Wisdom in Classical and Biblical Tradition begins with the recognition that modern culture emerged from a synthesis of the legacies of ancient Greek civilization and the theological perspectives of Jewish and Christian scriptures. Part of what made this synthesis possible was a shared outlook: a common aspiration toward wholeness of understanding that refused to separate knowledge from goodness, virtue from happiness, cosmos from polis, and divine authority from human responsibility. This wholeness of understanding, or wisdom, features prominently in both classical and biblical literatures as an ultimate good. Wisdom in Classical and Biblical Tradition has two central aims. The first is to explain in formal terms what wisdom is. Though wisdom involves matters of practical judgment affecting the life of the individual and the social sphere, it has also been identified with an understanding of the world and of the ultimate realities that give meaning to human thought and action. Michael Legaspi explains how, in its traditional form, wisdom was understood to govern intellectual, social, and ethical endeavors. Legaspi's second aim is to analyze figures and texts that have yielded and shaped the traditional understanding of wisdom. This book examines accounts of wisdom from foundational texts that range from the period of Homer to the destruction of the Second Temple, and explains why the search for wisdom remains an important but problematic endeavor today.

Oxford Classical Texts, also known as Scriptorum Classicorum Bibliotheca Oxoniensis, provide authoritative, clear, and reliable editions of ancient texts, with apparatus criticus on each page. This five volume work is a new critical text edition of the only surviving ancient commentary on Plato's Timaeus, in which Proclus encompasses seven centuries of philosophical reflection on Plato's cosmology. For many authors belonging to the Platonic tradition, Proclus' commentary is the only extant source. For late Neoplatonic authors such as Proclus, writing commentaries on works by Plato and others was in fact a way to present their own highly original philosophical doctrines. Apart from being an important source text for the historiography of philosophy, this commentary on the Timaeus thus also provides a unique access way to Proclus' own Neoplatonic views on cosmology, theology, physics, and metaphysics. This new edition is based on a thorough re-examination of the entire manuscript tradition, which has led to a complete understanding of the relation between all extant manuscripts, including the Paris palimpsest BNF Supplement grec 921, belonging to the so-called 'collection philosophique' (9th century). On the basis of digitally enhanced UV photos, the scriptio inferior of this palimpsest (containing parts of books IV and V) was made nearly fully accessible. The study of the manuscript tradition and the apparatus fontium take stock of more than 100 years of study of this circumstantial text. The edition of the text is preceded by a substantial introduction, and followed, for each book, by the edition of the scholia to the text. The final volume also comprises an edition of the remaining fragments of the lost part of the text, including an Arabic fragment, edited by Rudiger Arnzen.

Textile imagery is pervasive in classical literature. An awareness of the craft and technology of weaving and spinning, of the production and consumption of clothing items, and of the social and religious significance of garments is key to the appreciation of how textile and cloth metaphors work as literary devices, their suitability to conceptualize human activities and represent cosmic realities, and their potential to evoke symbolic associations and generic expectations. Spanning mainly Greek and Latin poetic genres, yet encompassing comparative evidence from other Indo-European languages and literature, these 18 chapters draw a various yet consistent picture of the literary exploitation of the imagery, concepts and symbolism of ancient textiles and clothing. Topics include refreshing readings of tragic instances of deadly peploi and fatal fabrics situate them within a Near Eastern tradition of curse as garment, explore female agency in the narrative of their production, and argue for broader symbolic implications of textile-making within the sphere of natural wealth The concepts and technological principles of ancient weaving emerge as cognitive patterns that, by means of analogy rather than metaphor, are reflected in early Greek mathematic and logical thinking, and in archaic poetics. The significance of weaving technology in early philosophical conceptions of cosmic order is revived by Lucretius' account of atomic compound structure, where he makes extensive use of textile imagery, whilst clothing imagery is at the center of the sustained intertextual strategy built by Statius in his epic poem, where recurrent cloaks activate a multilayered poetic memory.

This book examines the textual representations of emotions, fear in particular, through the lens of Stoic thought and their impact on depictions of power, gender, and agency. It first draws attention to the role and significance of fear, and cognate emotions, in the tyrant's psyche, and then goes on to explore how these emotions, in turn, shape the wider narratives. The focus is on the lengthy epics of Valerius Flaccus' Argonautica, Statius' Thebaid, and Silius Italicus' Punica. All three poems are obsessed with men in power with no power over themselves, a marked concern that carries a strong Senecan fingerprint. Seneca's influence on post-Neronian epic can be felt beyond his plays. His Epistles and other prose works prove particularly illuminating for each of the poet's gendered treatment of the relationship between power and emotion. By adopting a Roman Stoic perspective, both philosophical and cultural, this study brings together a cluster of major ideas to draw meaningful connections and unlock new readings.

This collection offers a new collaborative reading of Quintus Smyrnaeus' Posthomerica: a major, fascinating Greek epic written at the height of the Roman Empire. Building on the surge of interest in imperial Greek poetry seen in the past decades, this volume applies multiple approaches literary, theoretical and historical to ask new questions about this mysterious, challenging poet and to re-evaluate his role in the cultural history of his time. Bringing together experienced imperial epic scholars and new voices in this growing field, the chapters reveal Quintus' crucial place within the inherited epic tradition and his role in shaping the literary politics of Late Antique society.

Trapp offers a new annotated translation of the philosophical orations of Maximus of Tyre. These orations cover a range of topics from Platonic theology to the proper attitude to pleasure. They open a window onto the second century's world of the Second Sophistic and Christian apologists, as well as on to that of the Florentine Platonists of the later fifteenth century who read, studied, and imitated the orations.

Homer and the Poetics of Gesture is the first book of its kind to consider the epic formula in terms that are gestural as well as verbal. Drawing on studies from multiple disciplines, including movement theory, dance studies, phenomenology, and early film, it suggests new approaches for interpreting the relationship between repetition and embodiment in Homer. Through a series of dynamic close readings, Purves argues that the deep-seated habits and gestures of epic bodies are instrumental to our understanding of the Iliad and Odyssey, especially insofar as they attune us to the kinetic structures and sensibilities that shape the meaning of the poems. Each of the chapters isolates a scene in which a specific action, posture, or gesture (falling, running, leaping, standing, and reaching) emerges from the background of its other iterations in order to make larger claims about its poetic significance within the epics as a whole. Beginning from the premise that gestures are shared between characters and often identically repeated within the poems' formulaic system, the book reconsiders long-standing arguments about Homeric agency and character by focusing on those moments when a gesture diverges from its expected course, redirecting the plot or drawing the poem in new and surprising directions. Homer and the Poetics of Gesture not only affords new insights into the nature of epic repetition and poetic originality but also reveals unnoticed connections between Homeric structure and technique and the embodied habits and movements of the characters within the poems.

Ovid's Metamorphoses gains its ideal twenty-first-century herald in Stanley Lombardo's bracing translation of a wellspring of Western art and literature that is too often treated, even by poets, as a mere vehicle for the scores of myths it recasts and transmits rather than as a unified work of art with epic-scale ambitions of its own. Such misconceptions are unlikely to survive a reading of Lombardo's rendering, which vividly mirrors the brutality, sadness, comedy, irony, tenderness, and eeriness of Ovid's vast world as well as the poem's effortless pacing. Under Lombardo's spell, neither Argus nor anyone else need fear nodding off. The translation is accompanied by an exhilarating Introduction by W. R. Johnson that unweaves and reweaves many of the poem's most important themes while showing how the poet achieves some of his most brilliant effects. An analytical table of contents, a catalog of transformations, and a glossary are also included.

"The Nicomachean Ethics", along with its sequel, "the Politics", is Aristotle's most widely read and influential work. Ideas central to ethics - that happiness is the end of human endeavor, that moral virtue is formed through action and habituation, and that good action requires prudence - found their most powerful proponent in the person medieval scholars simply called 'the Philosopher'. Drawing on their intimate knowledge of Aristotle's thought, Robert C. Bartlett and Susan D. Collins have produced here an English-language translation of the Ethics that is as remarkably faithful to the original as it is graceful in its rendering. Aristotle is well known for the precision with which he chooses his words, and in this elegant translation his work has found its ideal match. Bartlett and Collins provide copious notes and a glossary, giving context and further explanation for students, as well as an introduction and a substantial interpretive essay that sketch central arguments of the work and the seminal place of Aristotle's Ethics in his political philosophy as a whole. "The Nicomachean Ethics" has engaged the serious interest of readers across centuries and civilizations - of people ancient, medieval, and modern; pagan, Christian, Muslim, and Jewish - and this new edition will take its place as the standard English-language translation.

This is the first history of Oxford and Cambridge drama during the Tudor and Stuart period. It guides the reader through the theatrical worlds of Englands universities in the sixteenth and seventeenth centuries. Early Modern Drama at the Universities opens up an exciting and challenging body of evidence and offers the reader a choice of three inroads into the corpus: institutions, intertexts, and individuals. How to get noticed at university? How to get into university in the first place, or a job afterwards? Sandis pinpoints the skills that were required for success and the role of playwriting and performance in the development of those skills. We follow Oxford and Cambridge students along their educational journeyfrom schoolboys to scholars to graduates in the workplace. For the first time, we see the extent to which institutional culture made the drama what it was: pedagogically-inspired, homosocial, and self-reflexive. It was primarily on a college level that students lived, worked, and proved themselves to the community. Therefore, this study argues, to understand university drama as a whole we must recreate it from the building blocks of individual college histories. The hundreds of plays that we have inherited from Oxford and Cambridge are steeped in Classical culture; many are written in Latin. Manuscript, not print, was the accepted medium for keeping records of student plays, and these handwritten copies were unique and personal. It is time to recognize these plays in the context of early modern English drama, to uncover the culture of drama at the universities where many leading playwrights of the age were trained.

This volume provides readers with a new translation and up to date historical and rhetorical commentary on the only extant speech of the Athenian leader Lycurgus (390s/380s-324 BCE), one of Athens' most influential statesman and orators. His prosecutorial speech, Against Leocrates, delivered in 330 BCE, indicted his compatriot for treason, claiming that he fled Athens after the battle of Chaeronea when the city was under threat of attack by Philip II of Macedonia, though this attack never materialized. Although Leocrates was acquitted after the evenly split jury ultimately came down in favour of the defence, the speech is much more than a condemnation of an alleged misconduct: it provides valuable information on the historical and political events around Chaeronea and offers Lycurgus' vision of what Athens could and should do in those circumstances, in light of models which he fashioned from Athenian and other Greek mythical and historical pasts. Not only his legal and rhetorical strategies and the merits of the case are examined here, but also what the speech tells us about his and his contemporaries' perceptions of patriotism, their religious beliefs, views of desirable citizenship, and the tensions between the individual and the state. A detailed introduction complements the new English translation of the speech with an authoritative account of its history and manuscript tradition, as well as an overview of the trial's procedure, Lycurgus' motives for initiating it, and Leocrates' defence. It also provides a survey of Athenian democracy and judicial system in the late fourth century BCE which will be invaluable for readers new to the text, covering Lycurgus' career, his ideology and program for Athens, and what these meant to individual Athenians and democracy, while the in-depth commentary analysing the historical, legal, and rhetorical facets of this multi-layered and unique oration will be of use to both students and advanced scholars of ancient Greek history and rhetoric.

Horace's Odes enjoys a long tradition of translation into English, most famously in versions that seek to replicate the quantitative rhythms of the Latin verse in rhymed quatrains. Stanley Lombardo, one of our preeminent translators of classical literature, now gives us a Horace for our own day that focuses on the dynamics, sense, and tone of the Odes , while still respecting its architectonic qualities. In addition to notes on each of the odes, Anthony Corbeill offers an Introduction that sketches the poet's tumultuous political and literary careers, highlights the Odes ' intricate construction and thematic breadth, and identifies some qualities of this work that shed light on a disputed question in its reception: Are these poems or lyrics? This dual-language edition will prove a boon to students of classical civilization, Roman literature, and lovers of one of the great masters of Latin verse.

Eusebius of Caesarea s Onomasticon has been an essential source for the topography of the Holy Land. Based on Biblical texts and the works of ancient authors, the Onomasticon is still the starting point for establishing the localization of ancient cities. This new edition corrects many errors in the Klostermann edition (1902) and makes reference to new sources to establish the text."

Full Length, Tragedy

Characters: 7 male, 4 female

Various sets

This incisive translation of the classic drama is by the noted British playwright, translator and director.

Like the constellations in the sky, words such as aphrodisiac, hubris, museum, galaxy and mentor each contain within them a story, if only you knew to look closely. This collection retells the myths behind common words and expressions in English, bringing to life the heroes, monsters and gods whose deeds and battles have left a hidden mark on our language. Compiling more than seventy-five myths, the stories in this book feature well-known figures such as Zeus, Athena, Apollo, Hercules, Achilles, the Amazons, Medusa and the Minotaur. The entries are supplemented with original illustration reproductions of scenes from ancient pottery, and include translations from Ancient Greek epics such as the Iliad, the Odyssey, the Argonautica and Theogony.

A bold reconception of ancient Greek drama by one of the most brilliant and original classical scholars of his generation When John Winkler died in 1990, he left an unpublished manuscript containing a highly original interpretation of the development and meaning of ancient Greek drama. Rehearsals of Manhood makes this groundbreaking work available for the first time, presenting an entirely novel picture of Greek tragedy and a vivid portrait of the cultural poetics of Athenian manhood. Ancient Athens was a military conclave as well as an urban capital, and male citizens were expected to embody the ideal of the Athenian citizen-soldier. Winkler understands Attic drama as a secular manhood ritual, a collaborative aesthetic and civic enterprise focused on the initiation of boys into manhood and the training, testing, and representation of young male warriors. Past efforts to discover the origins and development of Greek tragedy have largely treated drama as a literary genre, isolating it from other Athenian social practices. Winkler returns Greek tragedy to its social context, showing how it was one among many forms of display and performance cultivated by elite males in ancient Greece. The final work of a celebrated classical scholar, Rehearsals of Manhood highlights the civic function of the dramatic festivals at classical Athens as occasions for the examination and representation of boys on the verge of manhood, and offers a fresh explanation of how dramatic performance fit into the social life and gender politics of the Athenian state.

Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeshylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides' "Medea", "The Children of Heracles", "Andromache", and "Iphigenia among the Tourians", fragments of lost plays by Aeschylus, and the surviving portion of Sophocles' satyr-drama "The Trackers". New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

This book is an anthology of Greek poetry written during the third to first centuries BC, the Hellenistic period. It is intended to make available to undergraduates and graduate students a selection of texts which are for the most part not easily accessible elsewhere. The volume contains a wide and representative range of poetry including hymns, didactic verse, pastoral poetry, epigrams and epic. An introduction provides cultural and historical background, and a full commentary elucidates problems of language and reference in the texts. In this second edition, many notes have been rewritten and the bibliography has been updated. The selection has also been augmented with three hundred more lines of Greek text (Theocritus poems 5 and 15), and is now more than 2000 lines in length.

Anyone seriously interested in Aristotle's moral philosophy must take full account of the Eudemian Ethics, a work which has in the past been unduly neglected in favor of the better-known Nicomachean Ethics. The relation between the two treatises is now the subject of lively debate. This volume contains a translation of three of the eight books of the Eudemian Ethics--those that are likely to be of most interest to philosophers today--together with a philosophical commentary on these books from a contemporary point of view. Like the other volumes in the series, it is intended to serve the needs of readers of Aristotle without a knowledge of Greek, and the aim in the translation has been to give as accurate an idea as possible of Aristotle's text. The Clarendon Aristotle Series is designed for both students and professionals. It provides accurate translations of selected Aristotelian texts, accompanied by incisive commentaries which focus on philosophical problems and issues. The volumes in the series have been widely welcomed and favorably reviewed. Important new titles are being added to the series, and a number of well-established volumes are being reissued with revisions and/or supplementary material.
Series editors: J. L. Ackrill and Lindsay Judson.

Die Autorin untersucht die Predigten Johannes Taulers in Bezug auf konzeptionelle Mundlichkeit und unter Berucksichtigung der handschriftlichen UEberlieferungen seit dem 14. bis zu den Drucken aus dem fruhen 17. Jahrhundert. Ihre Ergebnisse zeigen, dass konzeptionelle Schriftlichkeit das Ergebnis prozesshaften Wandels ist. Dieser findet Ausdruck in dem zunehmenden Versuch, durch Sprachverwendung, Text- und Buchgestaltung das situative Defizit von Schrift auszugleichen. So kann die Autorin aufzeigen, dass der UEbergang zur Drucklegung im Verschriftlichungsprozess der Predigten Taulers als weiterer Schritt der Abloesung vom sprechenden Koerper reflektiert wurde, und dass der Prediger dabei umso starker auf verschiedenen Ebenen in den Text zuruckkehrt.

Betrayed by a husband she sacrificed everything for, Medea unleashes a horrific vengeance on her enemies, by murdering her own children. Featuring one of the most powerful female roles in the history of drama, Euripides' tragedy Medea is reworked by poet Tom Paulin into lithe and sinewy modern English that conveys the shocking story - and our conflicted loyalties as spectators to the tragedy - more strongly than ever. This version of Medea was first staged by Northern Broadsides on a UK tour in 2010.

Aristophanes is the only surviving representative of Greek Old Comedy, an exuberant form of festival drama which flourished in Athens during the fifth century BC. One of the most original playwrights in the entire Western tradition, his comedies are remarkable for their brilliant combination of fantasy and satire, their constantly inventive manipulation of language, and their use of absurd characters and plots to expose his society's institutions and values to the bracing challenge of laughter. This is the third and final volume of a new verse translation of the complete plays of Aristophanes. It contains four of his most overtly political plays: Acharnians, in which an Athenian farmer rebels against the city's war policies; Knights, a biting satire of populist demagogues; Wasps, whose main theme is the Athenian system of lawcourts; and Peace, in which escape from war is symbolized in images of rustic fertility and sensuality. The translation combines historical accuracy with a sensitive attempt to capture the rich dramatic and literary qualities of Aristophanic comedy. Each play is presented with a thought-provoking introduction and extensive editorial notes to accompany the vivid translations, balancing performability with faithfulness to the original.