Volume I of a two-volume scholarly edition of the Meditations of the Emperor Marcus Antoninus by A.S.L. Farquharson. The edition presents an authoritative text, together with a translation, an introduction, commentary notes, and scholarly apparatus.

Volume II of a two-volume scholarly edition of the Meditations of the Emperor Marcus Antoninus by A.S.L. Farquharson. The edition presents an authoritative text, together with a translation, an introduction, commentary notes, and scholarly apparatus.

Pollastra and the Origins of Twelfth Night addresses two closely linked and increasingly studied issues: the nature of the relation of Shakespeare's plays to Italian culture, and the technology of modern theater invented in Renaissance Italy. The discovery of forgotten works by Giovanni Lappoli, known as Pollastra, led to publication in Italy in 1993 in a limited edition of the Italian texts with supplemental scholarship by the authors, entitled Romance and Aretine Humanism in Sienese Comedy. One of those texts, the comedy Parthenio, has escaped the attention of theater bibliographers, because it was quickly sold out in its time and only a handful of copies are known to exist today. Yet it played an important part in the birth of Italian Renaissance drama and of modern comedy in general, in that it was the immediate predecessor and source of Gl'Ingannati, arguably the most famous comedy of the Italian Renaissance and certainly the most imitated, translated, adapted all over Europe. The best known of its progeny is Shakespeare's Twelfth Night. Much has been written in Italy and England about Gl'Ingannati and Shakespeare's debt to it, but nothing at all about Parthenio. This volume provides the first English translation (with the original Italian on facing pages); and presents for an international audience the theatrical scholarship from the 1993 book Romance and Aretine Humanism in Sienese Comedy, augmented with new findings.

A scholarly edition of a work by Cicero. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

This volume is a selection of papers presented at the 10th International Conference on Middle English held at the University of Stavanger, Norway from 31 May to 2 June 2017. The collection bridges the gap between traditional 'linguistic' and 'literary' topics and provides a holistic view of current research within Middle English studies. The papers are organized under four main headings: The transmission of Middle English texts, Syntax and morphology, Genre and discourse and Textual afterlives. The contributions deal with materials ranging from canonical works such as Chaucer's Canterbury Tales to little-studied texts such as administrative documents and scientific treatises.

This is the first commentary in any language on three of the books of ancient Greek astrological poetry ascribed to the Egyptian priest Manetho. Manetho, who became a figure for recondite wisdom, came to be credited with a series of didactic poems which list outcomes for planetary set-ups in a horoscope or birth chart. This book contends that we can learn a great deal from this material about the intellectual, cultural, social, and literary history of the world in which it was written-Hadrianic Egypt, and the second-century Roman Empire at large. Its descriptions of the kinds of person who are born under happy and unhappy configurations of stars speak to the lived realities, aspirations, and fears of the astrologer's clientele. Given astrology's enormous contemporary prestige, this means we are offered insights into the mental universe and values of the common man, l'homme moyen sensuel, that elite literature largely bypasses. The volume addresses current work on the emotions and popular ethics. It also brings to the fore a neglected witness to a type of imperial didactic poetry-functional, technical in content, and yet sharing a degree of artistry with better-known poets such as Dionysius the Periegete. The Manethonian poems are placed in the context of other ancient astrological literature-much of it very different in idiom, complexity, and method-but also in the wider one of other divinatory texts, philosophical writing, and the novel. There is a Greek text with English translation and an apparatus with parallel material to enable comparison with related works.

First published in 1987, this is a critical edition of the 1647 text by the Scottish author Alexander Ross which offered the Renaissance reader not only a wealth of factual information concerning the gods, goddesses, heroes and monsters of ancient myth and legend, but also served as a treasury of interpretation and commentary ingeniously explaining the facts in terms moral, theological, historical and scientific. The critical edition brought this text alongside its counterparts, Cartari's Imagini and Comes' Mythologia, which had in recent years begun to receive the scholarly recognition they deserve. It constituted a preliminary essay at defining a distinctively English approach to mythological studies by focusing on the only original myth handbook produced in Renaissance England which in scope and intent may be placed next to the great compilations of the Continent.

This volume presents a commentary on Aristotle's Metaphysics Book 12 by pseudo-Alexander in a new translation accompanied by explanatory notes, introduction and indexes. Fred D. Miller, Jr. argues that the author of the commentary is in fact not Alexander of Aphrodisias, Aristotle's distant successor in early 3rd century CE Athens and his leading defender and interpreter, but Michael of Ephesus from Constantinople as late as the 12th century CE. Robert Browning had earlier made the case that Michael was enlisted by Princess Anna Comnena in a project to restore and complete the ancient Greek commentaries on Aristotle, including those of Alexander; he did so by incorporating available ancient commentaries into commentaries of his own. Metaphysics Book 12 posits a god as the supreme cause of motion in the cosmic system Aristotle had elaborated elsewhere as having the earth at the centre. The fixed stars are whirled around it on an outer sphere, the sun, moon and recognised planets on interior spheres, but with counteracting spheres to make the motions of each independent of the motions of others and of the fixed stars, thus yielding a total of 55 spheres. Motion is transmitted from a divine unmoved mover through divine moved movers which move the celestial spheres, and on to the perishable realms. Chapters 1 to 5 describe the principles and causes of the perishable substances nearer the centre of the universe, while Chapters 6 to 10 seek to prove the existence and attributes of the celestial substances beyond.

L'Italia comunale e rinascimentale ha ricoperto un ruolo precursore nella formazione dell'Europa moderna, per quanto riguarda il costituirsi sia delle strutture e istituzioni europee che delle singole culture nazionali. Ancora oggi e vitale il valore fondativo delle esperienze culturali elaborate nel 'Rinascimento lungo' della storia d'Italia, in specie nell'ambito letterario e artistico, specifico della stessa identita e civilta italiana. Italienisch- und deutschsprachige Wissenschaftlerinnen und Wissenschaftler gehen in diesem Band gemeinsam der Frage nach, welche kulturellen Ideen Italien in Mittelalter und Renaissance als wegweisend fur Europa hervorgebracht hat und in welcher Weise die vielfaltigen literarischen und kunstlerischen Projekte aus der Ideenfabrik Italien heute noch aktuell sind.

What Shakespeare Stole From Rome analyses the multiple ways Shakespeare used material from Roman history and Latin poetry in his plays and poems. Three important tragedies deal with the history of the Roman Republic: Coriolanus, Julius Caesar, and Antony and Cleopatra. From the tragedies of Seneca, Shakespeare took the theme of evil in the ruler, as in Richard III and Macbeth. The comedies of Plautus lie behind the early play The Comedy of Errors. From Ovid, Shakespeare took nearly all his Greek mythology, as in the miniature epic Venus and Adonis. Shakespeare, who knew Latin very well, introduced some 600 new Latin-based words into English.

This book argues for a new way of reading tragedy that attends to how bodies in the ancient plays pivot between subject and object, person and thing, living and dead, and so serve as vehicles for confronting the edges of the human. At the same time, it explores the ways in which Greek tragedy pulls up close to human bodies, examining their physical edges, their surfaces and parts, their coverings or nakedness, and their postures and orientations. Drawing on and advancing the latest interplays of posthumanism and materialism in relation to classical literature, Nancy Worman shows how this tragic enactment may seem to emphasize the human body, but in effect does something quite different. Greek drama instead often treats the body as a thing that has the status and implications associated with other objects, such as a cloak, an urn, or a toy for a dog. Tragic Bodies urges attention to key scenes in Greek tragedy that foreground bodily identifiers as semiotic materializing. This occurs when signs with weighty symbolic resonance distil out on the dramatic stage as concrete sites for contention and conflation orchestrated through proximity, contact, and sensory dynamics. Reading the dramatic script in this way pursues the felt knowledge at the body's edges that tragic representation affords, a consideration attuned to how bodies register at tragedy's unique intersections - where directive and figurative language combine to highlight visual, tactile, and aural details.

These rhetorical texts by Apuleius, second-century Latin writer and author of the famous novel Metamorphoses or Golden Ass, have not been translated into English since 1909. They are some of the very few Latin speeches surviving from their century, and constitute important evidence for Latin and Roman North African social and intellectual culture in the second century AD, a period where there is increasing interest amongst classicists and ancient historians. They are the work of a talented writer who is being increasingly viewed as the major literary artist of his time in Latin.

A BBC RADIO 4 BOOK OF THE YEAR LONGLISTED FOR THE ANGLO-HELLENIC LEAGUE RUNCIMAN AWARD 2022 'Peter Fiennes's road trip around Greece [is] engagingly described' Mary Beard, TLS 'Fiennes is a brilliant and generous guide through Greece' Observer 'A wonderful... really profound meditation on what it means to hope... a gorgeous excursion into Greece and across the centuries on an environmental quest' BBC Radio 4 Open Book Book of the Year choice by Anita Roy What do the Greek myths mean to us today? It's now a golden age for these tales - they crop up in novels, films and popular culture. But what's the modern relevance of Theseus, Hera and Pandora? Were these stories ever meant for children? And what's to be seen now at the places where heroes fought and gods once quarrelled? Peter Fiennes travels to the sites of some of the most famous Greek myths, on the trail of hope, beauty and a new way of seeing what we have done to our world. Fiennes walks through landscapes - stunning and spoiled - on the trail of dancing activists and Arcadian shepherds, finds the 'most beautiful beach in Greece', consults the Oracle, and loses himself in the cities, remote villages and ruins of this storied land.

This is the OCR-endorsed publication from Bloomsbury for the Latin AS and A-Level (Group 3) prescription of Ovid's Amores 1.1 and 2.5, Propertius 1.1 and Tibullus 1.1 with the A-Level (Group 4) prescription of Ovid's Amores 2.7 and 2.8, Propertius 1.3 and 2.14 and Tibullus 1.3, giving full Latin text, commentary and vocabulary, with a detailed introduction that also covers the prescribed text to be read in English for A Level. Propertius, Tibullus and Ovid are our three main writers of Latin love elegy. The selected poems depict the bitter-sweet love affairs of the poet-lovers and their mistresses, from the heartbreak of rejection to the elation at love reciprocated. While Propertius's and Ovid's setting is the city and their poems show us such details of urbane Roman life as drinking parties and elaborate hair-dressing, Tibullus introduces the idyll of the countryside to the genre. Their sophisticated poems combine intense emotion with wit and irony, and celebrate the life of love and their mistresses, Propertius's Cynthia, Tibullus's Delia and Nemesis, and Ovid's Corinna.

Forging Boethius in Medieval Intellectual Fantasies reconsiders the influence of the thirteenth-century Pseudo-Boethian forgery De disciplina scolarium on medieval understandings of Boethius (d. 524). Tracing the medieval popularity of De disciplina's reimagined vision of Boethius alongside the current scholarly neglect of this forged Boethian persona offers insight into how medieval schoolmen saw themselves and the past, and how modern scholars imagine the medieval past. In exploring this alternate Boethian persona through a variety of different works including texts of translatio studii et imperii, common school texts, the poetry of Geoffrey Chaucer, and humanist writings, this book reveals a new vein of medieval Boethianism that is earthy, practical, and even humorous. Forging Boethius is an essential reference book for students and researchers in the fields of medieval literature and philosophy, as well as for anyone interested in gaining a better understanding of one the most significant authors of the Middle Ages.

The ambition of Michael Psellos on Literature and Art is to illustrate an important chapter in the history of Greek literary and art criticism and introduce precisely this aspect of Psellian writing to a wider public.