Despite the large number of early Greek inscribed epigrams and their historical and social importance, modern studies have focused either on the literary epigram or (especially after the publication of Hansen's Carmina Epigraphica Graeca) on the inscribed funerary epigram. The dedicatory inscribed epigram, on the other hand, has received little scholarly attention. As a result, neither a comprehensive commentary nor a study of the different features (archaeological, epigraphical, literary and linguistic) of Archaic and Classical inscribed verse dedications has appeared to date. This book aims to fill such a significant void by offering an interdisciplinary commentary on all the early Attic dedicatory epigrams, i.e. those dating from the 7th through the 5th century BCE. Since the message conveyed by an inscribed epigram can be understood only by taking into account three different semantic systems - that of art and archaeology, epigraphy, and that of language and style - at the same time, this commentary will combine a description of the morphology of the monuments on which the epigrams were engraved with an analysis of the alphabets and dialects used in the poems, while making observations on stylistic and literary data.

Old and Middle English literature can be obscure and challenging. So, too, can the vast body of criticism it has elicited. Yet the masters of medieval literature often drew on similar texts, since imitation was admired. For this reason, recent scholarship has often focused on the importance of genre. The genre in which a work was written can illuminate the author's intentions and the text's meaning. Read in light of a genre's parameters, a given work can be considered in relation to other works within the same category. This reference is a comprehensive overview of Old and Middle English literature.

Chapters focus on particular genres, such as Allegorical Verse, Balladry, Beast Fable, Chronicle, Debate Poetry, Epic and Heroic, Lyric, Middle English Parody/Burlesque, Religious and Allegorical Verse, and Romance. Expert contributors define the primary characteristics of each genre and discuss relevant literary works. Chapters provide extensive reviews of scholarship and close with detailed bibliographies. A more thorough bibliography of major scholarly studies closes the book.

Shortlisted for the 2011 Mythopoeic Scholarship Award for Inklings Studies

Tolkien's unparalleled popularity has been largely attributed to his gifts as a storyteller and his thematic currency. But "The Lord of the Rings" may have become a modern classic for a deeper reason than we've noticed: Tolkien is a first-rate stylist. "The Power of Tolkien's Prose "illuminates the multifaceted appeal of Tolkien's prose style in dimensions ranging from his fantastic realism to his revitalizing imagery to his dynamic narrative to his expansive characterization to his engaging language. Viewed through the lens of Steve Walker's stylistic appreciation, Tolkien's fiction emerges as a new dimension of perception.

A unique variety of approaches to all aspects of urban culture in the ancient world can be found in Urban Dreams and Realities in Antiquity, a collection of 19 essays addressing ancient cities from an interdisciplinary perspective. As the title indicates, the volume considers both how ancient people lived in their cities as physical structures and how they thought with them as ideas and symbols. Essays in this volume deal with texts and sites from Spain to South India, but there is a particular focus on the archaeology and epigraphy of Roman-era Italy, civic identity in the Roman provinces, the Hebrew Bible and Early Christian literature, Vergil and other imperial Latin authors.

Emily Francomano explores how medieval & early modern writers reconstructed, & also how readers read, the contradictory meanings of 'Lady' Wisdom.

Descriptions of imaginary buildings abound in late medieval and early modern texts in France as in other European countries. The vogue for allegorical buildings was, however, more than a literary fashion: by deploying familiar metaphors of the building in new contexts, writers gained a powerful tool of persuasion. This book explores the complex relationship between metaphor and allegory in the largely neglected but extremely rich corpus of writing that spans the late fifteenth and early sixteenth century in France, and concentrates on the output of Jean Lemaire (c.1473-after 1515), whose fascination with architecture played a crucial role in defining his self-image as a writer. By exploiting the semantic richness of the image of the temple, Lemaire was able to combine panegyric of his patrons with advertisement of his own talents and to promote an ideology of the self-conscious and self-confident writer that was to characterize the stance of Ronsard and the Pleiade in the poet-architect debate of the later sixteenth century.

The Sefer Yetsirah (the Book of Creation ) is a core text of the early kabbalah, yet scholars have struggled to establish even the most basic facts about the work. This project attempts to discover the ways in which diagrams accompanying the text and its commentaries show trends in the development of the kabbalistic tradition as a whole.

Tacitus, writing early in the second century AD, is acknowledged to be ancient Rome's greatest historian; his Annals, describing the emperors from Tiberius to Nero (AD 14 - 68), is his greatest work. This book gathers together Professor Woodman's writings on Tacitus over the past twenty-five years, focusing almost exclusively on the AnnalsR. He starts from, and argues for, the basic premiss that, as a historian, Tacitus must be seen in ancient rather than in modern terms. The Annals is a literary text of immense subtlety and acknowledged difficulty and complexity; it is also a very familiar text, read and reread by generations of scholars who want to find out about the Roman empire. One of Professor Woodman's principal contentions is that, through familiarity, these readers have misread significant passages of the text, thereby gaining and perpetuating a distorted view of what Tacitus has to say, especially about Tiberius. This distorted view is revealed, and the true meaning disclosed, by minute and detailed literary analysis. The author offers radically new or different interpretations of some of the most famous passages: the murder of Agrippa Postumus, the notorious accession debate of Tiberius, Tacitus' statement of the so-called `highest function of history', Tiberius' obituary, Nero's debauched water-borne party, and the Pisonian conspiracy against Nero in AD 65. There is also discussion of major narrative sections of Books 1 and 4, concentrating on such matters as structure, vivid representation, imitation and allusion, and dramatic and generic manipulation of the narrative. The new interpretations have profound implications for those who wish to use Tacitus' Annals as a source for what happened in the first century AD.

Plato's view that mathematics paves the way for his philosophy of forms is well known. This book attempts to flesh out the relationship between mathematics and philosophy as Plato conceived them by proposing that in his view, although it is philosophy that came up with the concept of beings, which he calls forms, and highlighted their importance, first to natural philosophy and then to ethics, the things that do qualify as beings are inchoately revealed by mathematics as the raw materials that must be further processed by philosophy (mathematicians, to use Plato's simile in the Euthedemus, do not invent the theorems they prove but discover beings and, like hunters who must hand over what they catch to chefs if it is going to turn into something useful, they must hand over their discoveries to philosophers). Even those forms that do not bear names of mathematical objects, such as the famous forms of beauty and goodness, are in fact forms of mathematical objects. The first chapter is an attempt to defend this thesis. The second argues that for Plato philosophy's crucial task of investigating the exfoliation of the forms into the sensible world, including the sphere of human private and public life, is already foreshadowed in one of its branches, astronomy.

As both a literary genre and a view of life, tragedy has from the very beginning spurred a dialogue between poetry and philosophy. Plato famously banned tragedians from his ideal community because he believed that their representations of vicious behavior could deform minds. Aristotle set out to answer Plato's objections, arguing that fiction offers a faithful image of the truth and that it promotes emotional health through the mechanism of catharsis. Aristotle's definition of tragedy actually had its greatest impact not on Greek tragedy itself but on later Latin literature, beginning with the tragedies of the Roman poet and Stoic philosopher Seneca (4 BC - AD 65). Scholarship over the last fifty years, however, has increasingly sought to identify in Seneca's prose writings a Platonic poetics which is antagonistic toward tragedy and which might therefore explain why Seneca's plays seem so often to present the failure of Stoicism. As Gregory Staley argues in this book, when Senecan tragedy fails to stage virtue we should see in this not the failure of Stoicism but a Stoic conception of tragedy as the right vehicle for imaging Seneca's familiar world of madmen and fools. Senecan tragedy enacts Aristotle's conception of the genre as a vivid image of the truth and treats tragedy as a natural venue in which to explore the human soul. Staley's reading of Seneca's plays draws on current scholarship about Stoicism as well as on the writings of Renaissance authors like Sir Philip Sidney, who borrowed from Seneca the word "idea" to designate what we would now label as a "theory" of tragedy. Seneca and the Idea of Tragedy will appeal broadly to students and scholars of classics, ancient philosophy, and English literature.

Recent years have witnessed a revival of interest in the influence of archaic lyric poetry on Hellenistic poets. However, no study has yet examined the reception of Pindar, the most prominent of the lyric poets, in the poetry of this period. This monograph is the first book to offer a systematic examination of the evidence for the reception of Pindar in the works of Callimachus of Cyrene, Theocritus of Syracuse, Apollonius of Rhodes and Posidippus of Pella. Through a series of case studies, it argues that Pindaric poetry exercised a considerable influence on a variety of Hellenistic genres: epinician elegies and epigrams, hymns, encomia, and epic poetry. For the poets active at the courts of the first three Ptolemies, Pindar's poetry represented praise discourse in its most successful configuration. Imitating aspects of it, they lent their support to the ideological apparatus of Greco-Egyptian kingship, shaped the literary profile of Pindar for future generations of readers, and defined their own role and place in Greek literary history. The discussion offered in this book suggests new insights into aspects of literary tradition, Ptolemaic patronage, and Hellenistic poetics, placing Pindar's work at the very heart of an intricate nexus of political and poetic correspondences.

William W. Kibler is one of the most productive and versatile medievalists of his generation. Some scholars and students think of him primarily as a specialist in the medieval epic, whereas others consider him to be an Arthurian scholar. He is of course both, but he is also much more: a consummate philologist and editor of texts and also a prolific and accomplished translator. Above all, those who know him best know him as an extraordinarily generous and modest man. The present volume represents an effort by thirty medievalists, specialists in fields as diverse as William Kibler's interests, to indicate our respect for him, aptly described in the foreword as "scholar, teacher, friend."

The thirteenth-century Roman de la Rose was a major bestseller - largely due to its robust treatment of 'natural' sexuality. Alastair Minnis's innovative study considers the ways in which Jean de Meun, in imitation of Ovid as understood within medieval scholarship, assumed the mock-mastership of love. The reception of the Rose is placed within the European history of literary criticism.

This book charts the influence of Seneca--both as specific text and inherited tradition--through Shakespeare's tragedies. Discerning patterns in previously attested borrowings and discovering new indebtedness, it presents an integrated and comprehensive assessment. Familiar methods of source study and a sophisticated understanding of intertextuality are employed to re-evaluate the much maligned Seneca in the light of his Greek antecedents, Renaissance translations and commentaries, and contemporary dramatic adaptations, especially those of Chapman, Jonson, Marston, Garnier, and Giraldi Cinthio. Three broad categories organize the discussion--Senecan revenge, tyranny, and furor--and each is illustrated by an earlier and later Shakespearean tragedy. The author keeps in view Shakespeare's eclecticism, his habit of combining disparate sources and conventions, as well as the rich history of literary criticism and theatrical interpretation. The book concludes by discussing Seneca's presence in Renaissance comedy and, more important, in that new and fascinating hybrid genre, tragicomedy. Shakespeare and Classical Tragedy makes an important contribution to our understanding of Shakespeare and of his foremost antecedents, as well as throwing light on the complex interactions of the Classical and Renaissance theatres.

Did medieval women have the power to choose? This is a question at the heart of this book which explores three court cases from Yorkshire in the decades after the Black Death. Alice de Rouclif was a child heiress made to marry the illegitimate son of the local abbot and then abducted by her feudal superior. Agnes Grantham was a successful businesswoman ambushed and assaulted in a forest whilst on her way to dine with the Master of St Leonard's Hospital. Alice Brathwell was a respectable widow who attracted the attentions of a supposedly aristocratic conman. These are their stories.

Roman plays have been well studied individually (even including fragmentary or spurious ones more recently). However, they have not always been placed into their 'context', though plays (just like items in other literary genres) benefit from being seen in context. This edited collection aims to address this issue: it includes 33 contributions by an international team of scholars, discussing single plays or Roman dramatic genres (including comedy, tragedy and praetexta, from both the Republican and imperial periods) in contexts such as the literary tradition, the relationship to works in other literary genres, the historical and social situation, the intellectual background or the later reception. Overall, they offer a rich panorama of the role of Roman drama or individual plays in Roman society and literary history. The insights gained thereby will be of relevance to everyone interested in Roman drama or literature more generally, comparative literature or drama and theatre studies. This contextual approach has the potential of changing the way in which Roman drama is viewed.

Skin is a multifarious image in medieval culture: the material basis for forming a sense of self and relation to the world, as well as a powerful literary and visual image. Treating key medieval English texts and traditions, from romance and exemplum to technical treatises and encyclopedias, the essays in this collection show the subject of skin to be a peculiarly resistant and revealing mode of reading texts, highlighting not the hierarchy, but the interdependency of the senses, and laying bare the intimacy of the human, the animal, the divine and the monstrous in medieval natural philosophy, pastoralia and ethics, and the literary imagination.

The scattered research history of the Old Frisian runic inscriptions dating to the early Medieval period (ca. AD 400-1000) calls for a comprehensive and systematic reprocessing of these objects within their socio-cultural context and against the backdrop of the Old English Runic tradition. This book presents an annotated edition of 24 inscriptions found in the modern-day Netherlands, England and Germany. It provides the reader with an introduction to runological methodology, a linguistic commentary on the features attested in the inscriptions, and a detailed catalogue which outlines the find history of each object and summarizes previous and new interpretations supplemented by pictures and drawings. This book additionally explores the question of Frisian identity and an independent Frisian runic writing tradition and its relation to the contemporary Anglo-Saxon runic culture. In its entirety, this work provides a rich basis for future research in the field of runic writing around the North Sea and may therefore be of interest to scholars of historical linguistics and early Medieval history and archaeology.

If ours is a cultural moment intensely fascinated with enclosed space--the cubicles of our workplaces, the confessionals of our churches, the bedrooms of reality television, and all the various closets we come out of and retreat into--our fascination isn't entirely new. This book argues that the religious literature of the late Middle Ages articulates with great subtlety and vividness the extent to which all being is to some extent enclosed being. In other words, we're all in the closet, and that might be a good thing. Through extended readings of English, French, and Italian writers of the thirteenth and fourteenth centuries, "Claustrophilia" shows that medieval enclosures actually make room for desires and communities that a poetics of pure openness would exclude. When God holds and confines, revelation is "in" the boundaries and not beyond them. Accordingly, this book says, love your closet; it is only through what holds and defines us that we can know and love the world.

George Rudebusch addresses the question of whether Socrates was a hedonist -- that is, if he believed that the good is, at bottom, a matter of pleasure. Rudebusch claims that this issue is so basic that, unless it is resolved, no adequate assessment of the Socratic dialogues' place in the history of philosophy can be made. In attempting to determine Socrates's position, Rudebusch examines the passages in Plato's early dialogues that are most important to this controversy and draws important distinctions between two kinds of pleasure and between hedonism and Protagoreanism. His conclusion, that Socrates was a "modal hedonist," rather than a "sensate pleasure" hedonist, is supported by some very original readings of the early dialogues.

Geffrei Gaimar's Estoire des Engleis is the oldest surviving example of historiography in the French vernacular. It was written in Lincolnshire c.1136-37 and is, in large part, an Anglo-Norman verse adaptation of the Anglo-Saxon Chronicle. Its narrative covers the period from the sixth century until the death of the Conqueror's son William Rufus in 1100.
This is an important text in historiographic terms, less as an historical source than as an early example of informative literature written in a secular perspective for a predominantly baronial audience. It illustrates the multilingualism and multiculturalism of twelfth-century Anglo-Norman Britain, and shows the descendants of the Norman conquerors seeking to integrate themselves culturally into their adoptive homeland during the 1130s. It also ranks among the earliest extant witnesses of the rise of courtly literature in French, and of named female literary patronage.
This edition offers a critical text of one of the chronicle's four extant manuscripts. There is an introduction placing the poem in its social and literary contexts, followed by the medieval text, edited according to critical interventionist principles and comprising 6532 rhyming octosyllables. A facing modern English prose translation, the first concern of which is accuracy, aims also to convey the tone and style of the original rather than provide a strictly literal rendering of it. The extensive explanatory notes to the text are followed by a bibliography and a complete index of place and personal names.

Brill's Companion to the Reception of Sophocles offers a comprehensive account of the influence, reception and appropriation of all extant Sophoclean plays, as well as the fragmentary Satyr play The Trackers, from Antiquity to Modernity, across cultures and civilizations, encompassing multiple perspectives and within a broad range of cultural trends and manifestations: literature, intellectual history, visual arts, music, opera and dance, stage and cinematography. A concerted work by an international team of specialists in the field, the volume is addressed to a wide and multidisciplinary readership of classical reception studies, from experts to non-experts. Contributors engage in a vividly and lively interactive dialogue with the Ancient and the Modern, which, while illuminating aspects of ancient drama and highlighting their ever-lasting relevance, offers a thoughtful and layered guide of the human condition.