Featured here is a modern translation of a medieval herbal, with a study showing how this technical treatise on herbs was turned into a literary curiosity in the nineteenth century. The contours of this second edition replicate the first; however, it has been revised and updated throughout to reflect new scholarship and new findings. New information is presented on Oswald Cockayne, the nineteenth-century philologist who first translated the Old English medical texts for the modern world. Here the medieval text is read as an example of technical writing (i.e., intended to convey instructions/information), not as literature. The audience it was originally aimed at would know how to diagnose and treat medical conditions and knew or was learning how to follow its instructions. For that reason, while working on the translation, specialists in relevant fields were asked to shed light on its terse wording, for example, herbalists and physicians. Unlike many current studies, this work discusses the Herbarium and other medical texts in Old English as part of a tradition developed throughout early-medieval Europe associated with monasteries and their libraries. The book is intended for scholars in cross-cultural fields; that is, with roots in one field and branches in several, such as nineteenth-century or medieval studies, for historians of herbalism, medicine, pharmacy, botany, and of the Western Middle Ages, broadly and inclusively defined, and for readers interested in the history of herbalism and medicine.

The third edition of The Beast Within has been updated throughout to include current scholarship, new discussion of definitions, and fresh perspectives on critical animal theory that places animals, rather than humans, at the center of the discourse. Organized thematically, Salisbury incorporates many new sections and subsections to reveal the multifaceted history of the relationship between humans and animals: domestication, animal diseases and pandemics, dogfights, cockfights, Islamic dietary restrictions, menageries and zoos, and animals as entertainers. To show how modern concerns have been informed by medieval precedents, sections have been expanded to uncover medieval understandings of animal sexuality, animals before the law, and vegetarianism and modern 'fake meat'. The logical narrative concludes with chapters on 'Animals as Humans' and 'Humans as Animals', demonstrating that the lines between humans and animals have become increasingly blurred from the fourth to the twenty-first century. With an interdisciplinary approach that discusses humans and animals in relation to domestication, symbolism, science, law, religion, food and diet, sexuality, and entertainment, The Beast Within is an essential resource for all students of animal history, literature, and art in the Middle Ages.

This book looks specifically at the years leading up to Mussato's public coronation, on 3rd December 1315, as poet laureate for his city / His writings are a key component of his political manoeuvres as he tried to navigate through the troubled waters of northern Italian politics and will therefore appeal to those interested in that topic / The book demonstrates how the sources pertaining to Mussato's life and career are part of an exercise in self-promotion and self-fashioning, intended to secure his position within factional politics, but rooted in a philosophical approach derived from his early classical studies.

The canon of classical Greek and Latin poetry is built around big names, with Homer and Virgil at the centre, but many ancient poems survive without a firm ascription to a known author. This negative category, anonymity, ties together texts as different as, for instance, the orally derived Homeric Hymns and the learned interpolation that is the Helen episode in Aeneid 2, but they all have in common that they have been maltreated in various ways, consciously or through neglect, by generations of readers and scholars, ancient as well as modern. These accumulated layers of obliteration, which can manifest, for instance, in textual distortions or aesthetic condemnation, make it all but impossible to access anonymous poems in their pristine shape and context. The essays collected in this volume attempt, each in its own way, to disentangle the bundles of historically accreted uncertainties and misconceptions that affect individual anonymous texts, including pseudepigrapha ascribed to Homer, Manetho, Virgil and Tibullus, literary and inscribed epigrams, and unattributed fragments. Poems without Poets will be of interest to students and scholars working on any anonymous ancient texts, but also to readers seeking an introduction to classical poetry beyond the limits of the established canon.

This book brings to English readers, in its entirety for the first time, a translation of Jose Watanabe's Antigona, accompanied by the original Spanish text and critical essays. The lack of availability in English has resulted in the absence of Antigona from important Anglophone studies devoted specifically to the reception of ancient Greek tragedy in the Americas. Perez Diaz's translation fills this gap. The introduction provides the performative, political, and historical contexts in which the text was written in collaboration with the actress Teresa Ralli, from the Peruvian theater group Yuyachkani, who also originally performed it. Following the bilingual text, a critical essay provides an analysis of textual aspects of Antigona that have been disregarded, situating it in relation to Sophocles' Antigone and in conversation with relevant moments of the vast traditions of reception of the Greek tragedy. An appendix briefly surveys some notable productions of the play throughout Latin America. This comprehensive volume provides an invaluable resource for readers interested in Jose Watanabe's work, students and scholars working on classical reception and Latin American literature and theatre, as well as theatre practitioners.

The first English translation of Dracontius' Orestes, written in an accessible way to appeal to scholars and non-scholars alike, accompanied by detailed notes and a comprehensive introduction to the work and its many contexts for all readers.

"Outstanding." - The Sunday Times "Beautifully written." The Times "Superbly adroit." The Spectator "Excellent." BBC History Magazine The Battle of Hastings and its aftermath nearly wiped out the leading families of Anglo-Saxon England - so what happened to the children this conflict left behind? Conquered offers a fresh take on the Norman Conquest by exploring the lives of those children, who found themselves uprooted by the dramatic events of 1066. Among them were the children of Harold Godwineson and his brothers, survivors of a family shattered by violence who were led by their courageous grandmother Gytha to start again elsewhere. Then there were the last remaining heirs of the Anglo-Saxon royal line - Edgar AEtheling, Margaret, and Christina - who sought refuge in Scotland, where Margaret became a beloved queen and saint. Other survivors, such as Waltheof of Northumbria and Fenland hero Hereward, became legendary for rebelling against the Norman conquerors. And then there were some, like Eadmer of Canterbury, who chose to influence history by recording their own memories of the pre-conquest world. From sagas and saints' lives to chronicles and romances, Parker draws on a wide range of medieval sources to tell the stories of these young men and women and highlight the role they played in developing a new Anglo-Norman society. These tales - some reinterpreted and retold over the centuries, others carelessly forgotten over time - are ones of endurance, adaptation and vulnerability, and they all reveal a generation of young people who bravely navigated a changing world and shaped the country England was to become.

Exploring the diverse factors that persuaded Christopher Columbus that he could reach the fabled "East" by sailing west, Dante, Columbus and the Prophetic Tradition considers, first, the impact of Dante's Divine Comedy and the apocalyptic prophetic tradition that it reflects, on Columbus's perception both of the cosmos and the eschatological meaning of his journey to what he called an 'other world.' In so doing, the book considers how affinities between himself and the exiled poet might have led Columbus to see himself as a divinely appointed agent of the apocalypse and his enterprise as the realization of the spiritual journey chronicled in the Comedy. As part of this study, the book necessarily examines the cultural space that Dante's poem, its geography, cosmography and eschatology, enjoyed in late fifteenth century Spain as well as Columbus's own exposure to it. As it considers how Italian writers and artists of the late Renaissance and Counter Reformation received the news of Columbus' 'discovery' and appropriated the figure of Dante and the pseudo-prophecy of the Comedy to interpret its significance, the book examines how Tasso, Ariosto, Stradano and Stigliani, in particular, forge a link between Dante and Columbus to present the latter as an inheritor of an apostolic tradition that traces back to the Aeneid. It further highlights the extent to which Italian writers working in the context of the Counter Reformation, use a Dantean filter to propagate the notion of Columbus as a new Paul, that is, a divinely appointed apostle to the New World, and the Roman Church as the rightful emperor of the souls encountered there.

The first cultural history of early modern cryptography, this collection brings together scholars in history, literature, music, the arts, mathematics, and computer science who study ciphering and deciphering from new materialist, media studies, cognitive studies, disability studies, and other theoretical perspectives. Essays analyze the material forms of ciphering as windows into the cultures of orality, manuscript, print, and publishing, revealing that early modern ciphering, and the complex history that preceded it in the medieval period, not only influenced political and military history but also played a central role in the emergence of the capitalist media state in the West, in religious reformation, and in the scientific revolution. Ciphered communication, whether in etched stone and bone, in musical notae, runic symbols, polyalphabetic substitution, algebraic equations, graphic typographies, or literary metaphors, took place in contested social spaces and offered a means of expression during times of political, economic, and personal upheaval. Ciphering shaped the early history of linguistics as a discipline, and it bridged theological and scientific rhetoric before and during the Reformation. Ciphering was an occult art, a mathematic language, and an aesthetic that influenced music, sculpture, painting, drama, poetry, and the early novel. This collection addresses gaps in cryptographic history, but more significantly, through cultural analyses of the rhetorical situations of ciphering and actual solved and unsolved medieval and early modern ciphers, it traces the influences of cryptographic writing and reading on literacy broadly defined as well as the cultures that generate, resist, and require that literacy. This volume offers a significant contribution to the history of the book, highlighting the broader cultural significance of textual materialities.

This first translation of Claudian's works since 1922 offers an accessible, comprehensive overview of his varied works, with full English translations, detailed notes, and glossary.

First published in 1962 and 1963, these two volumes bridge the gap between the study of classics and the study of literature and attempt to reconcile the two disciplines. The collection of essays offers a critical examination of Latin literature and aims to stimulate critical discussion of a selection of Latin poets. This experimental and ground-breaking set will be of particular interest to students of Roman Literature, Classics and Poetry.

In this book, Joseph Dane critiques the use of material evidence in studies of manuscript and printed books by delving into accepted notions about the study of print culture. He questions the institutional and ideological presuppositions that govern medieval studies, descriptive bibliography, and library science. Dane begins by asking what is the relation between material evidence and the abstract statements made about the evidence; ultimately he asks how evidence is to be defined. The goal of this book is to show that evidence from texts and written objects often becomes twisted to support pre-existing arguments; and that generations of bibliographers have created narratives of authorship, printing, reading, and editing that reflect romantic notions of identity, growth, and development. The first part of the book is dedicated to medieval texts and authorship: materials include Everyman, Chaucer's Legend of Good Women, the Anglo-Norman Le Seint Resurrection, and Adam de la Helle's Le Jeu de Robin et Marion. The second half of the book is concerned with abstract notions about books and scholarly definitions about what a book actually is: chapters include studies of basic bibliographical concepts ("Ideal Copy") and the application of such a notion in early editions of Chaucer, the combination of manuscript and printing in the books of Colard Mansion, and finally, examples of the organization of books by an early nineteenth-century book-collector Leander Van Ess. This study is an important contribution to debates about the nature of bibliography and the critical institutions that have shaped its current practice.

The Daughter Zion allegory represents a particular narrative articulation of the paradigm of bridal mysticism deriving from the Song of Songs, the core element of which is the quest of Daughter Zion for a worthy object of love. Examining medieval German religious writing (verse and prose) and Dutch prose works, Annette Volfing shows that this storyline provides an excellent springboard for investigating key aspects of medieval religious and literary culture. In particular, she argues, the allegory lends itself to an exploration of the medieval sense of self; of the scope of human agency within the mystical encounter; of the gendering of the religious subject; of conceptions of space and enclosure; and of fantasies of violence and aggression. Volfing suggests that Daughter Zion adaptations increasingly tended to empower the religious subject to seek a more immediate relationship with the divine and to embrace a wider range of emotions: the mediating personifications are gradually eliminated in favour of a model of religious experience in which the human subject engages directly with Christ. Overall, the development of the allegory from the twelfth to the fifteenth centuries marks the striving towards a greater sense of equality and affective reciprocity with the divine, within the context of an erotic union.

The Greek View of Poetry details critical theories and the appreciation of poetry by the ancient Greeks. Originally published in 1931, this text deals with a whole range of Greek critics from very early criticism to Longinus and his views on Homer in an attempt to provide a historical view of the importance of poetry to Greek society. This title will be of interest to students of Classics.

A practical, accessible textbook for undergraduate students with no background in linguistics. Incorporates a range of pedagogical features such as real texts, end of chapter exercises, web links, annotated bibliography and glossary which makes it the ideal textbook for students coming to this topic for the first time. Now supported by IOS and Android app that features grammar exercises; translations; and readings of texts that will support and engage student in their understanding of this topic. Only textbook available that combines the study of Old, Middle and Early Modern English which sets this book apart from the competition.

This book examines Latin narratives produced in the aftermath of the First Crusade and challenges the narrative of supposed brutality and amorality of warfare in this period--instead focusing on the moral and didactic concerns surrounding warfare and violence with which medieval authors wrestled. The battle oration, a rousing harangue exhorting warriors to deeds of valour, has been regarded as a significant aspect of warfare since the age of Xenophon, and has continued to influence conceptions of campaigning and combat to the present day. While its cultural and chronological pervasiveness attests to the power of this trope, scholarly engagement with the literary phenomenon of the pre-battle speech has been limited. Moreover, previous work on medieval battle rhetoric has only served to reinforce the supposed brutality and amorality of warfare in this period, highlighting appeals to martial prowess, a hatred for 'the enemy' and promises of wealth and glory. This book, through an examination of Latin narratives produced in the aftermath of the First Crusade and the decades that followed, challenges this understanding and illuminates the moral and didactic concerns surrounding warfare and violence with which medieval authors wrestled. Furthermore, while battle orations form a clear mechanism by which the fledgling crusading movement could be explored ideologically, this comparative study reveals how non-crusading warfare in this period was also being reconceptualised in light of changing ideas about just war, authority and righteousness in Christian society. This volume is perfect for researchers, students and scholars alike interested in medieval history and military studies.

Called variously the 'Byzantine epic', the 'epic of Modern Greece', an 'epic-romance' and 'romance', the poem of Digenes Akrites has, since its rediscovery towards the end of the nineteenth century, exerted a tenacious hold on the imagination of scholars from a wide range of disciplines and from many countries of the world, as well as of writers and public figures in Greece. There are many reasons for this, not least among them the prestige accorded to 'national epics' in the nineteenth century and for some time afterwards. Another reason must surely be the work's uniqueness: there is nothing quite like Digenes Akrites in either Byzantine or Modern Greek literature. However, this uniqueness is not confined to its problematic place in the literary 'canon' and literary history. As historical testimony, and in its complex relationship to later oral song and to older myth and story-telling, Digenes Akrites again has no close parallels of comparable length in Byzantine or Modern Greek culture. Whether as a literary text, a historical source, or a manifestation of an oral popular culture, Digenes Akrites remains, more than a century after its rediscovery, persistently enigmatic. This Byzantine 'epic' or 'romance' has now become the focus of new research across a range of disciplines since the publication in 1985 of a radically revised edition based on the Escorial text of the poem, by Stylianos Alexiou. The papers in this volume, derived from a conference held in May 1992 at King's College London, seeks to present and discuss the results of this new research. Digenes Akrites: New Approaches to Byzantine Heroic Poetry is the second in the series published by Variorum for the Centre for Hellenic Studies, King's College London.

A concise guide to Classical Mythology by a well respected expert in the field which allows students to contextualize primary sources with information about the culture and society in which they were conceived. A new chapter focuses on the use of myth in the modern world, allowing student to examine critically the persuasive power of well-known images from antiquity and how these images can be exploited. Provides an authoritative guide to students in a field which has become distorted by pet theories and reinterpretations, allowing students to engage with with key academic theories without losing sight of the myths themselves. Guides students through Classical Mythology from the earliest myths to modern retellings in computer games, films, art and music allowing the students to see a continuum between work and identify key trends in the reception of mythic stories.

English writers have a way of invoking paternal imagery when thinking of Chaucer. "The Medieval word for a Poet, was a Maker," said G.K Chesterton, and "there was never a man who was more of a maker than Chaucer. He made a national language; he came very near to making a nation. At least without him it would probably have been neither so fine a language or so great a nation. Shakespeare and Milton were the greatest sons of their country; but Chaucer was the father of his country, rather in the manner of George Washington." A sweeping claim, maybe, but with a nucleus of truth. Chaucer really was a kind of English founding father. He didn't invent the language for literature but he chose it - and put his energy into exploiting and developing it. And The Canterbury Tales is where it happened. The Canterbury Tales was truly original. Chaucer's narrators, pilgrims on the road to Canterbury, range from a knight to a wealthy landowner, a merchant, a miller and minor church officials. They are brought to life by vivid descriptions of their clothing, bodily appearance and behaviour - and through the wide variety of English vernacular they voice. These are the raw materials out of which Chaucer not only produces comedy but develops themes like the condition of the church, the conflict between fate and free will, and what it is that constitutes authority, whether in the Bible or the conventions of courtly-love romance. In 1478, the printer William Caxton thought it to be such an English monument that he invested a fortune in time and money to publish The Canterbury Tales as the first ever book in English to be printed in England. It has never been out of print since.

Here lies entombed the renowned King Arthur in the island of Avalon. - Inscription found at Glastonbury in the late 12th century King Arthur most probably never existed and - even if he did - we know precious little about him, and yet he is one of the most famous Britons, while Excalibur and Camelot are perhaps the world's best known sword and castle. So, what's the truth behind King Arthur? How did the legends take hold? And why have they endured for so long? Long before the Marvel Universe there was the universe of Arthurian romance, and King Arthur and the Knights of the Round Table examines the fact and the fiction behind Arthur, Lancelot, Merlin, Guinevere, Galahad, among others, as well as the quest for the Holy Grail. Beginning in the 12th century, the book explores what factual basis there is for the tales and how the characters, stories and motifs developed through histories, epic poems and prose tellings. The book also charts the revived interest in Arthurian romance in the 19th century and considers how the tales still hold the popular imagination today. Illustrated with more than 180 colour and black-and-white artworks and photographs and maps, King Arthur and the Knights of the Round Table is an expertly written account of where literature, mythology and history meet.

This volume, offering an insight into the literary world of Rome in the fourth century AD, reflects an increased interest in the writers of the 150 years before the collapse of the Western Empire, who have long been over-shadowed by the pre-eminence accorded since the eighteenth century to the Golden and Silver ages. Among the writers examined are Ausonius, the poet, Imperial official and tutor to Gratian; Claudian, the last major 'classical' poet; Prudentius, and Paulinus of Nola, two of the founders of Christian Latin poetry; Symmachus, the letter writer and supporter of die-hard paganism; and St. Augustine, whose influence on Christian thought and the Middle Ages is incalculable. These essays consider how such writers responded to a world where vitality was ebbing from the old forms of political life, religion and literature, giving way to new institutions, modes of life and horizons of reflection.

A number of ancient novelists were skilful storytellers and resourceful literary artists, and their works are often carefully individualised presentations of an ancient and distinguished heritage. Ancient Fiction, first published in 1984, examines the tales retold by these novelists in light of more recently discovered Near Eastern texts, and in this way offers a tentative solution to Rohde's celebrated problem about the origins of the Greek novel. Among the surprises that emerge are an ancient stratum of the Arabian Nights and a possible Tristan-Romance, as well as an animal Satyricon and a human Golden Ass. This new framework is, however, incidental to an examination of the achievements of ancient novelists in their own right. In presenting character, structuring narrative, imposing a veneer of sophistication or contriving a religious ethos, these writers demonstrate that their work is worthy of sympathetic study, rather dismissal as the pulp fiction of the ancient world.

Two thousand years after his death Horace is still recognised as a unique poet, having exerted marked influence on later European literature. This collection, first published in 1973, explores the different aspects of Horace's poetic achievement in his main works: the Odes, Epistles Satires and Ars Poetica. The essays, written by internationally-known scholars, include a discussion of the three worlds of the Satires, and a study of Horace's poetic craft in the Odes - his greatest technical accomplishment. The final chapter is devoted entirely to Horace's reputation in England up to the seventeenth century as 'The Best of Lyrick Poets', and concentrates on the many English translations which he inspired. The expert criticism is illustrated throughout by English translations from the original Latin texts. Horace will appeal to students and scholars of Latin poetry alike, as well as to those interested in the reception of classical literature throughout European history.

Aristotle's Poetics is the first philosophical account of an art form and the foundational text in aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle's life and the background to the Poetics the ideas and text of the Poetics the continuing importance of Aristotle's work to philosophy today.

This translation, first published in 1992, presents one of the most memorable poems of the 'romance' genre of medieval literature, largely because it contains a number of surprises and falsified expectations. Jaufre, the hero, arrives at the court of King Arthur with a total and naive faith in the King and his ability to effect a total transformation in his followers by inducting them into the order of knighthood. As his quest proceeds, he learns the mistake in his over-idealised view of chivalry and his uncompromising view of pure justice, untempered by mercy. By charting the choices Jaufre makes in military and amorous encounters and the effectiveness of his responses to social trials and temptations, the audience discerns the route to independent adulthood, prestige and virtue, as the poet conceives of them. This fascinating reissue will be of particular value to students and academics researching the concepts typically explored within medieval ballads and romances.