Walter Pater's significance for the institutionalization of English studies at British universities in the nineteenth century is often overlooked. Addressing the importance of his volume Appreciations (1889) in placing English literature in both a national and an international context, this book demonstrates the indebtedness of the English essay to the French tradition and brings together the classic, the Romantic, the English and the European. With essays on drama, prose, and poetry, from Shakespeare and Browne, to Lamb, Coleridge, Wordsworth and Pater's contemporaries Rossetti and Morris, Appreciations exemplifies ideals of aesthetic criticism formulated in Pater's first book, Studies in the History of the Renaissance (1873). Subjectivity pervades Pater's essays on the English authors, while bringing out their exceptional qualities in a manner reaching far into twentieth-century criticism. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

The Oxford History of Classical Reception (OHCREL), of which the present volume is the first to appear, is designed to offer a comprehensive investigation of the numerous and diverse ways in which literary texts of the classical world have been responded to and refashioned by English writers. Covering the full range of English literature from the early Middle Ages to the present day, OHCREL both synthesizes existing scholarship and presents cutting-edge new research, employing an international team of expert contributors for each of the volumes. OHCREL endeavours to interrogate, rather than inertly reiterate, conventional assumptions about literary 'periods', the processes of canon-formation, and the relations between literary and non-literary discourse. It conceives of 'reception' as a complex process of dialogic exchange and, rather than offering large cultural generalizations, it engages in close critical analysis of literary texts. It explores in detail the ways in which English writers' engagement with classical literature casts as much light on the classical originals as it does on the English writers' own cultural context. When completed, this 5-volume history will be one of the largest, and potentially most important projects, in the field of classical reception ever undertaken. This third volume covers the years 1660-1790.

Pater the Classicist is the first book to address in detail Walter Pater's important contribution to the study of classical antiquity. Widely considered our greatest aesthetic critic and now best known as a precursor to modernist writers and post-modernist thinkers of the twentieth century, Pater was also a classicist by profession who taught at the University of Oxford. He wrote extensively about Greek art and philosophy, but also authored an influential historical novel set in ancient Rome, Marius the Epicurean, and a variety of short stories depicting the survival of classical culture in later ages. These superficially diverging interests actually went closely hand-in-hand: it can plausibly be asserted that it is the classical tradition in its broadest sense, including the question of how to understand its workings and temporalities, which forms Pater's principal subject as a writer. Although he initially approached antiquity obliquely, through the Italian Renaissance, for example, or the poetry of William Morris, later in his career he wrote more, and more directly, about the ancient world, and particularly about Greece, his first love. The essays in this collection cover all his major works and reveal a many-sided and inspirational figure, whose achievements helped to reinvigorate the classical studies that were the basis of the English educational system of the nineteenth century, and whose conception of Classics as cross-disciplinary and outward-looking can be a model to scholars and students today. They discuss his classicism generally, his fiction set in classical antiquity, his writings on Greek art and culture, and those on ancient philosophy, and in doing so they also illuminate Pater's position within his Victorian context, among figures such as J. A. Symonds, Henry Nettleship, Vernon Lee, and Jane Harrison, as well as his place in the study and reception of Classics today.

The Oxford History of Classical Reception (OHCREL) is designed to offer a comprehensive investigation of the numerous and diverse ways in which literary texts of the classical world have been responded to and refashioned by English writers. Covering the full range of English literature from the early Middle Ages to the present day, OHCREL both synthesizes existing scholarship and presents cutting-edge new research, employing an international team of expert contributors for each of the volumes. OHCREL endeavours to interrogate, rather than inertly reiterate, conventional assumptions about literary 'periods', the processes of canon-formation, and the relations between literary and non-literary discourse. It conceives of 'reception' as a complex process of dialogic exchange and, rather than offering large cultural generalizations, it engages in close critical analysis of literary texts. It explores in detail the ways in which English writers' engagement with classical literature casts as much light on the classical originals as it does on the English writers' own cultural context. This 5-volume history is one of the largest, and potentially most important projects, in the field of classical reception ever undertaken. This third volume covers the years 1660-1790.

This volume provides, for the first time, an extensive and wide-ranging discussion of the relationship between Romanticism and Roman antiquity. Encompassing literature, music, sculpture, film, history, politics, and scholarship from across Europe and the US, it assesses the influence ancient Roman culture has had upon Romanticism, and the influence Romanticism has in turn had upon our understanding of the ancient Romans.
Arranged in three sections - Romanticisms, Romantics, and Reception - the 20 contributions in this volume assess various shared themes and motifs, case studies from the Romantic Period, and the way in which reception of Romanticism shaped and was shaped by the reception of Roman antiquity. By highlighting the key role that the Romans played in the creation and development of Romanticism, and the role Romanticism has since played in conceptions of the Romans, Romans and Romantics initiates not only a reassessment of the relationship between its two protagonists, but develops a new understanding of each of them individually.
Figures discussed within the volume include Byron, Emerson, Foscolo, Goethe, Hardy, Hawthorne, Keats, Maggi, Mozart, Niebuhr, Pastrone, Pater, Jean Paul, Poe, Pushkin, Mary and Percy Shelley, the Schlegel brothers, Charlotte Smith, Madame de Stael, Thoreau, Vosmaer, Wergeland, and Wordsworth."

This book argues for a new attention to the importance of beauty and the aesthetic in our response to poetry. Charles Martindale explores ways in which Kant's aesthetic theory, as set out in the Critique of Judgement, remains of fundamental importance for the modern critic. He argues that the Kantian "judgement of taste" is not formalist, and explores the relationship between the aesthetic and the political in our responses to art. Finally he urges the value of aesthetic criticism as pioneered by Walter Pater and others. The (mainly Latin) poems discussed are all translated, and the book will be of interest not only to classicists but to anyone interested in aesthetics, aestheticism, poetry, reception, comparative literature, and critical theory.

The poet Virgil remains the most significant and influential figure in Latin literature, and this expanded and updated Companion covers his life, work, and reception from antiquity to the present. The Aeneid, the Eclogues, the Georgics, and the Appendix Vergiliana are all discussed, as are art, history, politics, and philosophy; Virgil's literary style is carefully explored along with poetic traditions before and since, and chapters engage with his poems and their reception from perspectives including intertextuality, narratology, gender theory, philology and historicism. Leading authors cover topics from translations and commentaries to genre, authority, and characterisation, providing revised and updated recommendations for further reading. This volume is an accessible introduction to Virgil and his legacy for students and teachers, while also providing wide-ranging and in-depth investigations that will appeal to scholars of classical literature and other disciplines.

This book argues for a new attention to the importance of beauty and the aesthetic in our response to poetry. Charles Martindale explores ways in which Kant's aesthetic theory, as set out in the Critique of Judgement, remains of fundamental importance for the modern critic. He argues that the Kantian "judgement of taste" is not formalist, and explores the relationship between the aesthetic and the political in our responses to art. Finally he urges the value of aesthetic criticism as pioneered by Walter Pater and others. The (mainly Latin) poems discussed are all translated, and the book will be of interest not only to classicists but to anyone interested in aesthetics, aestheticism, poetry, reception, comparative literature, and critical theory.

The poet Virgil remains the most significant and influential figure in Latin literature, and this expanded and updated Companion covers his life, work, and reception from antiquity to the present. The Aeneid, the Eclogues, the Georgics, and the Appendix Vergiliana are all discussed, as are art, history, politics, and philosophy; Virgil's literary style is carefully explored along with poetic traditions before and since, and chapters engage with his poems and their reception from perspectives including intertextuality, narratology, gender theory, philology and historicism. Leading authors cover topics from translations and commentaries to genre, authority, and characterisation, providing revised and updated recommendations for further reading. This volume is an accessible introduction to Virgil and his legacy for students and teachers, while also providing wide-ranging and in-depth investigations that will appeal to scholars of classical literature and other disciplines.

This book, first published in 1993 and a celebration of the bimillennium of Horace's death and a successor to Ovid Renewed (Cambridge University Press, 1988), explores in a balanced and comprehensive way, the presence of Horace in English letters and culture from the Renaissance onwards, in the form of a series of critical essays. It shows that there has been a continuous interest in Horace throughout the modern period, whereas it is often supposed that Horace's influence was only of central importance in the eighteenth century. Horace indeed is a major (if often hidden) element in the English poetic tradition, both directly and through the imitation and appropriation of his works by Wyatt, Jonson, Dryden, Pope and others. The book also casts fresh light on the character and interpretation of Horace, things intimately connected with the historical 'reception' of his works, particularly by some of their most influential and sensitive readers, the great English poets. The collection is aimed at a wide and general readership.

Milton has long been recognised as being among the English poets most indebted to ancient literature, but the full range and depth of that debt have rarely been explored. His most obvious debt, to Virgil, has been exaggerated and too vaguely described. Here Charles Martindale reassesses that debt and examines the use Milton made of other ancient poets, notably Homer, Ovid and Lucan, and the way in which they influenced his style. Some surprising elements in the style of "Paradise Lost"--Horace, for example--are also uncovered. The Introduction surveys Milton's attitude to the classics and raises questions of method, while the bulk of the book provides a full account of the relationship between Milton and those four poets who influenced him most profoundly. Renaissance views of classical poets are described, and the value of eighteenth-century commentaries on Milton is demonstrated. Finally, Martindale considers the limits of Milton's classicism and the important differences between "Paradise Lost" and its ancient forebears. The book contains a rare combination of scholarship and critical judgement.

Examining the revolution wrought by Catullus in Latin poetry, this volume encapsulates the way in which principles of modern literary criticism could be applied to classical poetry, without ditching the sound philological scholarship of the classical tradition. In its day this book led the way in showing the philogically trained student how to be a critic; equally it can show the critically trained student the importance of a sound philogical base today.

This work applies some of the procedures of modern critical theory (in particular reception-theory, deconstruction, theories of dialogue and the hermeneutics associated with the German philosopher Gadamer) to the interpretation of Latin poetry. Charles Martindale argues that we neither can nor should attempt to return to an original meaning for ancient poems, free from later accretions and the processes of appropriation; more traditional approaches to literary enquiry conceal a metaphysics which has been put in question by various anti-foundationalist accounts of the nature of meaning and the relationshop between language and what it describes. From this perspective, the author examines different readings of the poetry of Virgil, Ovid, Horace and Lucan, in order to suggest alternative ways in which those texts might more profitably be read. Finally, he focuses on a key term for such study - translation - and examines the epistemological questions it raises and seeks to circumvent.

This book is a study of Ovid and his poetry as a cultural phenomenon, conceived in the belief that such a study of tradition also casts fresh light on Ovid himself. Its main concern is with exploring the influence of Ovid on literature, especially English literature, but it also takes a wider perspective, including, for example, the visual arts. The book takes the form of a series of studies by specialists in their fields, including a number of scholars of international renown. The essays cover the period from the twelfth century, when there was an upsurge of interest in Ovid, through to the decline in his fortunes in the nineteenth and twentieth centuries. They are critical and comparative in approach and collectively give a detailed sense of Ovid's importance in Western culture. Topics covered include Ovid's influence on Chaucer, Spenser, Shakespeare and his contemporaries, Dryden, T. S. Eliot, the myths of Daedalus and Icarus and Pygmalion, and the influence of Ovid's poetry on art.

Shakespeare and the Classics demonstrates that the classics are of central importance in Shakespeare's plays and in the structure of his imagination. Written by an international team of Shakespeareans and classicists, this book investigates Shakespeare's classicism and shows how he used a variety of classical books to explore crucial areas of human experience such as love, politics, ethics and history. The book focuses on Shakespeare's favourite classical authors, especially Ovid, Virgil, Seneca, Plautus and Terence, and, in translation only, Plutarch. Attention is also paid to the humanist background and to Shakespeare's knowledge of Greek literature and culture. The final section, from the perspective of reception, examines how Shakespeare's classicism was seen and used by later writers. This accessible book offers a rounded and comprehensive treatment of Shakespeare's classicism and will be a useful first port of call for students and others approaching the subject.