Following a substantial introduction, the four sections of the book discuss the place of the chorus within scholarship, aesthetic and philosophical perspectives on the chorus, reflections on absences of the chorus, and the social and communal potential of the chorus. Each section considers antiquity and modernity in counterpoint, at once de-familiarizing ancient contexts of the chorus and defining crucial moments in modern choral traditions.

This study of medieval women as postcolonial writers defines the literary strategies of subversion by which they authorized their alterity within the dominant tradition. To dismantle a colonizing culture, they made public the private feminine space allocated by gender difference: they constructed "unhomely" spaces. They inverted gender roles of characters to valorize the female; they created alternate idealized feminist societies and cultures, or utopias, through fantasy; and they legitimized female triviality-the homely female space-to provide autonomy. While these methodologies often overlapped in practice, they illustrate how cultures impinge on languages to create what Deleuze and Guattari have identified as a minor literature, specifically for women as dis-placed. Women writers discussed include Hrotsvit of Gandersheim, Hildegard of Bingen, Marie de France, Marguerite Porete, Catherine of Siena, Margery Kempe, Julian of Norwich, and Christine de Pizan.

The notions of other peoples, cultures, and natural conditions have always been determined by the epistemology of imagination and fantasy, providing much freedom and creativity, and yet have also created much fear, anxiety, and horror. In this regard, the pre-modern world demonstrates striking parallels with our own insofar as the projections of alterity might be different by degrees, but they are fundamentally the same by content. Dreams, illusions, projections, concepts, hopes, utopias/dystopias, desires, and emotional attachments are as specific and impactful as the physical environment. This volume thus sheds important light on the various lenses used by people in the Middle Ages and the early modern age as to how they came to terms with their perceptions, images, and notions. Previous scholarship focused heavily on the history of mentality and history of emotions, whereas here the history of pre-modern imagination, and fantasy assumes center position. Imaginary things are taken seriously because medieval and early modern writers and artists clearly reveal their great significance in their works and their daily lives. This approach facilitates a new deep-structure analysis of pre-modern culture.

The verse-by-verse commentary on the Ovidian text includes the reading of more than 300 manuscripts, including the so-called Heinsian manuscripts, and of almost 100 editions, from the two "editiones principes" of 1471 to the present day. The introduction describes the manuscripts used, and a history of the Ovidian editions is also traced. A new text of book VI is presented, accompanied by a slim and lucid critical apparatus. Futher information appears in the commentary and in the appendices, particularly readings of manuscripts and editions. The verbatim commentary offers, with reliable quotes for each term, the critical observations of all the editors and commentators of the Ovidian work throughout the centuries. This aspect of critical edition has been neglected by commentators of Ovid since Heinsius (1659) and Burman (1727). Two appendices ("Readings of manuscripts" and "Readings of editions") are added for the first time for readers of the Ovidian work. The volume closes with a "Select index of textual problems", a large "Index locorum" and an "Index nominum".

This volume presents eleven radio scripts written and produced by the poet and writer Louis MacNeice (1907-1963) over the span of his twenty-year career at the BBC, during which he wrote and produced well over a hundred radio scripts on an impressively wide variety of subjects. This volume's selection of scripts, all but one of which is published for the first time, illustrates the various ways that MacNeice re-worked one particular and recurrent source of material for radio broadcast - ancient Greek and Roman history and literature. The volume thus seeks to explore MacNeice's literary relationship with classical antiquity, including engagements with authors such as Homer, Thucydides, Aristophanes, Xenophon, Petronius, Apuleius, and Horace, in a variety of types of programmes from wartime propaganda work, which used ancient Greek history to comment on the international situation, to lighter entertainment programmes drawing on the Roman novel. MacNeice's educational background in classics, combined with his skill as a writer and his ability in exploring radio's potential for creative work, resulted in programmes which brought the ancient world imaginatively alive for a massive, popular audience at home and abroad. Each script is prefaced by an individual introduction, written by the editors and guest contributor Gonda Van Steen, detailing the political and broadcasting contexts, the relationship of the script with classical antiquity, notes on cast and credits, and the reception of each script's radio performance amongst contemporary listeners. The volume opens with a general introduction which seeks to contextualise the scripts in MacNeice's wider life and work for radio, and it includes an appendix of extant MacNeicean scripts and recordings.

This work brings together eleven of Richard Buxton's studies of Greek mythology and Greek tragedy, focusing especially on the interrelationship between the two, and their importance to the Greeks themselves.
Situating and contextualising topics and themes, such as mountains, (were)wolves, mythological names, movement/stillness, blindness, and feminization, within the world of ancient Greece -- its landscapes, social and moral priorities, and mental structures -- he traces the intricate variations and retellings which they underwent in Greek antiquity. Although each chapter has appeared in print in some form before, each has been thoroughly revised for the present book, taking into account recent research. The introduction sets out the principles and objectives which underlie Buxton's approach to Greek myths, and how he sees his own method in relation to those of his predecessors and contemporaries.

1000-PIECE PUZZLE featuring the women of Greek mythology as you've never seen them before. Finished puzzle measures 680 x 485mm SPOT FAMOUS FIGURES AND MYTHICAL MOMENTS, as you build the puzzle - can you find Pandora and her jar, or Medusa with snakes for hair? INCLUDES A FOLD-OUT POSTER featuring the stories of the real women of Greek myth from best-selling author and classicist Natalie Haynes STURDY & ATTRACTIVE BOX perfect for gifting and storage Think you know these women? Put the pieces together and you will start to think again. In this beautifully illustrated 1,000-piece jigsaw puzzle, rediscover the lives and stories of the women of Greek myth, portrayed by author, broadcaster and classicist Natalie Haynes with illustrator Natalie Foss. A large fold-out poster of the artwork accompanies the jigsaw and also includes an original essay from the author, expanding on the stories, relationships and context surrounding these infamous women. Featuring mortals and goddesses alike, from Medusa and Medea to Helen, Euridice, Aphrodite, Phaedra, Artemis and more, uncover the truth about the women of the classics.

The dithyramb, a choral song associated mostly with the god Dionysos, is the longest-surviving form of collective performance in Greek culture, lasting in its shifting shapes from the seventh century BC into late antiquity. Yet it has always stood in the shadow of its more glamorous relations - tragedy, comedy, and the satyr-play. This volume, with contributions from international experts in the field, is the first to look at dithyramb in its entirety, understanding it as an important social and cultural phenomenon of Greek antiquity.
Dithyramb in Context explores the idea that the dithyramb is much more than a complex poetic form: the history of the dithyramb is a history of changing performance cultures which form part of a continuous social process. How the dithyramb functions as a marker, as well as a carrier, of social change throughout Greek antiquity is expressed in themes as various as performance and ritual, poetics and intertextuality, music and dance, and history and politics. Drawing together literary critics, historians of religion, archaeologists, epigraphers, and historians, this volume applies a wide historical and geographical framework, scrutinizing the poetry and, for the first time, giving due weight to the evidence of epigraphy and the visual arts.

Exploring medieval literary representations of the Islamic conquest of Spain in 711, Hazbun discusses chronicles, epic and clerical poetry, and early historical novels. While material on the conquest of Spain is substantial, it is understudied and this book works to fill that gap.

Complementing Harrison's previous volume, Apuleius: A Latin Sophist, this book studies one of the few extant Latin novels from the Roman Empire, Apuleius' Metamorphoses or Golden Ass. Harrison shows that this work is one of remarkable literary complexity, playing off other classical forms, especially the related narrative form of the epic. The volume traces some of the history of the novel's criticism and offers a detailed analysis of its key sections and issues, demonstrating in detail the literary sophistication and complex intergeneric intertextuality which is the key feature of Apuleius' novel.

The four selected speeches were composed by a professional speechwriter, Isaeus, for litigants contesting inheritance claims in the Athenian courts of the fourth century BC. They offer some intriguing glimpses into the domestic life of (mainly wealthy) Athenian families, with sometimes scandalous stories of forged wills, family quarrels, illegitimate children, divorce, and prostitution. The narratives feature positive and negative Athenian stereotypes of women (dutiful wife or deceitful seductress). In the first comprehensive English language commentaries on these speeches for over 100 years. the main focus is on legal issues as the key to understanding Isaeus's rhetorical strategy. The aim is to show that he did not, as modern scholars have sometimes argued, ignore the law and seek to win cases for his clients on purely moral grounds. Rather, through carefully constructed narratives and persuasive but sometimes convoluted argumentation, he sought to convince the judges that the law was on his clients' side. The combination of translations and commentaries makes the selected speeches accessible to readers with little or no knowledge of classical Greek. No familiarity with Athenian law is assumed, but the book will also be useful to specialists seeking to explore Isaeus's work in greater depth.

In War, Liberty, and Caesar, Edward Paleit discusses how readers and writers of the English Renaissance read and understood Lucan's (Marcus Annaeus Lucanus, c. AD 39 - 65) epic poem on the Roman civil wars. It argues that the period between 1580 and 1650 in England, during which his text was much read, edited, discussed, imitated, translated, and quarreled over, can arguably be termed as the 'age of Lucan'. Looking at engagements with Lucan across a wide variety of literary forms, including poetry, drama, translations, and prose treatises, Paleit questions what made this Latin author so relevant during this period. Are there common features to the way readers responded to him? In what ways did Lucan help readers to structure and come to terms with their political experiences? Among major English authors discussed are Christopher Marlowe, Ben Jonson, Samuel Daniel, Philip Massinger, and Thomas May. As well as examining the factors that shaped Lucan for early modern readers - for example London literary communities, or the reading practices instilled by humanist pedagogy - Paleit examines Lucan's impact on debates over the English constitution and the nature of freedom, his use as a war poet by militaristically inclined readers, and the perverse thrill many readers experienced on encountering his blood-curdling descriptions of the horrific and unnatural.

Aristophanes is widely credited with having elevated the classical art of comedy to the level of legitimacy and recognition that only tragedy had hitherto achieved, and producing some of the most intriguing works of literature to survive from classical Greece in the process. Among them, Frogs has a unique appeal; written and performed in 405 BCE, the comedy won first prize in that year's Lenaea festival competition and was re-performed soon thereafter--a rare occurrence for comedies at the time. Frogs has been admired and quoted by readers and critics ever since, a testament to its timeless appeal; it remains among the most approachable of Aristophanes' plays, as well as perhaps the richest of all in insights it provides into ancient Greek cultural attitudes and values.
Mark Griffith's study of the Frogs is the first single book to offer a reliable and sophisticated account of this play in light of modern notions of culture, performance, democracy, religion, and aesthetics. After placing the work in its original historical, cultural, and biographical context, Griffith goes on to underscore the originality of Frogs in relation to parallel developments in the tragedies of Aeschylus and Euripides, among others. He highlights the play's unique portrayal of the figure of Dionysus, the Eleusinian mystery cult, and the question of life after death. This title provides not only a detailed analysis of the play and a concise account of its reception, but also a succinct introduction to ancient Greek comedy, exploring the extraordinary range of theatrical conventions, moral and aesthetic assumptions, and religious beliefs that underlie the action of Aristophanes' play. The book provides an invaluable companion to Aristophanes and the theater of classical Greece for students and general readers alike.

The Familiar Enemy re-examines the linguistic, literary, and cultural identities of England and France within the context of the Hundred Years War. During this war, two profoundly intertwined peoples developed complex strategies for expressing their aggressively intimate relationship. This special connection between the English and the French has endured into the modern period as a model for Western nationhood. Ardis Butterfield reassesses the concept of 'nation' in this period through a wide-ranging discussion of writing produced in war, truce, or exile from the thirteenth to the fifteenth century, concluding with reflections on the retrospective views of this conflict created by the trials of Jeanne d'Arc and by Shakespeare's Henry V. She considers authors writing in French, 'Anglo-Norman', English, and the comic tradition of Anglo-French 'jargon', including Machaut, Deschamps, Froissart, Chaucer, Gower, Charles d'Orleans, as well as many lesser-known or anonymous works. Traditionally Chaucer has been seen as a quintessentially English author. This book argues that he needs to be resituated within the deeply francophone context, not only of England but the wider multilingual cultural geography of medieval Europe. It thus suggests that a modern understanding of what 'English' might have meant in the fourteenth century cannot be separated from 'French', and that this has far-reaching implications both for our understanding of English and the English, and of French and the French.

From Polypragmon to Curiosus is a study of how Greek and Latin writers describe curious, meddlesome, and exaggerated behaviour. Founded on a detailed investigation of a family of Greek terms, often treated as synonymous with each other, and of the Latin words used to describe them, opening chapters survey how they were used in Greek literature from the 5th and 4th centuries BC, moving onto their Latin usage and relationship to that of Hellenistic and imperial Greek. Other chapters adopt a more thematic approach and consider how words, such as polypramon, periergos, philopragmon, and curiosus, are employed in descriptions of the world of knowledge opened up by empire - in discourses of pious and impious curiosity, in reflections on what constitutes useful and useless learning, and in descriptions of style. The themes which the volume addresses remain alive throughout the literature of the Middle Ages and the Renaissance, most obviously through emblematic figures of human curiosity, such as Dante's Ulisse and Marlowe's Dr Faustus.

The anecdotal literature of late-medieval China is not unknown, but it is under-used. Glen Dudbridge explores two collections of anecdotal memoirs to construct an intimate portrait of the first half of the tenth century as seen by people who lived through it. The author Wang Renyu's adult life coincided closely with that period, and his memoirs, though not directly transmitted, can be largely recovered from encyclopaedia quotations. His experience led from early life on the north-west border with Tibet, through service with the kingdom of Shu, to a mainstream career under four successive dynasties in northern China. He bore personal witness to some great events, but also travelled widely and transcribed material from a lifetime of conversations with colleagues in the imperial Hanlin Academy. The study first sets Wang's life in its historical context and discusses the nature and value of his memoirs. It then pursues a number of underlying themes that run through the collections, presenting nearly 80 distinct items in translation. Together these offer a characterization of an age of inter-regional warfare in which individual lives, not grand historical narrative, form the focus. A nuanced self-portrait of the author emerges, combining features that seem alien to modern values with others that seem more familiar. Four appendixes give the text of the author's tombstone epitaph; a detailed list of his surviving memoir items; data from Song catalogues on the early transmission of his writings; and Wang Renyu's own definition of the four musical modes inherited from the Tang dynasty.

Between Medieval Men argues for the importance of synoptically examining the whole range of same-sex relations in the Anglo-Saxon period, revisiting well-known texts and issues (as well as material often considered marginal) from a radically different perspective. The introductory chapters first lay out the premises underlying the book and its critical context, then emphasise the need to avoid modern cultural assumptions about both male-female and male-male relationships, and underline the paramount place of homosocial bonds in Old English literature. Part II then investigates the construction of and attitudes to same-sex acts and identities in ethnographic, penitential, and theological texts, ranging widely throughout the Old English corpus and drawing on Classical, Medieval Latin, and Old Norse material. Part III expands the focus to homosocial bonds in Old English literature in order to explore the range of associations for same-sex intimacy and their representation in literary texts such as Genesis A, Beowulf, The Battle of Maldon, The Dream of the Rood, The Phoenix, and AElfric's Lives of Saints. During the course of the book's argument, David Clark uncovers several under-researched issues and suggests fruitful approaches for their investigation. He concludes that, in omitting to ask certain questions of Anglo-Saxon material, in being too willing to accept the status quo indicated by the extant corpus, in uncritically importing invisible (because normative) heterosexist assumptions in our reading, we risk misrepresenting the diversity and complexity that a more nuanced approach to issues of gender and sexuality suggests may be more genuinely characteristic of the period.

Opera was invented at the end of the sixteenth century in imitation of the supposed style of delivery of ancient Greek tragedy, and, since then, operas based on Greek drama have been among the most important in the repertoire. This collection of essays by leading authorities in the fields of Classics, Musicology, Dance Studies, English Literature, Modern Languages, and Theatre Studies provides an exceptionally wide-ranging and detailed overview of the relationship between the two genres. Since tragedies have played a much larger part than comedies in this branch of operatic history, the volume mostly concentrates on the tragic repertoire, but a chapter on musical versions of Aristophanes' Lysistrata is included, as well as discussions of incidental music, a very important part of the musical reception of ancient drama, from Andrea Gabrieli in 1585 to Harrison Birtwistle and Judith Weir in the late twentieth and early twenty-first centuries.

Plutarch's Lives have been popular reading from antiquity to the present day, combining engaging biographical detail with a strong underlying moral purpose. The Lives of Demosthenes and Cicero are an unusual pair in that they are about unmilitary men who, while superb technically as orators, were both in the end political failures, crushed by the military power which dominated their world. In these two Lives, Plutarch is not so much interested in Demosthenes' and Cicero's rhetorical technique as in their ability to persuade an audience to vote for the right course of action, even if that action was prima facie unpopular. In Plutarch's own time, when the empire of the Caesars had been established for over a century, liberty was of necessity limited, but still an issue, for both Greeks and Romans. His home, Chaeroneia, was a provincial town in Greece, but he travelled regularly to Italy where he met Romans from the elite that ruled the empire. He wrote both for his fellow imperial subjects who still sought to enjoy what freedom they could obtain from the ruling power, and for the Romans who exercised that power but were always subject to the ultimate authority of the emperor. Along with the translations and commentaries, Lintott provides a detailed introduction which discusses the background and context of these two Lives, essential information about the author and the periods in which these two orators lived, and the philosophy which underlies Plutarch's presentation of the two personalities.