Virgil:Critical Assessments collects eighty-four of the most important articles on Virgil published in the last hundred years, many of which remain the starting-points for modern scholarship and criticism. The set gathers together articles from a wide range of journals in English, as well as from the German and Italian traditions of Virgil studies, some in new translations, which would not otherwise be available.
The selections are arranged under the following headings:
* general articles, including a discussion of the influence of Lucretius' poetry on the Virgilian corpus
* the Eclogues, containing critical interpretations of all ten of Virgil's bucolic poems, an exploration of the Greek sources and a discussion of the complex poetic structure of the Eclogues
* the Georgics, incorporating an examination of the agricultural methods detailed in the poem, an exploration of the Augustan and Roman themes implicit in the poem and critical interpretations of all four books
* the Aeneid, featuring a discussion of the similarities between Virgil's Aeneas and Homer's Achilles, an exploration of the epic genre and crucial recurring themes in the Aeneid, an examination of Virgilian similes and a study of the Homeric allusions of the poem.
In volumes II-IV general studies on the works are followed by items on the individual poems and books.

This is a wide-ranging collection of essays on ancient Roman literary careers and their reception in later European literature, with contributions by leading experts. Starting from the three major Roman models for constructing a literary career - Virgil (the rota Vergiliana), Horace and Ovid - the volume then looks at alternative and counter-models in antiquity: Propertius, Juvenal, Cicero and Pliny. A range of post-antique responses to the ancient patterns is examined, from Dante to Wordsworth, and including Petrarch, Shakespeare, Milton, Marvell, Dryden and Goethe. These chapters pose the question of the continuing relevance of ancient career models as ideas of authorship change over the centuries, leading to varying engagements and disengagements with classical literary careers. The volume also considers other ways of concluding or extending a literary career, such as bookburning and figurative metempsychosis.

This major study of Ovid's poetry is the first significant analysis of the importance of illusion and the conjuring presence throughout his work. Modern theoretical approaches examine the topic from the points of view of poetics and rhetoric, aesthetics, the psychology of desire, philosophy, religion, and politics. There are also case studies of the reception of Ovid's poetics of illusion in Renaissance and modern literature and art. The book will interest those studying Latin and later European literature. Foreign language sections are accompanied by English translations.

First published in 1984, John Hardy's important interpretation of Jane Austen's heroines breaks through the accepted tradition of viewing the author as merely a rational comedienne of manners. He argues instead that Jane Austen's greatness lies in her exploration of human relationships through the subtle and original portrayal of her heroines. Jane Austen's heroines come to enjoy a distinctive relationship with the men they eventually marry. Between her lovers the potential exists for the kind of intimacy that leads to a shared privacy. Austen's recognition of this represents her special insight into what is of central importance in human relationships. Her belief that love and friendship are our only hope of triumphing over solitude, and the character and integrity of her heroines, are the major elements which make Jane Austen's novels so satisfying.

First published in 1984, John Hardy's important interpretation of Jane Austen's heroines breaks through the accepted tradition of viewing the author as merely a rational comedienne of manners. He argues instead that Jane Austen's greatness lies in her exploration of human relationships through the subtle and original portrayal of her heroines.

Jane Austen's heroines come to enjoy a distinctive relationship with the men they eventually marry. Between her lovers the potential exists for the kind of intimacy that leads to a shared privacy. Austen's recognition of this represents her special insight into what is of central importance in human relationships. Her belief that love and friendship are our only hope of triumphing over solitude, and the character and integrity of her heroines, are the major elements which make Jane Austen's novels so satisfying.

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 stimulated responses and refashioning 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 five 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 second volume covers the years 1558-1660, and explores the reception of the ancient genres and authors in English Renaissance literature, engaging with the major, and many of the minor, writers of the period, including Shakespeare, Marlowe, Spenser, and Jonson. Separate chapters examine the Renaissance institutions and contexts which shape the reception of antiquity, and an annotated bibliography provides substantial material for further reading.

A unique look at how classical notions of ascent and flight preoccupied early modern British writers and artists Between the late sixteenth century and early nineteenth century, the British imagination-poetic, political, intellectual, spiritual and religious-displayed a pronounced fascination with images of ascent and flight to the heavens. Celestial Aspirations explores how British literature and art during that period exploited classical representations of these soaring themes-through philosophical, scientific and poetic flights of the mind; the ascension of the disembodied soul; and the celestial glorification of the ruler. From textual reachings for the heavens in Spenser, Marlowe, Shakespeare, Donne and Cowley, to the ceiling paintings of Rubens, Verrio and Thornhill, Philip Hardie focuses on the ways that the history, ideologies and aesthetics of the postclassical world received and transformed the ideas of antiquity. In England, narratives of ascent appear on the grandest scale in Milton's Paradise Lost, an epic built around a Christian plot of falling and rising, and one of the most intensely classicizing works of English poetry. Examining the reception of flight up to the Romanticism of Wordsworth and Tennyson, Hardie considers the Whig sublime, as well as the works of Alexander Pope and Edward Young. Throughout, he looks at motivations both public and private for aspiring to the heavens-as a reward for political and military achievement on the one hand, and as a goal of individual intellectual and spiritual exertion on the other. Celestial Aspirations offers an intriguing look at how creative minds reworked ancient visions of time and space in the early modern era.

This is a wide-ranging collection of essays on ancient Roman literary careers and their reception in later European literature, with contributions by leading experts. Starting from the three major Roman models for constructing a literary career - Virgil (the rota Vergiliana), Horace and Ovid - the volume then looks at alternative and counter-models in antiquity: Propertius, Juvenal, Cicero and Pliny. A range of post-antique responses to the ancient patterns is examined, from Dante to Wordsworth, and including Petrarch, Shakespeare, Milton, Marvell, Dryden and Goethe. These chapters pose the question of the continuing relevance of ancient career models as ideas of authorship change over the centuries, leading to varying engagements and disengagements with classical literary careers. The volume also considers other ways of concluding or extending a literary career, such as bookburning and figurative metempsychosis.

Lucretius' 'De rerum natura', one of the greatest Latin poems, worked a powerful fascination on Virgil and Horace, and continued to be an important model for later poets in antiquity and after, including Milton. This innovative set of studies on the reception of Lucretius is organized round three major themes: history and time, the sublime, and knowledge. The 'De rerum natura' was foundational for Augustan poets' dealings with history and time in the new age of the principate. It is also a major document in the history of the sublime; Virgil and Horace engage with the Lucretian sublime in ways that exercised a major influence on the sublime in later antique and Renaissance literature. The 'De rerum natura' presents a confident account of the ultimate truths of the universe; later didactic and epic poets respond with varying degrees of certainty or uncertainty to the challenge of Lucretius' Epicurean gospel.

The Latin word fama means 'rumour', 'report', 'tradition', as well as modern English 'fame' or 'renown'. This magisterial and groundbreaking study in the literary and cultural history of rumour and renown, by one of the most influential living critics of Latin poetry, examines the intricate dynamics of their representations from Homer to Alexander Pope, with a focus on the power struggles played out within attempts to control the word, both spoken and written. Central are the personifications of Fama in Virgil and Ovid and the rich progeny spawned by them, but the book focuses on a wide range of genres other than epic, and on a variety of modes of narrating, dramatising, critiquing and illustrating fama. Authors given detailed readings include Livy, Tacitus, Petrarch, Chaucer, Spenser, Shakespeare, Ben Jonson and Milton.

The Ancient Lives of the poet Virgil, written in prose (and sometimes in verse), have long enjoyed great, though controversial, influence. Modern critics have often been scornful of these Lives, for trying to construct biography of the poet from allegorical reading of his verse. Yet some elements of the Lives are trusted, and quietly adopted as canonical, most notably the dating of Virgil's death. Some vignettes in the Lives have been cherished for their image of an emotive poet, as when Virgil, by evoking in verse the premature death of Augustus' nephew Marcellus, caused the young man's bereaved mother to faint. Less romantic detail from the Lives, as of Virgil's privileged material circumstances at the heart of the Augustan regime, has been less regarded. The present volume, from a distinguished international team, aims to revalue the Ancient Lives of Virgil from a variety of angles and in a variety of scholarly genres. The allegory within the Lives is here studied for its own sake, and shown to be part of a developed Graeco-Roman school of interpretation. The literary character of the verse Life attributed to Phocas is respectfully analysed. Certain political references within the best-known prose Life, the Suetonian-Donatan', are shown to be apparently independent of allegory, and to be worth prospecting for new information on the poet's personal history. And ideas of Virgil received and developed with brio in the Middle Ages and the Renaissance are here traced back to the Ancient Lives of the poet composed in Antiquity.

Lucretius' didactic poem De rerum natura ('On the Nature of Things') is an impassioned and visionary presentation of the materialist philosophy of Epicurus, and one of the most powerful poetic texts of antiquity. After its rediscovery in 1417 it became a controversial and seminal work in successive phases of literary history, the history of science, and the Enlightenment. In this 2007 Cambridge Companion experts in the history of literature, philosophy and science discuss the poem in its ancient contexts and in its reception both as a literary text and as a vehicle for progressive ideas. The Companion is designed both as an accessible handbook for the general reader who wishes to learn about Lucretius, and as a series of stimulating essays for students of classical antiquity and its reception. It is completely accessible to the reader who has only read Lucretius in translation.

Ovid's poetry is haunted obsessively by a sense both of the living fullness of the texts and of the emptiness of these 'insubstantial pageants'. This major study touches on the whole of Ovid's output, from the Amores to the exile poetry, and is an overarching treatment of illusionism and the textual conjuring of presence in the corpus. Modern critical and theoretical approaches, accompanied by close readings of individual passages, examine the topic from the points of view of poetics and rhetoric, aesthetics, the psychology of desire, philosophy, religion and politics. There are also case studies of the reception of Ovid's poetics of illusion in Renaissance and modern literature and art. The book will interest students and scholars of Latin and later European literatures. All foreign languages are accompanied by translations.

A companion to one of the greatest writers of classical antiquity, and arguably the single most influential ancient poet for post-classical literature and culture, is long overdue. Chapters by leading authorities discuss the backgrounds and contexts for Ovid, the individual works, and his influence on later literature and art. Coverage of essential information is combined with exciting new critical approaches.

This volume is a replacement for "Greece and Rome New Survey on Virgil" by R.D. Williams. A brief introduction on historical and bibliographical contexts is followed by three chapters on each of Virgil's major works - the "Eclogues", "Georgics" and "Aeneid", providing both a critical survey of each poem and a guide to the present state of Virgil studies, with extensive bibliographical notes. A final chapter offers a close reading of the end of "Aeneid 5" as an object lesson in the practical criticism of a discrete section of text. Each chapter is designed both as a self-contained introduction to its subject and as a guide to further study.

Aeneid IX marks the beginning of the full-scale narrative of the war between the Trojans and Turnus' Italians which occupies the last quarter of the epic. Two days during which Turnus launches a siege-assault on the Trojan camp while Aeneas is absent are separated by the nocturnal interlude of the ill-fated expedition of the romantic young Trojans Nisus and Euryalus. In this, the first major single-volume commentary in English on the book, Dr Hardie explores Virgil's transformation of Homeric models of battle narrative in the service of contemporary Roman ideology. The volume includes a detailed linguistic and thematic commentary on the text, and an introduction consisting of a series of interpretative essays on the book.

This short book is a study of the epic tradition of the early Roman empire and specifically of the epic poems of Ovid, Lucan, Statius, Valerius Flaccus and Silius Italicus. It explores the use they made of Virgil's Aeneid, an epic interpreted not just as a monument to the heroic construction of the principate, but also as a problematical text that challenged succeeding epic poets to a reworking of the issues that it dramatised: the possibility of establishing a lasting age of peace, the relation between power and the sacred, the difficulties of distinguishing between good and its evil parodies, anxiety about imperial and poetic succession. The author draws on modern critical and theoretical approaches to argue for the vitality and interest of works which have all too often been relegated to a second division of literary history.

A companion to one of the greatest writers of classical antiquity, and arguably the single most influential ancient poet for post-classical literature and culture, is long overdue. Chapters by leading authorities discuss the backgrounds and contexts for Ovid, the individual works, and his influence on later literature and art. Coverage of essential information is combined with exciting new critical approaches.

The literature and art of Augustan Rome are often thought of as the product of an age of high classicism, characterized by maturity, balance, and harmony. This volume examines the presence of what might be seen as an unclassical love of paradox and the marvellous, and shows that it is an important strain in the poetry of Virgil, Horace, and Ovid, as well as in prose works of history and rhetoric, and in the Augustan visual arts. The volume includes chapters by some of the leading experts in the Augustan period as well as a number of younger scholars. It will be of interest to all students of Roman literature and culture.

Lucretius' didactic poem De rerum natura ('On the Nature of Things') is an impassioned and visionary presentation of the materialist philosophy of Epicurus, and one of the most powerful poetic texts of antiquity. After its rediscovery in 1417 it became a controversial and seminal work in successive phases of literary history, the history of science, and the Enlightenment. In this 2007 Cambridge Companion experts in the history of literature, philosophy and science discuss the poem in its ancient contexts and in its reception both as a literary text and as a vehicle for progressive ideas. The Companion is designed both as an accessible handbook for the general reader who wishes to learn about Lucretius, and as a series of stimulating essays for students of classical antiquity and its reception. It is completely accessible to the reader who has only read Lucretius in translation.

The Latin word fama means 'rumour', 'report', 'tradition', as well as modern English 'fame' or 'renown'. This magisterial and groundbreaking study in the literary and cultural history of rumour and renown, by one of the most influential living critics of Latin poetry, examines the intricate dynamics of their representations from Homer to Alexander Pope, with a focus on the power struggles played out within attempts to control the word, both spoken and written. Central are the personifications of Fama in Virgil and Ovid and the rich progeny spawned by them, but the book focuses on a wide range of genres other than epic, and on a variety of modes of narrating, dramatising, critiquing, and illustrating fama. Authors given detailed readings include Livy, Tacitus, Petrarch, Chaucer, Spenser, Shakespeare, Ben Jonson and Milton.

The rediscovery in the fifteenth century of Lucretius' De rerum natura was a challenge to received ideas. The poem offered a vision of the creation of the universe, the origins and goals of human life, and the formation of the state, all without reference to divine intervention. It has been hailed in Stephen Greenblatt's best-selling book, The Swerve, as the poem that invented modernity. But how modern did early modern readers want to become? This collection of essays offers a series of case studies which demonstrate the sophisticated ways in which some readers might relate the poem to received ideas, assimilating Lucretius to theories of natural law and even natural theology, while others were at once attracted to Lucretius' subversiveness and driven to dissociate themselves from him. The volume presents a wide geographical range, from Florence and Venice to France, England, and Germany, and extends chronologically from Lucretius' contemporary audience to the European Enlightenment. It covers both major authors such as Montaigne and neglected figures such as Italian neo-Latin poets, and is the first book in the field to pay close attention to Lucretius' impact on political thought, both in philosophy - from Machiavelli, through Hobbes, to Rousseau - and in the topical spin put on the De rerum natura by translators in revolutionary England. It combines careful attention to material contexts of book production and distribution with close readings of particular interpretations and translations, to present a rich and nuanced profile of the mark made by a remarkable poem.

After centuries of near silence, Latin poetry underwent a renaissance in the late fourth and fifth centuries CE evidenced in the works of key figures such as Ausonius, Claudian, Prudentius, and Paulinus of Nola. This period of resurgence marked a milestone in the reception of the classics of late Republican and early imperial poetry. In Classicism and Christianity in Late Antique Latin Poetry, Philip Hardie explores the ways in which poets writing on non-Christian and Christian subjects used the classical traditions of Latin poetry to construct their relationship with Rome's imperial past and present, and with the by now not-so-new belief system of the state religion, Christianity. The book pays particular attention to the themes of concord and discord, the "cosmic sense" of late antiquity, novelty and renouatio, paradox and miracle, and allegory. It is also a contribution to the ongoing discussion of whether there is an identifiably late antique poetics and a late antique practice of intertextuality. Not since Michael Robert's classic The Jeweled Style has a single book had so much to teach about the enduring power of Latin poetry in late antiquity.

The establishment of the Augustan regime presents itself as the assertion of order and rationality in the political, ideological, and artistic spheres, after the disorder and madness of the civil wars of the late Republic. But the classical, Apollonian poetry of the Augustan period is fascinated by the irrational in both the public and private spheres. There is a vivid memory of the political and military furor that destroyed the Republic, and also an anxiety that furor may resurface, that the repressed may return. Epic and elegy are both obsessed with erotic madness: Dido experiences in her very public role the disabling effects of love that are both lamented and celebrated by the love elegists. Didactic (especially the Georgics) and the related Horatian exercises in satire and epistle, offer programmes for constructing rational order in the natural, political, and psychological worlds, but at best contain uneasily an ever-present threat of confusion and backsliding, and for the most part fall short of the austere standards of rational exposition set by Lucretius. Dionysus and the Dionysiac enjoy a prominence in Augustan poetry and art that goes well beyond the merely ornamental. The person of the emperor Augustus himself tests the limits of rational categorization. Augustan Poetry and the Irrational contains contributions by some of the leading experts of the Augustan period as well as a number of younger scholars. An introduction which surveys the field as a whole is followed by chapters that examine the manifestations of the irrational in a range of Augustan poets, including Virgil, Horace, Ovid, and the love elegists, and also explore elements of post-classical reception.

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 stimulated responses and refashioning 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 five 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 second volume, and third to appear in the series, covers the years 1558-1660, and explores the reception of the ancient genres and authors in English Renaissance literature, engaging with the major, and many of the minor, writers of the period, including Shakespeare, Marlowe, Spenser, and Jonson. Separate chapters examine the Renaissance institutions and contexts which shape the reception of antiquity, and an annotated bibliography provides substantial material for further reading.