Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
Collected here for the first time in the series are four major works by Euripides all set in Athens: Hippoltos, translated by Robert Bagg, a dramatic interpretation of the tragedy of Phaidra; Suppliant Women, translated by Rosanna Warren and Steven Scully, a powerful examination of the human psyche; Ion, translated by W. S. Di Piero and Peter Burian, a complex enactment of the changing relations between the human and divine orders; and The Children of Herakles, translated by Henry Taylor and Robert A. Brooks, a descriptive tale of the descendants of Herakles and their journey home. These four tragedies were originally avialble as single volumes. This volume retains the informative introductions and explanatory notes of the original editions and adds a single combines glossary and Greek line numbers.

This book offers a new edition, with English translation and commentary, of the Kitab al-Madhal, which opens Avicenna's (d. 1037) most comprehensive summa of Peripatetic philosophy, namely the Kitab al-Sifa'. For the first time, the text is established together with a stemma codicum showing the genealogical relations among 34 manuscripts, the twelfth-century Latin translation, and the literal quotations by Avicenna's first and second-generation students. In this book, Avicenna's reappraisal of Porphyry's Isagoge is examined from both a historical and a philosophical point of view. The key-features of Avicenna's theory of predicables are analyzed in the General Introduction and in the Commentary both in their own right and against the background of the Greek and Arabic exegetical tradition. Readers shall find in this book the first systematic study of the Madhal which, in addition to being the only logical work of the Sifa' ever transmitted in its entirety both in Arabic and in Latin, is crucial for understanding Avicenna's conception of universal predicables at the crossroads between logic and metaphysics.

Ovid's Fasti, based on the festivals of the Roman year, is a brilliantly varied and original poem by one of the world's greatest storytellers, written in the late years of the emperor Augustus and cut short (only six books of the planned twelve were written) when the emperor sent the poet into exile. Its tone ranges from tragedy to farce, and its subject matter from astronomy and obscure ritual to Roman history and Greek mythology. Among the stories Ovid tells at length are Arion and the dolphin, the rape of Lucretia, the adventures of Dido's sister, the Great Mother's journey to Rome, the killing of Remus, the bloodsucking birds, and the murderous daughter of King Servius. The poem has been unjustly neglected until recently, and this accurate prose translation into modern English, with a scene-setting Introduction, will enable readers to appreciate its subtleties.

Today medievalism is increasingly intelligible as a cultural lingua franca, produced in trans- and international contexts with a view to reaching popular international audiences, some of mass scope. This book offers new perspectives on international relations and how global concerns are made available through contemporary medievalist texts. It questions how research in medievalism may help us rethink the terms of internationalism and globalism within popular cultures, ideologies, and political formations. It investigates how the diverse media of medievalism (print; film and television; arts and crafts; fashion; digital media; clubs and fandom) affect its cultural meaning and circulation, and its social function, and engage questions of desire, gender and identity construction. As a whole, International Medievalism and Popular Culture differs from those studies which have concentrated on imaginative appropriations of the middle ages for domestic cultural contexts. It investigates rather how contemporary cultures engage with medievalism to map and model ideas of the international, the trans-national, the cosmopolitan and the global. This book includes examples from Europe, Britain, North America, Australia and the Arab world. It discusses the formation and the impact of popular medievalism in the globalised worlds of Braveheart, Disney and Harry Potter, but it also explores how the contemporary medieval imaginary generates international cultural perspectives, for example in considering Middle Eastern reception of Ridley Scott's Kingdom of Heaven, the Byzantinism of Julia Kristeva, and Hedley Bull's postnationalist 'new medievalism'. International Medievalism in Popular Culture is an important contribution to medieval studies, cultural studies, and historical studies. It will be of value to undergraduate, postgraduate and academic readers, as well as to all interested in popular culture or medievalism.

Brill's Companion to Aineias Tacticus is a collection of articles on the significance of the earliest Greek handbook on military tactics. Aineias' (Aeneas) wrote his Poliorketika in the mid-fourth century BC, offering a unique perspective on contemporary Greek city-states, warfare and intellectual trends. We offer an introduction to Aineias and his work, and then discuss the work's historical and intellectual context, his qualities as a writer, and aspects of his work as a historical source for the Greek polis of the fourth century BC. Several chapters discuss Aineias' approach to warfare, specifically light infantry, mercenaries, naval operations, fortifications and technology. Finally, we include a lengthy study of the reception of ancient military treatises, specifically Aineias' Poliorketika, in the Byzantine period.

"Les provencalistes sont gens heureux" scriveva Charles Samaran, fornendo, nella prima annata da lui diretta della "Bibliotheque de l'Ecole des Chartes" (96, 1935), una breve notizia della Bibliographie des manuscrits litteraires en ancien provencal di Clovis Brunel, ancora fresca di stampa. E spiegava le ragioni di questa fortuna: "Leur domaine est vaste, mais non demesure. Ils peuvent, sans tomber dans le decouragement, en denombrer les richesses; ils peu-vent aussi revenir de temps en temps sur les repertoires existants pour les ameliorer encore.""

This volume presents a series of essays published by Charles Kahn over a period of forty years, in which he seeks to explicate the ancient Greek concept of Being. He addresses two distinct but intimately related problems, one linguistic and one historical and philosophical. The linguistic problem concerns the theory of the Greek verb einai, "to be:: how to replace the conventional but misleading distinction between copula and existential verb with a more adequate theoretical account. The philosophical problem is in principle quite distinct: to understand how the concept of Being became the central topic in Greek philosophy from Parmenides to Aristotle. But these two problems converge on what Kahn calls the veridical use of einai. In the earlier papers he takes that connection between the verb and the concept of truth to be the key to the central role of Being in Greek philosophy. In the later papers he interprets the veridical in terms of a more general semantic function of the verb, which comprises the notions of existence and instantiation as well as truth.

Previous attempts to critique the canonical approach of Brevard Childs have remained largely theoretical in nature. One of the weakness of canonical criticism, then, is its failure to have generated new readings of extended biblical passages. Reviewing the hermeneutics and the praxis of Childs's approach, Lyons then turns to the Sodom narrative (Gen 18-19) as a test of a practical exegesis according to Childs' principles, and then to reflect critically upon the reading experience generated. Surprisingly, the canonical reading produced is a wholly new one, centred around the complex, irreducible - even contradictory - request of Abraham for Yahweh to do justice (18:23-25).

The standard view in scholarship is that disease in Lucretius' De rerum natura is mainly a problem to be solved and then dispensed with. However, a closer reading suggests that things are more layered and complex than they appear at first sight: just as morbus causes a radical rearrangement of atoms in the body and makes the patient engage with alternative and up to that point unknown dimensions of the sensible world, so does disease as a theme generate a multiplicity of meanings in the text. The present book argues for a reconsideration of morbus in De rerum natura along those lines: it invites the reader to revisit the topic of disease and reflect on the various, and often contrasting, discourses that unfold around it. More specifically, it illustrates how, apart from calling for therapy, disease, due to its dominant presence in the narrative, transforms at the same time into a concept that is integral both to the poem's philosophical agenda but also to its wider aesthetic concerns as a literary product. The book thus sheds new light on De rerum natura's intense preoccupation with morbus by showing how disease is not exclusively conceived by Lucretius as a blind, obliterating force but is crucially linked to life and meaning-both inside and outside the text.

Eupolis (fl. 429-411 BC) was one of the best-attested and most important of Aristophanes' rivals. He wrote the same sort of vigorous, topical, and often indecent comedy that we know from the surviving plays of Aristophanes. No complete play has survived, but more than 120 lines of his best-known comedy, Demoi (The Demes), are extant. This book provides a new translation of all the remaining fragments and an essay on each lost play, as well as discussions of Eupolis' career and the sort of comedy that this prizewinning poet created.

Greece and Rome have long featured in books for children and teens, whether through the genres of historical fiction, fantasy, mystery stories or mythological compendiums. These depictions and adaptations of the Ancient World have varied at different times, however, in accordance with changes in societies and cultures. This book investigates the varying receptions and ideological manipulations of the classical world in children's literature. Its subtitle, Heroes and Eagles, reflects the two most common ways in which this reception appears, namely in the forms of the portrayal of the Greek heroic world of classical mythology on the one hand, and of the Roman imperial presence on the other. Both of these are ideologically loaded approaches intended to educate the young reader.

Until the Renaissance the centrality of Roman tragedy in Western society and culture was unchallenged. Studies on Roman Republican tragedy and on Imperial Roman tragedy by the contributors have been directing the gaze of scholarship back to Roman tragedy. This volume has two goals: first, to demonstrate that Republican tragedy had a far more central role in shaping Imperial tragedy than is currently thought, and quite possibly more important than Classical Greek tragedy. Second, the influence of other Roman literary genres on Roman tragedy is greater than has formerly been credited. Studies on von Kleist and Shelley, Eliot and Claus help reconstruct the ancient Roman stage by showing how moderns had thought to change it for contemporary aesthetics.

This is the first complete new scholarly edition for almost a century of one of the masterpieces of Athenian Old Comedy. Olson offers an extensive introduction, a text based on a fresh collation of the manuscripts, and a massive literary and historical commentary. All Greek in the introduction and commentary not cited for technical reasons is translated, making much of the edition accessible to non-specialists.

The interaction between orator and audience, the passions and distrust held by many concerning the predominance of one individual, but also the individual's struggle as an advisor and political leader, these are the quintessential elements of 4th century rhetoric. As an individual personality, the orator draws strength from his audience, while the rhetorical texts mirror his own thoughts and those of his audience as part of a two-way relationship, in which individuality meets, opposes, and identifies with the masses. For the first time, this volume systematically compares minor orators with the major figures of rhetoric, Demosthenes and Isocrates, taking into account other findings as well, such as extracts of Hyperides from the Archimedes Palimpsest. Moreover, this book provides insight into the controversy surrounding the art of discourse in the rhetorical texts of Anaximenes, Aristotle, and especially of Isocrates who took up a clear stance against the philosophy of the 4th century.

The medical literature of ancient Greece has been much studied during the 20th century, particularly from the 1970s on. In spite of this intense activity, the search for manuscripts still relies on the catalogue compiled in the early 1900s by a group of philologists led by the German historian of Greek philosophy and medicine Hermann Diels. However useful the so-called Diels has been and still is, it is now in need of a thorough revision. The present five-tome set is a first step in that direction. Tome 1 offers a reproduction of Diels' catalogue with an index of the manuscripts. The following three tomes provide a reconstruction of the texts contained in the manuscripts listed in Diels on the basis of Diels' catalogue. Proceeding as Diels did, these three tomes distinguish the manuscripts containing texts by (or attributed to) Hippocrates (tome 2), Galen (tome 3), and the other authors considered by Diels (tome 4). Tome 5 will list all the texts listed in Diels for each manuscript in the catalogue. The present work will be a reference for all scholars interested in Greek medical literature and manuscripts, in addition to historians of medicine, medical book, medical tradition, and medical culture.

This is a volume of essays on ancient (and modern) Greek myth, culture, society, and literature. It covers the work of almost thirty years and is inspired by a lifetime's teaching experience with university and mature students. Some of the essays are already counted as 'classics' and a number have not been published before.

This book's concern is with notoriously obscure ancient poets-riddlers, whom it argues to have been an essential, albeit necessarily marginal, element of the literary landscape of Antiquity, which, in addition, exerted subtle yet lasting influence on European culture. The three first essays in this book trace a direct line of influence between the early Hellenistic scholar-poet Simias of Rhodes, the late Republican Roman experimentalist Laevius and Constantine the Great's virtuoso panegyrist Optatian Porfyry, whereas the fourth essay discusses the preservation and transformation of the model invented by Simias in Byzantium. The Appendix reflects on the triumph of this intellectual paradigm in Neo-Latin Jesuit education by investigating the case of a peripheral yet highly influential Central European college at the turn of the sixteenth and seventeenth centuries. This book is at once a contribution to the scholarship on the reception of Hellenistic poetry and to the study of ancient 'technopaegnia' (i.e. playful poetry) and their cultural influence in Antiquity, Byzantium and post-mediaeval Europe.

Visual culture, performance and spectacle lay at the heart of all aspects of ancient Greek daily routine, such as court and assembly, cult and ritual, and art and culture. Seeing was considered the most secure means of obtaining knowledge, with many citing the etymological connection between 'seeing' and 'knowing' in ancient Greek as evidence for this. Seeing was also however often associated with mere appearances, false perception and deception. Gazing and visuality in the ancient Greek world have had a central place in the scholarship for some time now, enjoying an abundance of pertinent discussions and bibliography. If this book differs from the previous publications, it is in its emphasis on diverse genres: the concepts 'gaze', 'vision' and 'visuality' are considered across different Greek genres and media. The recipients of ancient Greek literature (both oral and written) were encouraged to perceive the narrated scenes as spectacles and to 'follow the gaze' of the characters in the narrative. By setting a broad time span, the evolution of visual culture in Greece is tracked, while also addressing broader topics such as theories of vision, the prominence of visuality in specific time periods, and the position of visuality in a hierarchisation of the senses.

With concern to Greek literature and particularly to 5th c. BCE tragic production, papyri provide us usually with not only the most ancient attestation but also the most reliable one. Much more so when the papyri are the only or the main witnesses of the tragic plays. The misfortune is that the papyri transmit texts incomplete, fragmentary, and almost always anonymous. It is the scholar's task to read, supplement, interpret and identify the particular texts. In this book, five Greek plays that survived fragmentarily in papyri are published, four by Aeschylus and one by Sophocles. Three of them are satyr plays: Aeschylus' Theoroi, Hypsipyle, and Prometheus Pyrkaeus; Sophocles' Inachos belongs to the genre we use to call 'prosatyric'; Aeschylus' Laios is a typical tragedy. The author's scope was, after each text's identification was secured as regards the poet and the play's title, to proceed to textual and interpretative observations that contributed to reconstructing in whole or in part the storyline of the relevant plays. These observations often led to unexpected conclusions and an overthrow of established opinions. Thus, the book will appeal to classical scholars, especially those interested in theatrical studies.

Both our view of Seneca's philosophical thought and our approach to the ancient consolatory genre have radically changed since the latest commentary on the Consolatio ad Marciam was written in 1981. The aim of this work is to offer a new book-length commentary on the earliest of Seneca's extant writings, along with a revision of the Latin text and a reassessment of Seneca's intellectual program, strategies, and context. A crucial document to penetrate Seneca's discourse on the self in its embryonic stages, the Ad Marciam is here taken seriously as an engaging attempt to direct the persuasive power of literary models and rhetorical devices toward the fundamentally moral project of healing Marcia's grief and correcting her cognitive distortions. Through close reading of the Latin text, this commentary shows that Seneca invariably adapts different traditions and voices - from Greek consolations to Plato's dialogues, from the Roman discourse of gender and exemplarity to epic poetry - to a Stoic framework, so as to give his reader a lucid understanding of the limits of the self and the ineluctability of natural laws.

Augustine's dialogue De libero arbitrio (On Free Choice) is, with his Confessions and City of God, one of his most important and widely read works. It contains one of the earliest accounts of the concept of 'free will' in the history of philosophy. Composed during a key period in Augustine's early career, between his conversion to Christianity and his ordination as a bishop, it has often been viewed as a an incoherent mixture of his 'early' and 'late' thinking. Simon Harrison offers an original account of Augustine's theory of will, taking seriously both the philosophical arguments and literary form of the text. Relating De libero arbitrio to other key texts of Augustine's, in particular the City of God and the Confessions, Harrison shows that Augustine approaches the problem of free will as a problem of knowledge: how do I know that I am free?, and that Augustine uses the dialogue form to instantiate his 'way into the will'.

The medical literature of ancient Greece has been much studied during the 20th century, particularly from the 1970s on. In spite of this intense activity, the search for manuscripts still relies on the catalogue compiled in the early 1900s by a group of philologists led by the German historian of Greek philosophy and medicine Hermann Diels. However useful the so-called Diels has been and still is, it is now in need of a thorough revision. The present five-tome set is a first step in that direction. Tome 1 offers a reproduction of Diels' catalogue with an index of the manuscripts. The following three tomes provide a reconstruction of the texts contained in the manuscripts listed in Diels on the basis of Diels' catalogue. Proceeding as Diels did, these three tomes distinguish the manuscripts containing texts by (or attributed to) Hippocrates (tome 2), Galen (tome 3), and the other authors considered by Diels (tome 4). Tome 5 will list all the texts listed in Diels for each manuscript in the catalogue. The present work will be a reference for all scholars interested in Greek medical literature and manuscripts, in addition to historians of medicine, medical book, medical tradition, and medical culture.

The purpose of this volume is to investigate scholastic culture in the Hellenistic and Roman eras, with a particular focus on ancient book and material culture as well as scholarship beyond Greek authors and the Greek language. Accordingly, one of the major contributions of this work is the inclusion of multiple perspectives and its contributors engage not only with elements of Greek scholastic culture, but also bring Greek ideas into conversation with developing Latin scholarship (see chapters by Dickey, Nicholls, Marshall) and the perspective of a minority culture (i.e., Jewish authors) (see chapters by Hezser, Adams). This multicultural perspective is an important next step in the discussion of ancient scholarship and this volume provides a starting point for future inquiries.

Part of the "Exeter Medieval English Texts and Studies" series, which includes works of interest and importance previously unpublished, long out-of-print, or otherwise inaccessible to students. This edition provides a reassessment of Cynewulf's "Juliana," in the light of recent knowledge.