While Plato’s and Aristotle’s theories of virtue have received extensive scholarly attention, less work has been done on Xenophon’s portraits of virtue and on his attitude towards the theoretical issues connected with it. And yet, Xenophon offers one of the best sources we have for thinking about virtue in ancient Greece, because he combines the analytical interests of a Socratic with a historian’s interest in real life.　 Until recently, scholars of Xenophon tended to focus either on the historiographical writings or on the philosophical writings (chiefly Memorabilia, with some attention to the other Socratic writings and Hiero). Cyropaedia was treated as a separate entity, and Xenophon’s short and more technical treatises were generally studied only by those with particular interest in their specialized topics (such as horsemanship, hunting, and Athenian finances). But recent work by Vincent Azoulay and by Vivienne Gray have shown the essential unity of his writings. This volume continues this pan-Xenophontic trend by studying the virtues across Xenophon’s oeuvre and connecting them with a wide range of Greek literature, from Homer and the tragedians to Herodotus and Thucydides, the orators, Plato, and Aristotle.

It is now recognized that emotions have a history. In this book, eleven scholars examine a variety of emotions in ancient China and classical Greece, in their historical and social context. A general introduction presents the major issues in the analysis of emotions across cultures and over time in a given tradition. Subsequent chapters consider how specific emotions evolve and change. For example, whereas for early Chinese thinkers, worry was a moral defect, it was later celebrated as a sign that one took responsibility for things. In ancient Greece, hope did not always focus on a positive outcome, and in this respect differed from what we call "hope." Daring not to do, or "undaring," was itself an emotional value in early China. While Aristotle regarded the inability to feel anger as servile, the Roman Stoic Seneca rejected anger entirely. Hatred and revenge were encouraged at one moment in China and repressed at another. Ancient Greek responses to tragedy do not map directly onto modern emotional registers, and yet are similar to classical Chinese and Indian descriptions. There are differences in the very way emotions are conceived. This book will speak to anyone interested in the many ways that human beings feel.

The protagonists of the ancient novels wandered or were carried off to distant lands, from Italy in the west to Persia in the east and Ethiopia in the south; the authors themselves came, or pretended to come, from remote places such as Aphrodisia and Phoenicia; and the novelistic form had antecedents in a host of classical genres. These intersections are explored in this volume. Papers in the first section discuss "mapping the world in the novels." The second part looks at the dialogical imagination, and the conversation between fiction and history in the novels. Section 3 looks at the way ancient fiction has been transmitted and received. Space, as the locus of cultural interaction and exchange, is the topic of the fourth part. The fifth and final section is devoted to character and emotion, and how these are perceived or constructed in ancient fiction. Overall, a rich picture is offered of the many spatial and cultural dimensions in a variety of ancient fictional genres.

The protagonists of the ancient novels wandered or were carried off to distant lands, from Italy in the west to Persia in the east and Ethiopia in the south; the authors themselves came, or pretended to come, from remote places such as Aphrodisia and Phoenicia; and the novelistic form had antecedents in a host of classical genres. These intersections are explored in this volume. Papers in the first section discuss "mapping the world in the novels." The second part looks at the dialogical imagination, and the conversation between fiction and history in the novels. Section 3 looks at the way ancient fiction has been transmitted and received. Space, as the locus of cultural interaction and exchange, is the topic of the fourth part. The fifth and final section is devoted to character and emotion, and how these are perceived or constructed in ancient fiction. Overall, a rich picture is offered of the many spatial and cultural dimensions in a variety of ancient fictional genres.

Edited by world-renowned classicists Elizabeth Asmis, Shadi Bartsch, and Martha C. Nussbaum, the Complete Works of Lucius Annaeus Seneca offers authoritative, modern English translations of the writings of the Stoic philosopher and playwright (4 BCE 65 CE). The two volumes of The Complete Tragedies presents all of his dramas, expertly rendered by preeminent scholars and translators. The first volume contains Medea, The Phoenician Women, Phaedra, The Trojan Women, and Octavia, the last of which was written in emulation of Senecan tragedies and serves as a unique example of political tragedy. This second volume includes Oedipus, Hercules Mad, Hercules on Oeta, Thyestes, and Agamemnon. High standards of accuracy, clarity, and style are maintained throughout the translations, which render Seneca into verse with as close a correspondence, line for line, to the original as possible, and with special attention paid to meter and overall flow. In addition, each tragedy is prefaced by an original translator's introduction offering reflections on the work's context and meaning. Notes are provided for the reader unfamiliar with the culture and history of classical antiquity. Accordingly, The Complete Tragedies will be of use to a general audience and professionals alike, from the Latinless student to scholars and instructors of comparative literature, classics, philosophy, drama, and more.

Several decades of scholarship have demonstrated that Roman thinkers developed in new and stimulating directions the systems of thought they inherited from the Greeks, and that, taken together, they offer many perspectives that are of philosophical interest in their own right. The Oxford Handbook of Roman Philosophy explores a range of such Roman philosophical perspectives through thirty-four newly commissioned essays. Where Roman philosophy has long been considered a mere extension of Hellenistic systems of thought, this volume moves beyond the search for sources and parallels and situates Roman philosophy in its distinctive cultural context. The Oxford Handbook of Roman Philosophy emphasizes four features of Roman philosophy: aspects of translation, social context, philosophical import, and literary style. The authors adopt an inclusive approach, treating not just systematic thinkers such as Cicero and Augustine, but also poets and historians. Topics covered include ethnicity, cultural identity, literary originality, the environment, Roman philosophical figures, epistemology, and ethics.

Karl Marx observed that "just when people seem engaged in revolutionizing themselves..., they anxiously conjure up the spirits of the past to their service." While the Greek east under Roman rule was not revolutionary, perhaps, in the sense that Marx had in mind, it was engaged in creating something that had not previously existed, in part just through the millennia-long involvement with its own tradition, which was continually being remodelled and readapted. It was an age that was intensely self-conscious about its relation to history, a consciousness that manifested itself not only in Attic purism and a reverence for antique literary models but also in ethnic identities, educational and religious institutions, and political interactions with - and even among - the Romans. In this volume, which represents a selection of the papers presented at the colloquium, "Greeks on Greekness: The Construction and Uses of the Greek Past among Greeks under the Roman Empire," held at the Center for Hellenic Studies on 25-28 August 2001, seven scholars explore some of the forms that this preoccupation with the Greek past assumed under Roman rule. Taken together, the chapters in this volume offer a kaleidoscopic view of how Greeks under the Roman Empire related to their past, indicating the multiple ways in which the classical tradition was problematised, adapted, transformed, and at times rejected. They thus provide a vivid image of a lived relation to tradition, one that was inventive rather than conservative and self-conscious rather than passive. The Greeks under Rome played with their heritage, as they played at being and not being the Greeks they continually studied and remembered.

The second of two volumes collecting the complete tragedies of Seneca. Edited by world-renowned classicists Elizabeth Asmis, Shadi Bartsch, and Martha C. Nussbaum, the Complete Works of Lucius Annaeus Seneca offers authoritative, modern English translations of the writings of the Stoic philosopher and playwright (4 BCE-65 CE). The two volumes of The Complete Tragedies presents all of his dramas, expertly rendered by preeminent scholars and translators. The first volume contains Medea, The Phoenician Women, Phaedra, The Trojan Women, and Octavia, the last of which was written in emulation of Senecan tragedies and serves as a unique example of political tragedy. This second volume includes Oedipus, Hercules Mad, Hercules on Oeta, Thyestes, and Agamemnon. High standards of accuracy, clarity, and style are maintained throughout the translations, which render Seneca into verse with as close a correspondence, line for line, to the original as possible, and with special attention paid to meter and overall flow. In addition, each tragedy is prefaced by an original translator's introduction offering reflections on the work's context and meaning. Notes are provided for the reader unfamiliar with the culture and history of classical antiquity. Accordingly, The Complete Tragedies will be of use to a general audience and professionals alike, from the Latinless student to scholars and instructors of comparative literature, classics, philosophy, drama, and more.

Classical Greece was permeated by a spirit of rivalry. Games and sports, theatrical performances, courtroom trials, recitation of poetry, canvassing for public office, war itself - all aspects of life were informed by a competitive ethos. This pioneering book considers how the Greeks viewed, explained, exploited and controlled the emotions that entered into such rivalrous activities, and looks at what the private and public effects were of such feelings as ambition, desire, pride, passion, envy and spite. Among the questions the authors address: How was envy distinguished from emulation? Was rivalry central to democratic politics? What was the relation between envy and erotic jealousy? Did the Greeks feel erotic jealousy at all? Did the views of philosophers correspond to those reflected in the historians, tragic poets and orators? Were there differences in attitude towards the rivalrous emotions within ancient Greece, or between Greece and Rome? Did jealousy, envy and malice have bad effects on ancient society, or could they be channelled to positive ends by stimulating effort and innovation?Can the ancient Greek and Roman views of envy, spite and jealousy contribute anything to our own understanding of these universally troubling emotions? This is the first book devoted to the emotions of rivalry in the classical world taken as a whole. With chapters written by a dozen scholars in ancient history, literature and philosophy, it contributes notably to the study of ancient Greece and to the history of the emotions more generally.

Broken Columns Two Roman Epic Fragments: "The Achilleid" of Publius Papinius Statius and "The Rape of Proserpine" of Claudius Claudianus Edited and Translated by David R. Slavitt. Afterword by David Konstan "With unerring instinct Slavitt has juxtaposed two witty and ironic post-Ovidian tales of coming of age, Statius's unfinished "Deeds of Achilles" and Claudian's "Rape of Proserpina." Those were the mythical days when teenagers were charming and rape consensual (for Deidamia) or at least (for Proserpina) the path to queenly power. Epic was never the same after Ovid, whether in Statius's sentimental comedy of love and war or in Claudian's darker divine intrigue sacrificing a mother's love to avert an infernal coup d'etat. Slavitt's versatile idiom makes vivid the personalities of Statius's drama and updates Claudian's self-conscious poetics in versions that are both free and true to the poets' art."--Elaine Fantham, Princeton University "Slavitt does a real service by putting into English verse for the first time this century two poems of great grace and charm. . . . Konstan's afterword itself is a gem. . . . I would urge anyone who thinks that Statius only wrote gruesome epic and Claudian only dull panegyric to read this slim and sprightly volume."--"Bryn Mawr Classical Review" "David Slavitt appears to be fluent not only in Latin but also in hexameters. His translation seems to flow effortlessly from his pen. His speech and vocabulary are contemporary and easy to read. . . . This slim volume is further enhanced by the brilliant essay by David Konstan that is appended to it. The essay is reminiscent of the introductions written by R. C. Jebb in his editions of the plays of Sophocles--a combination of a scholarly discussion of the underlying myth in the text interspersed with perceptive literary criticism."--"American Book Review" There is more to classical literature than just the classics. Here David Slavitt expands the canon by presenting vivid, graceful, and amusing translations of two neglected fragmentary works of Latin literature. The first is Publius Papinius Statius's first-century epic "Achilleid," an extraordinary fusion of epic and New Comedy sentiments and humor that may represent the earliest literary imagining of the charm of adolescence. It relates the story of the education of Achilles under the centaur Chiron, his adopting the disguise of a girl during his sojourn at the court of Lycomedes in Scyros, his love affair with Deidamia, his detection by Ulysses and Diomedes, and his departure for Troy. The second work is Claudius Claudianus's unfinished fourth-century epic version of the rape of Proserpine. The two works together make a delightful pair. The afterword by David Konstan explores the traditions in which--and against which--Statius and Claudian composed their versions of these well-known stories. David R. Slavitt was educated at Andover and Yale and has published dozens of books: original poetry, translations, novels, critical works, and short stories. He worked for seven years as a journalist at "Newsweek" and continues to do freelance reporting and reviewing. With Palmer Bovie he coedited the Penn Greek Drama series and the Complete Roman Drama in Translation. 1997 104 pages 5 1/2 x 8 1/2 ISBN 978-0-8122-1630-1 Paper $21.95s 14.50 World Rights Classics, Literature Short copy: I would urge anyone who thinks that Statius only wrote gruesome epic and Claudian only dull panegyric to read this slim and sprightly volume."--"Bryn Mawr Classical Review"

Where did the idea of sin arise from? In this meticulously argued book, David Konstan takes a close look at classical Greek and Roman texts, as well as the Bible and early Judaic and Christian writings, and argues that the fundamental idea of "sin" arose in the Hebrew Bible and the New Testament, although this original meaning was obscured in later Jewish and Christian interpretations. Through close philological examination of the words for "sin," in particular the Hebrew hata' and the Greek hamartia, he traces their uses over the centuries in four chapters, and concludes that the common modern definition of sin as a violation of divine law indeed has antecedents in classical Greco-Roman conceptions, but acquired a wholly different sense in the Hebrew Bible and New Testament.

"In the Greek romances," writes David Konstan, "sighs, tears, and suicide attempts are as characteristic of the male as of the female in distress; ruses, disguises, and outright violence in defense of one's chastity are as much the part of the female as of the male." Exploring how erotic love is represented in ancient amatory literature, Konstan points to the symmetry in the passion of the hero and heroine as a unique feature of the Greek novel: they fall mutually in love, they are of approximately the same age and social class, and their reciprocal attachment ends in marriage. He shows how the plots of the novels are perfectly adapted to expressing this symmetry and how, because of their structure, they differ from classical epic, elegy, comedy, tragedy, and other genres, including modern novels ranging from Sidney to Harlequin romances. Using works like Chaereas and Callirhoe and Daphnis and Chloe, Konstan examines such issues as pederasty, the role of eros in both marital and nonmarital love, and the ancient Greek concept of fidelity. He reveals how the novelistic formula of sexual symmetry reverses the pattern of all other ancient genres, where erotic desire appears one-sided and unequal and is often viewed as either a weakness or an aggressive, conquering power. Konstan's approach draws upon theories concerning the nature of sexuality in the ancient world, reflected in the work of Michel Foucault, David Halperin, and John Winkler. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

"In the Greek romances," writes David Konstan, "sighs, tears, and suicide attempts are as characteristic of the male as of the female in distress; ruses, disguises, and outright violence in defense of one's chastity are as much the part of the female as of the male." Exploring how erotic love is represented in ancient amatory literature, Konstan points to the symmetry in the passion of the hero and heroine as a unique feature of the Greek novel: they fall mutually in love, they are of approximately the same age and social class, and their reciprocal attachment ends in marriage. He shows how the plots of the novels are perfectly adapted to expressing this symmetry and how, because of their structure, they differ from classical epic, elegy, comedy, tragedy, and other genres, including modern novels ranging from Sidney to Harlequin romances.

Using works like "Chaereas and Callirhoe" and "Daphnis and Chloe," Konstan examines such issues as pederasty, the role of eros in both marital and nonmarital love, and the ancient Greek concept of fidelity. He reveals how the novelistic formula of sexual symmetry reverses the pattern of all other ancient genres, where erotic desire appears one-sided and unequal and is often viewed as either a weakness or an aggressive, conquering power. Konstan's approach draws upon theories concerning the nature of sexuality in the ancient world, reflected in the work of Michel Foucault, David Halperin, and John Winkler.

Originally published in 1993.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Where did the idea of sin arise from? In this meticulously argued book, David Konstan takes a close look at classical Greek and Roman texts, as well as the Bible and early Judaic and Christian writings, and argues that the fundamental idea of "sin" arose in the Hebrew Bible and the New Testament, although this original meaning was obscured in later Jewish and Christian interpretations. Through close philological examination of the words for "sin," in particular the Hebrew hata' and the Greek hamartia, he traces their uses over the centuries in four chapters, and concludes that the common modern definition of sin as a violation of divine law indeed has antecedents in classical Greco-Roman conceptions, but acquired a wholly different sense in the Hebrew Bible and New Testament.

Aside from the well-known plays of Aristophanes, many of the comedies of ancient Greece are known only through fragments and references written in Greek. Now a group of distinguished scholars brings these nearly lost works to modern readers with lively English translations of the surviving texts. The Birth of Comedy brings together a wealth of information on the first three generations of Western comedy. The translations, presented in chronological order, are based on the universally praised scholarly edition in Greek, Poetae Comici Graeci, by R. Kassel and C. A. Austin. Additional chapters contain translations of texts relating to comedy at dramatic festivals, staging, audience, and ancient writers on comedy. The main text is supplemented by an introduction assessing the fragments' contributions to the political, social, and theatrical history of classical Athens and more than forty illustrations of comic scenes, costumes, and masks. A glossary of komoidoumenoi-the ancient word for "people mentioned in comedies"-provides background information on the most notorious comic victims. A full index includes not only authors, play titles, and persons mentioned, but themes from the whole Greek comic sphere (including politics, literature and philosophy, celebrities and social scandals, cookery and wine, sex, and wealth).

This book explores the social institutions, the prevailing social values, and the ideology of the ancient city-state as revealed in Roman Comedy. "The very essence of comedy is social," writes David Konstan, "and in the complex movement of its plots we may be able to discern the lineaments and contradictions of the reigning ideas of an age." David Konstan looks closely at eight plays: Plautus's Aulularia, Asinaria, Captivi, Rudens, Cistellaria, and Truculentus, and Terence's Phormio and Hecyra. Offering new interpretations of each, he develops a "typology of plot forms" by analyzing structural features and patterns of conventional behavior in the plays, and he relates the results of his literary analysis to contemporary social conditions. He argues that the plays address tensions that were potentially disruptive to the ancient city-state, and that they tended to resolve these tensions in ways that affirmed traditional values. Roman Comedy is an innovative and challenging book that will be welcomed by students of classical literature, ancient social history, the history of the theater, and comedy as a genre.

Latin plays were written for audiences whose gender perspectives and expectations were shaped by life in Rome, and the crowds watching the plays included both female citizens and female slaves. Relationships between men and women, ideas of masculinity and femininity, the stock characters of dowered wife and of prostitute-all of these are frequently staged in Roman tragedies and comedies. This is the first book to confront directly the role of women in Roman Republican plays of all genres, as well as to examine the role of gender in the influence of this tradition on later dramatists from Shakespeare to Sondheim.

Those who study the nature of beauty are at once plagued by a singular issue: what does it mean to say something is beautiful? On the one hand, beauty is associated with erotic attraction; on the other, it is the primary category in aesthetics, and it is widely supposed that the proper response to a work of art is one of disinterested contemplation. At its core, then, beauty is a contested concept, and both sides feel comfortable appealing to the authority of Plato, and via him, to the ancient Greeks generally. So, who is right--if either?
Beauty offers an elegant investigation of ancient Greek notions of beauty and, in the process, sheds light on modern aesthetics and how we ought to appreciate the artistic achievements of the classical world itself. The book begins by reexamining the commonly held notion that the ancient Greeks possessed no term that can be unambiguously defined as "beauty" or "beautiful." Author David Konstan discusses a number of Greek approximations before positioning the heretofore unexamined term kallos as the key to bridging the gap between beauty and desire, and tracing its evolution as applied to physical beauty, art, literature, and more. Throughout, the discussion is enlivened with thought-provoking stories taken from Homer, Plato, Xenophon, Plutarch, and others. The book then examines corresponding terms in ancient Latin literature to highlight the survival of Greek ideas in the Latin West. The final chapter will compare the ancient Greek conception of beauty with modern notions of beauty and aesthetics. In particular, the book will focus on the reception of classical Greek art in the Renaissance and how Vasari and his contemporaries borrowed from Plato the sense that the beauty in art was transcendental, but left out the erotic dimension of viewing. A study of the ancient Greek idea of beauty shows that, even if Greece was the inspiration for modern aesthetic ideals, the Greek view of the relationship between beauty and desire was surprisingly consistent--and different from our own. Through this magisterial narrative, it is possible to identify how the Greeks thought of beauty, and what it was that attracted them. Their perceptions still have something important to tell us about art, love, desire--and beauty."

Until the launch of this series nearly twenty years ago, the 15,000 volumes of the ancient Greek commentators on Aristotle, written mainly between 200 and 600 AD, constituted the largest corpus of extant Greek philosophical writings not translated into English or other European languages. Aspasius' commentary on the "Nicomachean Ethics," of which six books have come down to us, is the oldest surviving Greek commentary on any of Aristotle's works, dating to the middle of the second century AD. It offers precious insight into the thinking and pedagogical methods of the Peripatetic school in the early Roman Empire, and provides illuminating discussions of numerous technical points in Aristotle's treatise, along with valuable excursuses on such topics as the nature of the emotions. This is the first complete translation of Aspasius' work in any modern language.

Book Six of Aristotle's Physics, which concerns the continuum, shows Aristotle at his best. It contains his attack on atomism which forced subsequent Greek and Islamic atomists to reshape their views entirely. It also elaborates Zeno's paradoxes of motion and the famous paradoxes of stopping and starting. This is the first translation into any modern language of Simplicius' commentary on Book Six. Simplicius, the greatest ancient authority on Aristotle's Physics whose works have survived to the present, lived in the sixth century A.D. He produced detailed commentaries on several of Aristotle's works. Those on the Physics, which alone come to over 1300 pages in the original Greek, preserve not only a centuries-old tradition of ancient scholarship on Aristotle but also fragments of lost works by other thinkers, including both the Presocratic philosophers and such Aristotalians as Eudemus, Theophrastus and Alexander. The Physics contains some of Aristotle's best and most enduring work, and Simplicius' commentaries are essential to an understanding of it. This volume makes the commentary on Book Six accessible at last to all scholars, whether or not they know classical Greek. It will be indispensible for students of classical philosophy, and especially of Aristotle, as well as for those interested in philosophical thought of late antiquity. It will also be welcomed by students of the history of ideas and philosophers interested in problem mathematics and motion.