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 The Satyrica's unique nature as a historical document from the ancient world has meant that it has been studied vigorously by social historians; it provides rare insights into the lives of ordinary Roman people,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.

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.

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.

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.

This lavishly illustrated book offers the first full, interdisciplinary investigation of the historical evidence for the presence of ancient Greek tragedy in the post-Restoration British theatre, where it reached a much wider audience - including women - than had access to the original texts. Archival research has excavated substantial amounts of new material, both visual and literary, which is presented in chronological order. But the fundamental aim is to explain why Greek tragedy, which played an elite role in the curricula of largely conservative schools and universities, was magnetically attractive to political radicals, progressive theatre professionals, and to the aesthetic avant-garde. All Greek has been translated, and the book will be essential reading for anyone interested in Greek tragedy, the reception of ancient Greece and Rome, theatre history, British social history, English studies, or comparative literature.

This volume investigates the history and nature of pain in Greek culture under the Roman Empire (50-250 CE). Traditional accounts of pain in this society have focused either on philosophical or medical theories of pain or on Christian notions of 'suffering'; fascination with the pained body has often been assumed to be a characteristic of Christian society, rather than Imperial culture in general. This book employs tools from contemporary cultural and literary theory to examine the treatment of pain in a range of central cultural discourses from the first three centuries of the Empire, including medicine, religious writing, novelistic literature, and rhetorical ekphrasis. It argues instead that pain was approached from an holistic perspective: rather than treating pain as a narrowly defined physiological perception, it was conceived as a type of embodied experience in which ideas about the body's physiology, the representation and articulation of its perceptions, as well as the emotional and cognitive impact of pain were all important facets of what it meant to be in pain. By bringing this conception to light, scholars are able to redefine our understanding of the social and emotional fabric of Imperial society and help to reposition its relationship with the emergence of Christian society in late antiquity.

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.

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.

This volume builds upon the new worldwide interest in the global Middle Ages. It investigates the prismatic heritage and eclectic artistic production of Eastern Europe between the fourteenth and seventeenth centuries, while challenging the temporal and geographical parameters of the study of medieval, Byzantine, post-Byzantine, and early-modern art. Contact and interchange between primarily the Latin, Greek, and Slavic cultural spheres resulted in local assimilations of select elements that reshaped the artistic landscapes of regions of the Balkan Peninsula, the Carpathian Mountains, and further north. The specificities of each region, and, in modern times, politics and nationalistic approaches, have reinforced the tendency to treat them separately, preventing scholars from questioning whether the visual output could be considered as an expression of a shared history. The comparative and interdisciplinary framework of this volume provides a holistic view of the visual culture of these regions by addressing issues of transmission and appropriation, as well as notions of cross-cultural contact, while putting on the global map of art history the eclectic artistic production of Eastern Europe.

Physiognomy and ekphrasis are two of the most important modes of description in antiquity and represent the necessary precursors of scientific description. The primary way of divining the characteristics and fate of an individual, whether inborn or acquired, was to observe the patient's external characteristics and behaviour. This volume focuses initially on two types of descriptive literature in Mesopotamia: physiognomic omens and what we might call ekphrastic description. These modalities are traced through ancient India, Ugaritic and the Hebrew Bible, before arriving at the physiognomic features of famous historical figures such as Themistocles, Socrates or Augustus in the Graeco-Roman world, where physiognomic discussions become intertwined with typological analyses of human characters. The Arabic compendial culture absorbed and remade these different physiognomic and ekphrastic traditions, incorporating both Mesopotamian links between physiognomy and medicine and the interest in characterological 'types' that had emerged in the Hellenistic period. This volume offer the first wide-ranging picture of these modalities of description in antiquity.

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.

Andersen-Wyman's book undoes most scholarly uses and understandings of De amore by Andreas Capellanus. By offering a reading promoted by the text itself, Andersen-Wyman shows how Andreas undermines the narrative foundations of sacred and secular institutions and renders their power absurd.

This book argues that Chaucer challenges his culture's mounting obsession with vision through his varied constructions of masculinity. Because medieval theories of vision relied upon distinctions between active and passive seers and viewers, optical discourse had social and moral implications for gender difference in late fourteenth-century England. By exploring ocularity's equal dependence on "invisibility," Chaucer offers men and women access to a vision of "manhed," one that fragments a traditional gender binary by blurring its division between agency and passivity.

Xenophon's Anabasis, or The Expedition of Cyrus, is one of the most exciting historical narratives-as well as the most important autobiographical work-to have survived from ancient Greece. It tells the story of Cyrus, a young and charismatic Persian prince, who in 401 BC enlisted more than ten thousand Greek mercenaries in an attempt to seize the vast Persian empire for himself. Cyrus was killed in a great battle, most of the Greek commanders subsequently fell victim to treachery, and an Athenian aristocrat by the name of Xenophon found himself in the unexpected position of taking charge and leading the Greeks from the vicinity of Babylon in modern Iraq back to the Greek cities in Turkey. This book both places the Anabasis in its historical and literary context and, by employing a variety of critical methods, opens up for the reader different ways of interpreting its major themes. Interrelated chapters investigate Xenophon's self-representation as a model leader, his possible didactic and apologetic purposes for writing, the generic expectations of his contemporary audience, the factual accuracy of the Anabasis, and the ways in which the gods are depicted as intervening in human affairs. This book unveils the literary artistry and narrative strategies that have gone into shaping one of the greatest survival stories of all time.