Gladstone's ideas are far more accessible for analysis now that, following the publication of his diaries, a record of his reading is available. This book traces the evolution of what the diaries reveal as the statesman's central intellectual preoccupations, theology and classical scholarship, as well as the groundwork of his early Conservatism and his mature Liberalism. In particular it examines the ideological sources of Gladstone's youthful opposition to reform before scrutinizing his convictions in theology. These are shown to have passed through more stages than has previously been supposed: he moved from Evangelicalism to Orthodox High Churchmanship, on to Tractarianism and then further to a broader stance that eventually crystallized as a liberal Catholicism. His classical studies, focused primarily on Homer, also changed over time, from a version that was designed to defend a traditional worldview to an approach that exalted the depiction of human endeavour in the ancient Greek poet. An enduring principle of his thought about religion and antiquity was the importance of community, but a fresh axiom that arose from the modifications of his views was the centrality of all that was human. The twin values of community and humanity are shown to have conditioned Gladstone's rhetoric as Liberal leader, so making him, in terms of recent political thought, a communitarian rather than a liberal, but one with a distinctive humanitarian message. As a result of a thorough scrutiny of Gladstone's private papers, the Victorian statesman is shown to have derived a distinctive standpoint from the Christian and classical sources of his thinking and so to have left an enduring intellectual legacy. It becomes apparent that his religion, Homeric studies and political thought were interwoven in unexpected ways. The evolution of Gladstone's central intellectual preoccupations, with religion and Homer, is the theme of this book. It shows how the statesman developed from Evangelism to Orthodox High Churchmanship, on to Tractarianism and then further to a broader stance that eventually crystallized as a liberal Catholicism. It demonstrates also that his Homeric studies developed over time. Neither aspect of his thinking was kept apart from his politics. Gladstone's early conservatism emerged from a blend of classical and Christian themes focusing on the idea of community. While that motif persisted in his speeches as Liberal leader, the category of the human emerged from his religious and Homeric ideas to condition the presentation of his Liberalism. In Gladstone's mind there was an intertwining of theology, Homeric studies and political thought.

A new kind of songbook emerged in the later fifteenth century: personalized, portable, and lavishly decorated. Five closely related chansonniers, copied in the Loire Valley region of central France c. 1465-c. 1475, are the earliest surviving examples of this new genre.
The Loire Valley Chansonniers preserve the music of such renowned composers as Guillaume Du Fay, Johannes Ockeghem, and Antoine Busnoys. But their importance as musical sources has overshadowed the significance of these manuscripts as artifacts in their own right.
This book places the physical objects at center, investigating the means by which they were produced and the broader culture in which they circulated. Jane Alden performs a codicological autopsy upon the manuscripts and reveals the hitherto unrecognized role of scribes in shaping the transmission and reception of the chanson repertory. Alden also challenges the long-held belief that the Loire Valley Chansonniers were intended for royal or noble patrons. Instead, she argues that a rising class of bureaucrats--notaries, secretaries, and other court officials--commissioned these exquisite objects. Active as writers and participants in poetry competitions, these individuals may even have written some of the chansons' texts.
The unique integration of image, text, and music found in chansonniers extends their appeal to a broad readership. But for the nineteenth-century scholars who rediscovered these manuscripts, the larger literary and visual resonances were not of primary interest. Alden documents the tangle of motivations--national identity, populist politics, and the rise of the musical masterwork--that informed the earliest writings on these books. Only now is their multifaceted structure the inspiration for a new generation of readers.

Among extant Greek comedies, the Frogs is unique for the light it throws on classical Greek attitudes to tragedy and to literature in general. Sir Kenneth Dover's edition, with a full introduction and extensive commentary, has been the most comprehensive edition available, drawing together the relevant scholarship that has accumulated on the subject. The general purpose and character of the abridged version remains the same: to provide a helpful guide on a difficult author for students who wish to translate the play, or need to interpret it for performance. In this edition, nothing relevant to the performance of the play on stage has been sacrificed although information on manuscripts and discussion of the history of the text have been pared to the minimum, and arguments on controversial points have been abbreviated. Where relevant, conclucions reached in the original edition have been changed in the light of work done by others since 1993. The inclusion of a vocabulary should reduce the need for students to have a recourse to a lexicon.

This title offers discussion of themes such as spatiality, temporality and sovereignty in Latin literature, drawing upon key conteporary critical theorists. "Now and Rome" is about the way that sovereign power regulates the movement of information and the movement of bodies through space and time. Through a series of readings of three key Latin literary texts alongside six contemporary cultural theorists, Ika Willis argues for an understanding of sovereignty as a system which enforces certain rules for legibility, transmission and circulation on both information and bodies, redefining the relationship between the 'virtual' and the 'material'. This book is both innovative and important in that it brings together several key strands in recent thinking about sovereignty, history, space, and telecommunications, especially in the way it brings together 'textual' theories (reception, deconstruction) with political and spatial thinking. It also serves as a much-needed crossing-point between Classical Studies and cultural theory. "Continuum Studies in Classical Reception" presents scholarly monographs offering new and innovative research and debate to students and scholars in the reception of Classical Studies. Each volume will explore the appropriation, reconceptualization and recontextualization of various aspects of the Graeco-Roman world and its culture, looking at the impact of the ancient world on modernity. Research will also cover reception within antiquity, the theory and practice of translation, and reception theory.

Self-restraint or self-mastery may appear to be the opposite of erotic desire. But in this nuanced, literary analysis, Diane Lipsett traces the intriguing interplay of desire and self-restraint in three ancient tales of conversion: The Shepherd of Hermas, the Acts of Paul and Thecla, and Joseph and Aseneth. Lipsett treats "conversion"--marked change in a protagonist's piety and identity--as in part an effect of story, a function of narrative textures, coherence, and closure. Her approach is theoretically versatile, drawing on Foucault, psychoanalytic theorists, and the ancient literary critic Longinus. Well grounded in scholarship on Hermas, Thecla, and Aseneth, the closely paced readings sharpen attention to each story, while advancing discussions of ancient views of the self; of desire, masculinity, and virginity; of the cultural codes around marriage and continence; and of the textual energetics of conversion tales.

The purpose of the BIAS is, year by year, to draw attention to all scholarly books and articles directly concerned with the matiere de Bretagne. The bibliography aims to include all books, reviews and articles published in the year preceding its appearance, an exception being made for earlier studies which have been omitted inadvertently. The present volume contains over 700 entries on relevant publications that were published in 2014.

This volume brings together a number of leading scholars working in the field of ancient Greek mathematics to present their latest research. In their respective area of specialization, all contributors offer stimulating approaches to questions of historical and historiographical 'revolutions' and 'continuity'. Taken together, they provide a powerful lens for evaluating the applicability of Thomas Kuhn's ideas on 'scientific revolutions' to the discipline of ancient Greek mathematics. Besides the latest historiographical studies on 'geometrical algebra' and 'premodern algebra', the reader will find here some papers which offer new insights into the controversial relationship between Greek and pre-Hellenic mathematical practices. Some other contributions place emphasis on the other edge of the historical spectrum, by exploring historical lines of 'continuity' between ancient Greek, Byzantine and post-Hellenic mathematics. The terminology employed by Greek mathematicians, along with various non-textual and material elements, is another topic which some of the essays in the volume explore. Finally, the last three articles focus on a traditionally rich source on ancient Greek mathematics; namely the works of Plato and Aristotle.

Aeschylus' Oresteia is a tragedy of inescapable killing within one family, such that each generation must avenge it in kind. This new and close translation tries to preserve its theatrical and poetic qualities: introductory and explanatory matter emphasizes the interconnection of scenes, ideas, and language which distinguishes this unique work, the only trilogy to survive from Greek tragedy.

This book aims to demonstrate that Primary History, the historical work contained in the first nine books of the Hebrew Bible (Genesis-2 Kings), was written as one unitary work, in deliberate emulation of the Greek-language Histories of Herodotus of Halicarnassus (completed c. 440 BCE), so that the diversity of its books and sections is largely a literary device. The work is believed to have been written in the period 440-420 BCE, in the period of reform usually associated with the name of Nehemiah. Though this thesis does not directly affect questions of historicity, understanding the literary nature of Primary History promises to open new vistas for research into the history of Israel, the Hebrew Bible in general and the history of the Hebrew language.

The Language of Atoms argues that ancient Epicurean writing on language offers a theory of performative language. Such a theory describes how languages acts, providing psychic therapy or creating new verbal meanings, rather than passively describing the nature of the universe. This observation allows us new insight into how Lucretius, our primary surviving Epicurean author, uses language in his great poem, De rerum natura (On the Nature of Things). The book begins with a double contention: on the one hand, while scholarship on Lucretius has looked to connect Lucretius' text to its larger cultural and historical context, it has never turned to speech act theory in this quest. This omission is striking at least in so far as speech act theory was developed precisely as a way of locating language (including texts) within a theory of action. The book studies Lucretius' work in the light of performative language, looking at promising, acts of naming, and the larger political implications of these linguistic acts. The Language of Atoms locates itself at the intersection of both older scholarly work on Epicureanism and recent developments on the reception history, and will thus offer scholars across the humanities a challenging new perspective on Lucretius' work.

This work presents a new critical edition of The Spartan Constitution, a treatise in state philosophy attributed to the historian Xenophon (c. 430 - c. 355 B. C.). The Greek text, reconstructed on the basis of extant manuscript sources, is prefaced by an introduction and supplemented by a critical commentary and an English translation. The introduction discusses the problem of the text's authenticity and dating and provides a comprehensive account of its sources, reception, language, style and structure as well as an analysis of the manuscript sources and the textual tradition. The commentary addresses linguistic as well as historical problems.

Shipley presents the first modern commentary on Plutarch's Life of Agesilaos (c.444-360 BC) together with the full Greek text and a bibliography. Plutarch's biographies have long been valued for their literary, philosophic, and historiographic content, and the Life of Agesilaos, king of Sparta for forty years after the Peloponnesian war, has special interest as an introduction to Greek history, society, and culture in the fourth century, a critical period that has received little attention compared with the fifth century in Athens.

Anders Cullhed's study The Shadow of Creusa explores the early Christian confrontation with pagan culture as a remote anticipation of many later clashes between religious orthodoxy and literary fictionality. After a careful survey of Saint Augustine's critical attitudes to ancient myth and poetry, summarized as a long drawn-out farewell, Cullhed examines other Late Antique dismissals as well as appropriations of the classical heritage. Macrobius, Martianus Capella and Boethius figure among the Late Antique intellectuals who attempted to save or even restore the old mythology by means of allegorical representation. On the other hand, pious poets such as Paulinus of Nola and Bible epic writers such as Iuvencus or Avitus of Vienne turned against pagan lies, and the mighty arch-bishop of Milan, Saint Ambrose, played off unconditional Christian truth against the last Roman strongholds of cultural pluralism. Thus, The Shadow of Creusa elucidates a cultural conflict which was to leave traces all through the Middle Ages and reach down to our present day.

Diagoras of Melos (lyric poet, 5th c. B.C.) has received special attention for some time now because he was regarded as a radical atheist and the author of a prose work on atheism in antiquity. He was notorious for revealing and ridiculing the Eleusinian Mysteries and was condemned for impiety at Athens. The present book evaluates Diagoras' biography and shows that he cannot be considered to have been an atheist in the modern sense.

This is the first critical edition of the twelfth-century Latin epic poem, Historia Vie Hierosolimitane, in an authoritative Oxford Medieval Texts edition, with facing-page text and translation and detailed introduction and notes.

The recovery of Dante's metaphysics - which are very different from our own - is essential, argues Christian Moevs, if we are to resolve what has been called "the central problem in the interpretation of the Comedy." That problem is what to make of the Comedy's claim to the status of revelation, vision, or experiential record - as something more than imaginative literature. In this book Moevs offers the first sustained treatment of the metaphysical picture that grounds and motivates the Comedy, and the relation between those metaphysics and Dante's poetics. Moevs arrives at the radical conclusion that Dante believed that all of what we perceive as reality, the spatio-temporal world, is in fact a creation or projection of conscious being. Armed with this new understanding, Moevs is able to shed light on a series of perennial issues in the interpretation of the Comedy.

The play with linguistic styles constitutes an important ingredient of Aristophanic humour. Andreas Willi uses the stylistic diversity as a source to reconstruct the 'real' styles upon which Aristophanes based his text. Most of these 'real' styles would otherwise be lost because they are not represented in serious literature. For instance, it is possible to distinguish between male and female Attic, to ask whether classical Athenian culture knew technical languages in the modern sense, and to look at what ancient people found funny about the broken language of foreigners.

Opera has often used classical literature as a means of expressing the most vital concerns of the period in which the operas were written. "Sing SorroW" explores the classical roots of many noted operas, illustrating the ways in which the operas reflected the political concerns of their time through these ancient narratives. In particular, though female opera characters are often regarded as victims, they are actually quite heroic, frequently shaping their own destinies.

Each chapter provides background and historical context, examines the relationship between the opera and the original work of literature, and suggests what the music contributes to the interpretation. Through the lens of the classics, "Sing SorroW" approaches opera from a unique aesthetic and cultural standpoint, giving a new perspective to both opera and its literary and dramatic ancestors.

This is the first full-scale critical edition of the Epigramma Paulini, with English translation and commentary. The Epigramma Paulini (110 hexameters) is a late-antique poem of unknown date and authorship (arguably written during the first decade of the fifth century AD), preserved by only one (Carolingian) manuscript. While the outside world is torn by outbreaks of war and social unrest, the poem's three characters discuss people's behavior and reaction to the crisis. What should one change to stop social and political decline? What hope does one have to end the crisis and to rebuild a new society? These are some of the questions the three characters of the poem strive to answer. In recent years, scholars have paid some attention to this piece, mainly drawn to it by a singular insertion of satire within the frame of Vergil's pastoral model; however, no close study of the poem had been published. This first critical edition provides an in-depth exploration of the poem's message and its innovative contribution to the reception of classical, pagan literature in a Christian context.

This volume presents nineteen studies by specialists in the field of Greek lexicography. A number of papers deal with historical aspects of Greek lexicography covering all phases of the language, i.e. ancient, medieval and modern, as well as the interrelations of Greek to neighboring languages. In addition, other papers address more formal issues, such as morphological, semantic and syntactic problems that are relevant to the study of Greek lexicography, as well as the study of individual words. Finally, in one study the problem of technical linguistic terminology is addressed along with the methodological, epistemological and other issues relating to the particular problem. The work is of special interest to scholars on the long standing problems of diachronic semantics, historical morphology and word formation, and to all those interested in etymology and the study of words of the Greek language.

This is the first commentary to be written in English on Seneca's "Phoenissae, an intriguing work on account of its unusual structure and state of incompletion.
The substantial introduction deals, "inter alia, with the question of the unity and purpose of the work; the absence of an ending and of choral lyrics; the philosophical, rhetorical, and political content; Seneca's treatment of the Theban legend. The commentary is primarily a literary analysis of the text, but textual, linguistic, metrical, and grammatical difficulties are also elucidated.
With the resurgence of interest in Senecan drama in the last two decadese, this book is a valuable addition to English commentaries that appeared on most of the plays.