Book 9 of Silius Italicus' first-century Latin epic poem Punica begins the narrative of the Battle of Cannae (August 216 BC). This book is an integral part of the epic's three-book movement that narrates one of the largest battles in Roman history. It opens with the dispute between the consuls Paulus and Varro over giving battle, in the face of hostile omens and Hannibal's record of successful combat. On the eve of the battle, the Roman soldier Solymus accidentally kills his father Satricus, thereby presenting an omen of disaster for the Roman army. After Hannibal and Varro encourage their troops, the initial phase of the battle commences. The gods descend to the battlefield, and Mars and Minerva fight the sole full-scale theomachy in Latin epic. Aeolus summons the Vulturnus wind at Juno's request to devastate the Roman ranks. After the gods have departed, Hannibal's elephant troops advance and scatter the Roman forces. The book ends by recapitulating the opening episode: Varro admits his mistake in giving battle and flees the battlefield. This volume is the first full-scale commentary in English devoted exclusively to Punica 9. It features the Latin text with a critical apparatus and a parallel English translation. Detailed commentary notes provide information on literary style, use of language, poetic intertexts, and scholarly interpretation. The Introduction offers further context and background, including sections on Silius Italicus and his era, the historiographic and rhetorical traditions that he adopted, the inter- and intra-textuality of the Cannae episode, and the book's use of diction and metre.

A new edition of the most widely known and popular collection of Japanese poetry. The best-loved and most widely read of all Japanese poetry collections, the Ogura Hyakunin Isshu contains 100 short poems on nature, the seasons, travel, and, above all, love. Dating back to the seventh century, these elegant, precisely observed waka poems (the precursor of haiku) express deep emotion through visual images based on a penetrating observation of the natural world. Peter MacMillan's new translation of his prize-winning original conveys even more effectively the beauty and subtlety of this magical collection. Translated with an introduction and commentary by Peter MacMillan.

This volume publishes in full for the first time all known cuneiform manuscripts of an Akkadian calendar treatise that is unified by the theme of Babylonia's invasion. It was composed in the milieu of Marduk's Esagil temple in Babylon, probably in the Hellenistic period before c. 170 BC. Esagil rituals are presented as essential to protect Babylonia, and specifically Marduk's principal cult statue, from foreign attack. The treatise builds the case by drawing on traditional and late Babylonian cuneiform scholarship, including astronomy-astrology, accounts of warfare with Elam and Assyria, battle myths of Marduk and Ninurta, and wordplay. Calendrical sections contain an amalgam of apotropaic ritual against invasion, astrological omens of invasion as ritual triggers, past conflicts as historical precedent, divine combatants representing human foes, and sophisticated exegesis. The work is partially preserved on damaged clay tablets in the British Museum's Babylonian collection and the volume presents hand-drawn cuneiform copies, a composite edition, and a manuscript score. A comprehensive contextualizing introduction provides readers in a range of fields - including Assyriology, classics and ancient history, ancient Iranian studies, Biblical studies, and ancient astronomy and astrology - with a key overview of topics in Mesopotamian scholarship, the manuscripts themselves, and their language and orthography. A detailed commentary explores how the treatise aims to demonstrate the critical importance of the traditional Esagil temple in Babylon for the security of Babylonia and its later imperial rulers.

"?ik?yat Abu al-Q?sim, probably written in the 11th century by the otherwise unknown al-Azd?, tells the story of a gate-crasher from Baghdad named Ab? al-Q?sim, who shows up uninvited at a party in Isfahan. Dressed as a holy man and reciting religious poetry, he soon relaxes his demeanour, and, growing intoxicated on wine, insults the other dinner guests and their Iranian hometown. Widely hailed as a narrative unique in the history of Arabic literature, ?ik?yah also reflects a much larger tradition of banquet texts. Painting a picture of a party-crasher who is at once a holy man and a rogue, he is a figure familiar to those who have studied the ancient cynic tradition or other portrayals of wise fools, tricksters and saints in literatures from the Mediterranean and beyond. This study therefore compares ?ik?yah, a mysterious text surviving in a single manuscript, to other comical banquet texts and party-crashing characters, both from contemporary Arabic literature and from Ancient Greece and Rome."

The decision to reject motherhood is the subject of several key works of literature in French since the new millennium. This book looks at first-person accounts of voluntary childlessness by women writing in French. The book explores how women narrate their decision not to mother, the issues that they face in doing so and the narrative techniques that they employ to justify their stories. It asks how these authors challenge stereotypes of the childless woman by claiming their own identity in narrative, publicly proclaiming their right to choose and writing a femininity that is not connected to motherhood. Using feminist, sociological and psychoanalytic theories to interrogate non-mothering, this work is the first book-length study of narratives that counter this long-standing taboo. It brings together authors who stake out a new terrain, creating a textual space in which to take ownership of their childlessness and call for new understandings of female identity beyond maternity.

It is widely believed that people living in the Middle Ages seldom traveled. But, as Medieval Travel and Travelers reveals, many medieval people - and not only Marco Polo - were on the move for a variety of different reasons. Assuming no previous knowledge of medieval civilizations, this volume allows readers to experience the excitement of men and women who ventured into new lands. By addressing cross-cultural interaction, religion, and travel literature, the collection sheds light on how travel shaped the way we perceive the world, while also connecting history to the contemporary era of globalization. Including a mix of complete sources, excerpts, and images, Medieval Travel and Travelers provides readers with opportunities for further reflection on what medieval people expected to find in foreign locales, while sparking curiosity about undiscovered spaces and cultures.

The letters of Seneca are uniquely engaging among the works that have survived from antiquity. They offer an urgent guide to Stoic self-improvement but also cast light on Roman attitudes towards slavery, gladiatorial combat and suicide. This selection of letters conveys their range and variety, with a particular focus on letters from the earlier part of the collection. As well as a general introduction, it features a brief introductory essay on each letter, which draws out its themes and sets it in context. The commentary explains the more challenging aspects of Seneca's Latin. It also casts light on his engagement with Stoic (and Epicurean) ideas, on the historical context within which the letters were written and on their literary sophistication. This edition will be invaluable for undergraduate and graduate students and scholars of Seneca's moral and intellectual development.

These are troubling days for the humanities. In response, a recent proliferation of works defending the humanities has emerged. But, taken together, what are these works really saying, and how persuasive do they prove? The Battle of the Classics demonstrates the crucial downsides of contemporary apologetics for the humanities and presents in its place a historically informed case for a different approach to rescuing the humanistic disciplines in higher education. It reopens the passionate debates about the classics that took place in late nineteenth- and early twentieth-century America as a springboard for crafting a novel foundation for the humanistic tradition. Eric Adler demonstrates that current defenses of the humanities rely on the humanistic disciplines as inculcators of certain poorly defined skills such as "critical thinking." It criticizes this conventional approach, contending that humanists cannot hope to save their disciplines without arguing in favor of particular humanities content. As the uninspired defenses of the classical humanities in the late nineteenth century prove, instrumental apologetics are bound to fail. All the same, the book shows that proponents of the Great Books favor a curriculum that is too intellectually narrow for the twenty-first century. The Battle of the Classics thus lays out a substance-based approach to undergraduate education that will revive the humanities, even as it steers clear of overreliance on the Western canon. The book envisions a global humanities based on the examination of masterworks from manifold cultures as the heart of an intellectually and morally sound education.

Virgil's Cinematic Art concerns the rhetoric of visual manipulation that provokes us to envision what is written on the page, treating visual details in ancient epic not as mere scene-setting information or enhancements to any given story, but as cues for performing specific imaginative processes. Through a series of close readings centered primarily on Virgil's Aeneid, Kirk Freudenburg shows that the experiential effects that Virgil puts into play do serious narrative work of their own by structuring lines of sight, both visual and emotive, and shifting them about in ways that move readers (interpellated as viewers) into and out of the visual and emotional worlds of the story's characters. Studies of visualization in Latin poetry have tended to treat what is seen in epic as a matter of what is there to be seen, rather than an expression of how someone sees, treating images as mostly static. This study, by contrast, concerns the cinematics of ancient narrative: how words provoke an active, forward-moving process of experiential participation; poets not as verbal painters, but as projectors, purveyors of imagined happenings. Informed by cognitivist and constructivist studies of how audiences watch narrative films and make sense of what they are being given to see, Freudenburg locates new narrative content lurking in old places, brought to life within the imaginations of readers. The end result is a new approach to the question of how ancient epic tales convey narrative content through visual means.

Alcestis * Heracles * Children of Heracles * Cyclops Euripides wrote about timeless themes, of friendship and enmity, hope and despair, duty and betrayal. The first three plays in this volume are filled with violence or its threat, while the fourth, Cyclops, is our only surviving example of a genuine satyr play, with all the crude and slapstick humour that characterized the genre. There is death in Alcestis, which explores the marital relationship of Alcestis and Admetus with pathos and grim humour, but whose status as tragedy is subverted by a happy ending. The blood-soaked Heracles portrays deep emotional pain and undeserved suffering; its demand for a more humanistic ethics in the face of divine indifference and callousness makes it one of Euripides' more popular and profound plays. Children of Heracles is a rich and complex work, famous for its dialogues and monologues, in which the effects of war on refugees and the consequences of sheltering them are movingly explored. In Cyclops Euripides takes the familiar story of Odysseus' escape from the Cyclops Polyphemus and turns it to hilarious comic effect. Euripides' other plays are all available in Oxford World's Classics. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

This book analyzes the relationship between wedding poetry and love poetry in the classical world. By treating both Greek and Latin texts, it offers an innovative and wide-ranging discussion of the poetic representation of social occasions. The discourses associated with weddings and love affairs both foreground ideas of persuasion and praise even though they differ dramatically in their participants and their outcomes. Furthermore, these texts make it clear that the brief, idealized, and eroticized moment of the wedding stands in contrast to the long-lasting and harmonious agreement of the marriage. At times, these genres share traditional forms of erotic persuasion, but at other points, one genre purposefully alludes to the other to make a bride seem like a paramour or a paramour like a bride. Explicit divergences remind the audience of the different trajectories of the wedding, which will hopefully transition into a stable marriage, and the love affair, which is unlikely to endure with mutual affection. Important themes include the threshold; the evening star; plant and animal metaphors; heroic comparisons; reciprocity and the blessings of the gods; and sexual violence and persuasion. The consistency and durability of this intergeneric relationship demonstrates deep-seated conceptions of legitimate and illegitimate sexual relationships. By examining these two types of poetry in tandem, Eros at Dusk adds fresh insight into the social concerns and generic composition of these occasional poems.

A highly-illustrated retelling of the Brontë sisters life in Haworth in the Yorkshire Dales told from Charlotte Brontë's point of view.

Produced to coincide with 200th anniversary of the birth of Charlotte Brontë, this book introduces the three extraordinary Brontë sisters: Charlotte, Emily and Anne. We also meet their brother Branwell. With a mix of strong story-telling and wonderful illustration, Mick Manning and Brita Granström relate the sister's tragically short lives in the remote village of Haworth in the Yorkshire Dales. They explore how the girls were inspired to become writers and the sensation their books caused when people realised they had been written by women.

Each of the sister's greatest novels, Jane Eyre (Charlotte), The Tenant of Wildfell Hall (Anne) and Wuthering Heights (Emily), are simply retold in engaging comic-strip form.

The illustrations and text of this book really capture the life of the children of the moors and how the magic and wildness of their surroundings inspired their work. It is perhaps not surprising as Mick Manning was born and brought up in Haworth and, as a child, even played a shepherd boy in a BBC adapation of Wuthering Heights.

This new comparative reading of Euripides' Bacchae and Aristophanes' Frogs sets the two plays squarely in their contemporary social and political context and explores their impact on the audiences of the time. Both were composed during a crucial period of Athenian political life following the oligarchic seizure of power in 411 BC and the restoration of democracy in 410 BC, and were in all likelihood produced nearly simultaneously a few months before the rise of the Thirty Tyrants and the ensuing civil war. They also demonstrate significant similarities that are particularly notable among extant Attic theatre productions, including the role of the god Dionysos as protagonist and architect of religious and political action, and the presence of Demetrian and Dionysiac mystic choruses as proponents of the appeasement of civil discord as the cure for Athens' ills. Focusing on the mystic, civic and political content of both Bacchae and Frogs, this volume offers not only a new reading of the plays, but also an interdisciplinary perspective on the special characteristics of mystery cults in Athens in their political context and the nature of theatrical audiences and their reaction to mystic themes. Its illumination of the function of each play at a pivotal moment in fifth-century Athenian politics will be of value to scholars and students of ancient Greek drama, religion and history.

The Goddess of Love, Aphrodite- or Venus, or Astarte- she has had many names. She is the goddess of life, fertility and renewal, but she is also the patroness of carnal desire: "a thousand honey secrets thou shalt know" is her promise to the boy Adonis in Shakespeare's poem about the pair. Incredibly, perhaps, he resists this offer- but most of us do not.The enduring role of the goddess in human sex and passion is well known, but how well is she suited for love and sexuality in the modern world?To understand that, we must trace something of her origins, and focus our attention on the way in which more recent writers and artists have imagined her.

'Dreams are products of the mind, and do not come from any external source' Artemidorus' The Interpretation of Dreams (Oneirocritica) is the richest and most vivid pre-Freudian account of dream interpretation, and the only dream-book to have survived complete from Graeco-Roman times. Written in Greek around AD 200, when dreams were believed by many to offer insight into future events, the work is a compendium of interpretations of dreams on a wide range of subjects relating to the natural, human, and divine worlds. It includes the meanings of dreams about the body, sex, eating and drinking, dress, the weather, animals, the gods, and much else. Artemidorus' technique of dream interpretation stresses the need to know the background of the dreamer, such as occupation, health, status, habits, and age, and the work is a fascinating social history, revealing much about ancient life, culture, and beliefs, and attitudes to the dominant power of Imperial Rome. Martin Hammond's fine translation is accompanied by a lucid introduction and explanatory notes by Peter Thonemann, which assist the reader in understanding this important work, which was an influence on both Sigmund Freud and Michel Foucault.

This new critical edition of Aulus Gellius' Noctes Atticae by Leofranc Holford-Strevens is intended to replace the previous Oxford Classical Text by Peter K. Marshall, published in 1968 but soon superseded by Marshall's own later discoveries as well as by other scholarship. Based on a thorough reconsideration of the manuscripts, of the indirect tradition, and of both the Latin and the Greek text, this new edition utilizes manuscript evidence unknown to previous editors, refines the standard account of relations between the earlier manuscripts, and distinguishes between readings in the later manuscripts derived from an older lost witness and those resulting from error or interpolation. All known witnesses to the indirect tradition as preserved in four florilegia have been examined, at times enabling readings less well supported by the manuscripts of the direct tradition to be restored. Above all, the approach to the transmitted text evinces a more sceptical, less trusting view than that of many recent editors: the apparatus criticus contains numerous emendations and suggestions, and in several places corrects the attribution of previous scholars' conjectures, yet remains more generous than Marshall's and avoids trivial details.

Arete and the Odyssey's Poetics of Interrogation explores how the enigmatic Phaeacian queen, Arete, is at the heart of an epic-scale "poetics of interrogation" used throughout the Odyssey to negotiate Odysseus' kleos, or epic renown. Arete's interrogation of Odysseus has been especially problematic in scholarship, but diachronic and synchronic analysis of similar interrogations across Indo-European, Orphic, and Greek epigrammatic corpora show that the "stranger's interrogation" is a formula that demands performance and negotiation of status. Within the Odyssey, this interrogation is part of an intraformular network used to generate kleos, and the queen's question initiates the longest and most complex negotiation of Odysseus' status in epic and memory. Arete's role as interrogator not only explains her strange authority and resonance with both Penelope and comparative afterlife figures, but it also establishes a gendered, agonistic tension between she and her husband, Alkinoos, that influences the structure, genre, and narratology of performances across the Phaeacian episode. This book reinterprets the Odyssey's central episode and challenges several assumptions about Nausikaa and Alkinoos' famed hospitality, even demonstrating how the Apologue is organized as a response to competing inquiries into Odysseus' fundamental status in tradition. The Odyssey ultimately navigates away from Odysseus' public reputation and roots his status in private memories, and Arete's carefully arranged interventions signal the larger process by which the Odyssey immortalizes Odysseus in poetry as a nostos hero. The queen and her question invite new applications of oral poetics that shed light on the structure, composition, and reperformance of the Odyssey.

A. A. Long presents fourteen essays on the themes of selfhood and rationality in ancient Greek philosophy. The discussion ranges over seven centuries of innovative thought, starting with Heraclitus' injunction to listen to the cosmic logos, and concluding with Plotinus' criticism of those who make embodiment essential to human identity. For the Greek philosophers the notion of a rational self was bound up with questions about divinity and happiness called eudaimonia, meaning a god-favoured life or a life of likeness to the divine. While these questions are remote from current thought, Long also situates the book's themes in modern discussions of the self and the self's normative relation to other people and the world at large. Ideas and behaviour attributed to Socrates and developed by Plato are at the book's centre. They are preceded by essays that explore general facets of the soul's rationality. Later chapters bring in salient contributions made by Aristotle and Stoic philosophers. All but one of these pieces has been previously published in periodicals or conference volumes, but the author has revised and updated everything. The book is written in a style that makes it accessible to many kinds of reader, not only professors and graduate students but also anyone interested in the history of our identity as rational animals.

Studies on the Derveni Papyrus, volume II brings together two new editions of the first fragmentarily extant columns of the Derveni Papyrus and seven scholarly articles devoted to their interpretation. The Derveni Papyrus is by far the most important textual discovery of the 20th century regarding early Greek philosophy, religion, exegetical theory and practice, linguistic ideas, and a host of other areas and issues. But the editorial and interpretative history of this extraordinary document has been very checkered. While the interpretation of the better preserved later columns is still highly controversial in many regards, at least the text of those columns has by and large found a scholarly consensus; but the editorial and interpretative situation with the worse preserved first columns is quite different. This volume offers not one but two editions of the first columns, by Richard Janko and by Valeria Piano, given that it is not currently possible to agree upon a single edition; and it explains clearly and in detail the papyrological problems and doubts that lead to these two editions, making it possible for readers (even non-papyrologists) to form their own informed judgment about the most likely readings to be adopted. Furthermore, it contains a number of articles by leading scholars on the Derveni Papyrus, above all offering original solutions to the question of the relation between the earlier and the later columns, but also providing analysis and interpretation of other, related problems.

This is the first study to examine desire in the Iliad in a comprehensive way, and to explain its relationship to the epic's narrative structure and audience reception. Rachel H. Lesser offers a new reading of the poem that shows how the characters' desires, especially those of the mortal hero Achilleus and the divine king Zeus, motivate plot and keep the audience engaged with the epic until and even beyond its end. The author argues that the characters' desires are primarily organized in narrative triangles that feature two parties in conflict over a third. A variety of desires animate these triangles, including sexual passion, longing for a lost loved one, yearning for lamentation, and aggressive desires for vengeance and status, and they are signified with terms such as eros, himeros, pothe, menos, thumos, boule, and eeldor, as well as through the epic's thematic emotions of grief and anger. Desire in the Iliad shows how the mortals' and gods' triangular desires together drive and shape two Iliadic plots, the main plot of Achilleus' withdrawal from the fighting and then return to battle, and the "superplot" of the larger Trojan War story. The author also argues that these plots and their motivating desires arouse the listener's-or reader's-own corresponding desires: narrative desire to know and understand the Iliad's full story, sympathetic desire for characters' welfare, and empathetic passions, longings, and wishes. Our desires invest us in the epic narrative and their resolution brings us satisfaction.

This is the first dedicated commentary on the eighth and final book of Valerius Flaccus' Flavian epic Argonautica. It includes the Latin text, a new English translation, and detailed discussion of a range of literary, linguistic, and textual issues. It is the final work of the promising scholar Cristiano Castelletti, edited by friends and colleagues. The edition benefits from his wide-ranging knowledge of ancient poetry and provides perceptive insights into the texture of this important book. It will make the final section of the poem more easily accessible to an international readership and addresses questions of the original length of the poem, of intertextuality, and of poetic practices in late first-century CE Rome.

This book investigates the properties of Latin nouns that have a systematic correspondence with a clause structure - referred to as verbal nouns - on the basis of data from a range of text types, both narrative and technical. Olga Spevak explores the much-debated concepts of 'abstract nouns' in general and 'verbal derivatives' in particular, and shows that syntactic parameters are helpful in establishing a better classification for what have traditionally been called nomina actionis. She adopts a descriptive approach and provides methods and criteria for identifying these nouns and for distinguishing them from nouns with concrete reference. This distinction is important both for a full understanding of Latin texts and for the presentation of the words themselves in dictionaries. The analysis reveals that verbal nouns, gerunds, gerundives, participles in participial clauses, and in part also infinitives, are competing expressions with a low degree of 'sententiality'; they serve to condense clausal expressions, to varying extents, and they form a system in which the elements are partly overlapping and partly complementary. The fact that Latin does not have a verbal noun available for every verb can therefore be understood as simply a facet of this complex system.