Literature and Complaint in England 1272-1553 gives an entirely new and original perspective on the relations between early judicial process and the development of literature in England. Wendy Scase argues that texts ranging from political libels and pamphlets to laments of the unrequited lover constitute a literature shaped by the new and crucial role of complaint in the law courts. She describes how complaint took on central importance in the development of institutions such as Parliament and the common law in later medieval England, and argues that these developments shaped a literature of complaint within and beyond the judicial process. She traces the story of the literature of complaint from the earliest written bills and their links with early complaint poems in English, French, and Latin, through writings associated with political crises of the fourteenth and fifteenth centuries, to the libels and petitionary pamphlets of Reformation England. A final chapter, which includes analyses of works by Chaucer, Hoccleve, and related writers, proposes far-reaching revisions to current histories of the arts of composition in medieval England. Throughout, close attention is paid to the forms and language of complaint writing and to the emergence of an infrastructure for the production of plaint texts, and many images of plaints and petitions are included. The texts discussed include works by well-known authors as well as little-known libels and pamphlets from across the period.

Is it possible to be a citizen of the world? Cosmopolitan thought has been at the center of recent debates surrounding human rights, legal obligations, international relations and political responsibility. Most of these debates trace their origins to the Enlightenment of the eighteenth Century or to the teaching of Greek and Roman philosophers. Medieval literary fictions and travel accounts provide us with rich contextualizations of the complexities and contradictions of cosmopolitan thought. This collection of essays uncovers a wide array of medieval writings on cosmopolitan ethics and politics, writings generally ignored or glossed over in contemporary discourse.

Building on recent work in critical animal studies and posthumanism, this book challenges past assumptions that animals were only explored as illustrative of humanity, not as interesting in their own right. The contributors combine close reading of Chaucer's texts with insights drawn from cultural or critical animal studies.

This collection re-evaluates the work of fifteenth-century poet John Lydgate in light of medieval material culture. Top scholars in the field unite here with critical newcomers to offer fresh perspectives on the function of poetry on the cusp of the modern age, and in particular on the way that poetry speaks to the heightened relevance of material goods and possessions to the formation of late medieval identity and literary taste. Advancing in provocative ways the emerging fields of fifteenth-century literary and cultural study, the volume as a whole explores the role of the aesthetic not only in late medieval society but also in our own.

The book is the third and concluding part of the investigation on Submerged literature in ancient Greece and beyond. The book expands the inquiry to a comparative perspective, in order to test the validity and usefulness of the hermeneutical approach in other fields and cultures. The comparative case studies deal with gnostic text, Qumran texts, the Hebrew Bible, Early Christianity, Cuneiform Texts, Arabic-Islamic literature, ancient Rome, Medieval China, and contemporary southern Italy. The volume tackles themes and questions relating to author and authorship, cultural translation and transmission, the interaction between orality and literacy, myth and folktale. A particular emphasis is given to anthropological themes and methods. In this vein, the book further explores dynamics of emergence and submersion in ancient Greece, including cultural trends promoted respectively by Sparta and Athens. The volume provides the reader with a wide range of tools and methodological suggestions to reconstruct literary phenomena and cultural processes in a given historical epoch and context, as well as offering new insights for both classical and comparative studies.

This book develops an authentic and at the same time revolutionary musical analysis of ancient Greek poetry. It departs from the abstract metrical analyses of the past in that it conceives the rhythmic and harmonic elements of poetry as integral to the whole expression, and decisive in the interpretation of its meaning. David offers a thoroughgoing treatment of Homeric poetics: here some remarkable discoveries in the harmonic movement of epic verse, when combined with some neglected facts about the origin of the hexameter in a "dance of the Muses," lead to essential new thinking about the genesis and the form of Homeric poetry. He also gives a foretaste of the fruits to be harvested in lyric by a musical analysis, which applies a new theory of the Greek tonic accent and considers concretely the role of dance in performance.

It is perhaps a truism to note that ancient religion and rhetoric were closely intertwined in Greek and Roman antiquity. Religion is embedded in socio-political, legal and cultural institutions and structures, while also being influenced, or even determined, by them. Rhetoric is used to address the divine, to invoke the gods, to talk about the sacred, to express piety and to articulate, refer to, recite or explain the meaning of hymns, oaths, prayers, oracles and other religious matters and processes. The 13 contributions to this volume explore themes and topics that most succinctly describe the firm interrelation between religion and rhetoric mostly in, but not exclusively focused on, Greek and Roman antiquity, offering new, interdisciplinary insights into a great variety of aspects, from identity construction and performance to legal/political practices and a broad analytical approach to transcultural ritualistic customs. The volume also offers perceptive insights into oriental (i.e. Egyptian magic) texts and Christian literature.

The Cultural Patronage of Medieval Women is the first volume exclusively devoted to an examination of the significant role played by women as patrons in the evolution of medieval culture. The twelve essays in this volume look at women not simply as patrons of letters but also as patrons of the visual and decorative arts, of architecture, and of religious and educational foundations. Patronage as a means of empowerment for women is an issue that underlies many of the essays. Among the other topics discussed are the various forms patronage took, the obstacles to women's patronage, and the purposes behind patronage. Some women sought to further political and dynastic agendas; others were more concerned with religion and education; still others sought to provide positive role models for women. The amusement of their courts was also a consideration for female patrons. These essays also demonstrate that as patrons women were often innovators. They encouraged vernacular literature as well as the translation of historical works and of the Bible, frequently with commentary, into the vernacular. They led the way in sponsoring a variety of genres and encouraged some of the best-known and most influential writers of the Middle Ages. Moreover, they were at the forefront in fostering the new art of printing, which made books accessible to a larger number of people. Finally, the essays make clear that behind much patronage lay a concern for the betterment of women.

The Satyrica is a thrilling piece of literature and rare example of the Roman novel, credited to Titus Petronius. It is as modern today as in the time when it was written under the Roman emperor Nero. This is the first comprehensive commentary on the whole of Petronius' Satyrica, and an attempt to unify and comprehend, as much as possible, the fragmentary text by looking carefully at the bits and pieces which have survived. The Satyrica's unique nature as a historical document from the ancient world has meant that it has been studied vigorously by social historians; it provides rare insights into the lives of ordinary Roman people, such as the narrative about Trimalchio the Roman businessman, as well as documenting the evolution of Latin into the various Romance languages as we know them today. Petronius puts into the mouth of each of his characters a distinctive and socially defining level of Latin, so that the world of the Satyrica is populated not by characters who speak a kind of Latin which made Latin a dead language, but by flesh and blood people who have made Latin live until today. Schmeling's commentary offers readers a comprehensive analysis of this historically important text through philological, linguistic, historical, and narratological discussions, while highlighting past doubts on Petronius' authorship of the Satyrica.

This book provides a needed new interpretation of the complex cultural meanings of the late medieval, guild-produced, biblical plays of York and Chester, England, commonly known as mystery plays. It argues that the plays are themselves a "drama of masculinity," that is, dramatic activity specifically and self-consciously concerned with the fantasies and anxieties of being male in the urban, mercantile worlds of their performance. It further contends that the plays in their historical performance contexts produced and reinforced masculine communities defined by occupation, thus visibly naturalizing the world of work as masculine. The book offers welcome insight into a significant, canonical genre of dramatic literature that has been studied previously in devotional and civic contexts, but not yet in its role in the cultural history of masculinity.

Guittone d'Arezzo (ca. 1230-1294) was the most important, prolific, and influential poet and prose writer of the thirteenth century. Unfortunately, his work has been overshadowed by his successor; the more learned and gifted Dante Alighieri. The poems and prose included in this volume are emblematic of the two phases of Guittone's career: he first achieved fame as a secular love poet but following his conversion in the 1260s he became a renowned religious poet. Guittone's artistic reputation commanded the highest respect. Even Dante's beloved Guinizzelli and Cavalcanti never enjoyed any such fame in their lifetime. Antonello Borra presents a critical introduction to Guittone's works with a selection of his poems and letters in facing-page Italian and English translation. While Dante repeatedly condemned Guittone, recent scholarship has re-evaluated his importance and placed his work in the context of his predecessors, the Proven al troubadours and the poets of the Sicilian school. This latest volume in the Lorenzo Da Ponte Italian Library contains the first significant edition of Guittone's works available in English translation.

This volume explores the relationships between masterworks of Sophocles, Euripides and Aristophanes and critical events of Athenian history, by bringing together internationally distinguished scholars with expertise on different aspects of ancient theatre. These specialists study how tragic and comic plays composed in late fifth century BCE mirror the acute political and social crisis unfolding in Athens in the wake of the military catastrophe in 413 BCE and the oligarchic revolution in 411 BCE. With events of such magnitude the late fifth century held the potential for vast and fast cultural and intellectual change. In times of severe emergency humans gain a more conscious understanding of their historically shaped presence; this realization often has a welcome effect of offering new perspectives to tackle future challenges. Over twenty academic experts believe that the Attic theatre showed increased responsiveness to the pressing social and political issues of the day to the benefit of the polis. By regularly promoting examples of public-spirited and capable figures of authority, Greek drama provided the people of Athens with a civic understanding of their own good.

The earlier part of the commentary by 'Philoponus' on Aristotle's On the Soul is translated by William Charlton in another volume in the series. This volume includes the latter part of the commentary along with a translation of Stephanus' commentary on Aristotle 's On Interpretation. It thus enables readers to assess for themselves Charlton's view that the commentary once ascribed to Philoponus should in fact be ascribed to Stephanus. The two treatises of Aristotle here commented on are very different from each other. In On Interpretation Aristotle studies the logic of opposed pairs of statements. It is in this context that Aristotle discusses the nature of language and the implications for determinism of opposed predictions about a future occurrence, such as a sea-battle. And Stephanus, like his predecessor Ammonius, brings in other deterministic arguments not considered by Aristotle ('The Reaper' and the argument from God's foreknowledge). In On the Soul 3.9-13, Aristotle introduces a theory of action and motivation and sums up the role of perception in animal life. Despite the differences in subject matter between the two texts, Charlton is able to make a good case for Stephanus' authorship of both commentaries. He also sees Stephanus as preserving what was valuable from Ammonius' earlier commentary On Interpretation, while bringing to bear the virtue of greater concision. At the same time, Stephanus reveals his Christian affiliations, in contrast to Ammonius, his pagan predecessor.

peter of Auvergne (+1304) is one of the most productive and most influential commentators of the Faculty of Arts at the University of Paris, At the end of the 13th century Peter actually moved to the upper theological faculty, where he argued a number of quodlibeta. This volume of conference proceedings represents the first examination of the work of Peter of Auvergne as a whole. In addition, biographical information has been interpreted in new ways. Many of the contributions present research on aspects of his commentaries on the logical, natural philosophical, metaphysical, ethical, and political works of Aristotle, as well as aspects of his theological works. A comparison with contemporaneous authors demonstrates that Peter presents a thoroughly distinctive line of thought and that previous classifications must be differentiated or even discarded. In addition, Peter develops an astounding history of reception with some of his works that continued into early modernity.

This book offers the first attempt at understanding interpersonal violence in ancient Athens. While the archaic desire for revenge persisted into the classical period, it was channeled by the civil discourse of the democracy. Forensic speeches, curse tablets, and comedy display a remarkable openness regarding the definition of violence. But in daily life, Athenians had to draw the line between acceptable and unacceptable behavior. They did so by enacting a discourse on violence in the performance of these genres, during which complex negotiations about the legitimacy of violence took place. Performances such as the staging of trials and comedies ritually defined the meaning of violence and its appropriate application. Speeches and curse tablets not only spoke about violence, but also exacted it in a mediated form, deriving its legitimate use from a democratic principle, the communal decision of the human jurors in the first case and the underworld gods in the second. Since discourse and reality were intertwined and the discourse was ritualized, actual violence might also have been partly ritualized. By still respecting the on-going desire to harm one's enemy, this partial ritualization of violence helped restrain violence and thus contributed to Athens' relative stability.

"High and Mighty Queens" of Early Modern England is a truly interdisciplinary anthology of essays including articles on such actual queen regnants as Mary I and Elizabeth I, and queen consorts such as Anne Boleyn, Anna of Denmark, and Henrietta Maria. The collection also deals with a number of literary representations of earlier historical queens such as Cleopatra, and semi-historical ones such as Gertrude, Tamora, and Lady Macbeth, and such fictional ones as Hermione and the queen of Cymbeline, all of them Shakespeare characters. This fascinating look at Renaissance queens also examines myth and folklore, Romantic or Victorian representations, and the depictions of queens like Catherine de Medici of France in twentieth century film.

A consideration of the theme of demons as teachers in early English literature. In early English literature ca 700-1000 C.E., demons are represented as teachers who use methods of persuasion and argumentation to influence their "pupils". By deploying these methods, related to the liberal arts of rhetoric anddialectic, demons become masters of verbal manipulation. Their pupils are frequently women or Jews, seemingly marginal figures but who often oppose the authority of demonic pedagogues and challenge their deceptive lessons. In poetic accounts of the Fall of the Angels, the Fall of Adam and Eve, and the lives of the saints, those who debate with demons redefine the significance of narrative, authority, and resistance in early medieval pedagogy. This book argues that these encounters between demonic teachers and their pupils are both epistemological, altering the pupils' knowledge, and ontological, affecting their state of being. As the pupils "learn", the physical locations theyoccupy align with rhetorical and dialectical topoi, or conceptual spaces in the mind, as minds, souls, bodies, and places are integrated into cohesive lived experience. The volume thus explores early medieval pedagogy as a spirituo-material practice, both embodied and emplaced, with the potential to alter the onto-epistemological dynamics of the world.

The Lingua Ignota, "brought forth" by the twelfth-century German nun Hildegard of Bingen, provides 1012 neologisms for praise of Church and new expression of the things of her world. Noting her visionary metaphors, her music, and various medieval linguistic philosophies, Higley examines how the "Unknown Language" makes arid signifiers green again. This text, however, is too often seen in too narrow a context: glossolalia, angelic language, secret code. Higley provides an edition and English translation of its glosses in the Riesencodex (with assistance from the Berlin MS) , but also places it within a history of imaginary language making from medieval times to the most contemporary projects in efforts to uncover this woman s bold involvement in an intellectual and creative endeavor that spans centuries.

The discovery on papyrus of plays by Menander, the greatest writer of Greek New Comedy, at last makes possible an evaluation on his own terms of an ancient author who, through the adaptations of Plautus and Terence, profoundly influenced the course of western drama. The present study establishes a critical perspective for understanding the kind of comedy Menander wrote, his roots, the theatrical effects he sought, and the extent of his achievement. Chapters on the major plays analyse their techniques of construction and characterisation, suggesting both the strengths and the limitations of Menander's comic tradition. This study is based on the Oxford Greek text but cites all ancient authors in translation to open the discussion to a wider audience. An introductory chapter places the tradition of New Comedy in the history of drama, and modern parallels are drawn wherever helpful. It will therefore be of value to students of drama as well as to classicists.

In On the Soul 3.1-8, Aristotle first discusses the functions common to all five senses, such as self-awareness, and then moves on to Imagination and Intellect. This commentary on Aristotle's text has traditionally been ascribed to Philoponus, but William Charlton argues here that it should be ascribed to a later commentator, Stephanus. (The quotation marks used around his name indicate this disputed authorship.) 'Philoponus' reports the postulation of a special faculty for self-awareness, intended to preserve the unity of the person. He disagrees with 'Simplicius', the author of another commentary on On the Soul (also available in this series), by insisting that Imagination can apprehend things as true or false, and he disagrees with Aristotle by saying that we are not always free to imagine them otherwise than as they are. On Aristotle's Active Intellect. 'Philoponus' surveys different interpretations, but ascribes to Plutarch of Athens, and rejects, the view adopted by the real Philoponus in his commentary on Aristotle's On Intellect that we have innate intellectual knowledge from a previous existence. Instead he takes the view that the Active Intellect enables us to form concepts by abstraction through serving as a model of something already separate from matter. Our commentator further disagrees with the real Philoponus by denying the Idealistic view that Platonic forms are intellects. Charlton sees 'Philoponus' as the excellent teacher and expositor that Stephanus was said to be.

In "On the Soul" 3.1-5, Aristotle goes beyond the five senses to the general functions of sense perception, the imagination and the so-called active intellect, whose identity was still a matter of controversy in the time of Thomas Aquinas. In his commentary on Aristotle's text, Simplicius insists that the intellect in question is not something transcendental, but the human rational soul. He denies both Plotinus' view that a part of our soul has never descended from uninterrupted contemplation of the Platonic forms, and Proclus' view that our soul cannot be changed in its substance through embodiment. Continuing the debate in Carlos Steel's earlier volume in this series, Henry Blumenthal assesses the authorship of the commentary. He concludes against it being by Simplicius, but not for its being by Priscian. In a novel interpretation, he suggests that if Priscian had any hand in it at all, it might have been as editor of notes from Simplicius' lectures.

In the wake of recent advances in the treatment of longstanding problems pertaining to the interpretation of Homeric poetry, this volume brings together cutting-edge research from a cohort of acclaimed scholars on Homer and the Homeric Hymns. The variety of topics covered spans the entire field of Homeric philology: the methods and solutions provided for a new edition of the Odyssey, the puzzle of the relation between the festival of the Panathenaea and the Homeric text, the disclosure of the meaning of notorious cruces pertaining to arcane formulas, the two emblematic heroes of the Iliad and the Odyssey, Achilles and Odysseus, Homeric poetics, the range and use of repetition in a traditional medium, the composition of the Homeric epics, the Apologoi and 'Cyclic' Narrative, as well as the Homeric Hymns to Hermes and Aphrodite.

This study proposes a new view of glossing as a universal phenomenon. Starting from the Psalter, a centrepiece of devotion and education in early medieval Europe, it combines historical sociolinguistics, comparative philology, manuscript studies and cultural history in order to assess and compare the interface of Latin with Old Irish, Old English, Old Frisian, Old Saxon and Old High German within the context of its multilingual and textual culture. The close study of thirteen glossed manuscripts, such as the Anglo-Saxon Vespasian Psalter and the Old Irish Milan Glosses, reveals when and why scribes switched from Latin into the vernacular, how the vernacular was used in studying Latin, how glosses interact with construe marks and punctuation, and how such manuscripts were intended to be read in a period covering the seventh to the twelfth centuries and in an area stretching from Ireland to Central Europe. The book is an essential textbook for specialists in the growing field of glossing, and also reaches out to scholars of early medieval liturgy, education, palaeography and Christian literature.

Absent Narratives, Manuscript Textuality, and Literary Structure in Late Medieval England is a book about the defining difference between medieval and modern stories. In chapters devoted to the major writers of the late medieval period--Chaucer, Gower, the Gawain-poet and Malory--it presents and then analyzes a set of unique and unnoticed phenomena in medieval narrative, namely the persistent appearance of missing stories: stories implied, alluded to, or fragmented by a larger narrative. Far from being trivial digressions or passing curiosities, these "absent narratives" prove central to the way these medieval works function and to why they have affected readers in particular ways. Traditionally unseen, ignored, or explained away by critics, absent narratives offer a valuable new strategy for reading medieval texts and the historically specific textual culture in which they were written.

This volume addresses the widespread medieval phenomenon of transgression as both a result of and the cause for the exclusion and persecution of those who were considered different. It is widely accepted that the essence of a manuscript cannot be fully grasped without studying its marginalia. Glosses sit on the margins of the text and clarify it, adding a whole new dimension to it and becoming an inextricable part of its content. Similarly, no society can be fully understood without knowledge of what lies on its margins, for the outliers of any given culture provide us with just as much information as its alleged foundational principles. In a time when the Western world ponders building walls up against perceived threats and frightening differences, this multidisciplinary collection of essays based on original and innovative pieces of research shows that it was mostly through tearing down walls that we learned our way forward.