Ancestral fault is a core idea of Greek literature. 'The guiltless will pay for the deeds later: either the man's children, or his descendants thereafter', said Solon in the sixth century BC, a statement echoed throughout the rest of antiquity. This notion lies at the heart of ancient Greek thinking on theodicy, inheritance and privilege, the meaning of suffering, the links between wealth and morality, individual responsibility, the bonds that unite generations and the grand movements of history. From Homer to Proclus, it played a major role in some of the most critical and pressing reflections of Greek culture on divinity, society and knowledge. The burning modern preoccupation with collective responsibility across generations has a long, deep antecedent in classical Greek literature and its reception. This book retraces the trajectories of Greek ancestral fault and the varieties of its expression through the many genres and centuries where it is found.

This volume explores how the choruses of Ancient Greek tragedy creatively combined media and discourses to generate their own specific forms of meaning. The contributors analyse choruses as fictional, religious and civic performers; as combinations of text, song and dance; and as objects of reflection in themselves, in relation and contrast to the choruses of comedy and melic poetry. Drawing on earlier analyses of the social context of Greek drama, the non-textual dimensions of tragedy, and the relations between dramatic and melic choruses, the chapters explore the uses of various analytic tools in allowing us better to capture the specificity of the tragic chorus. Special attention is given to the physicality of choral dancing, musical interactions between choruses and actors, the trajectories of reception, and the treatment of time and space in the odes.

Cosmography is defined here as the rhetoric of cosmology: the art of composing worlds. The mirage of Hyperborea, which played a substantial role in Greek religion and culture throughout Antiquity, offers a remarkable window into the practice of composing and reading worlds. This book follows Hyperborea across genres and centuries, both as an exploration of the extraordinary record of Greek thought on that further North and as a case study of ancient cosmography and the anthropological philology that tracks ancient cosmography. Trajectories through the many forms of Greek thought on Hyperborea shed light on key aspects of the cosmography of cult and the cosmography of literature. The philology of worlds pursued in this book ranges from Archaic hymns to Hellenistic and Imperial reconfigurations of Hyperborea. A thousand years of cosmography is thus surveyed through the rewritings of one idea. This is a book on the art of reading worlds slowly.

Ancestral fault is a core idea of Greek literature. 'The guiltless will pay for the deeds later: either the man's children, or his descendants thereafter', said Solon in the sixth century BC, a statement echoed throughout the rest of antiquity. This notion lies at the heart of ancient Greek thinking on theodicy, inheritance and privilege, the meaning of suffering, the links between wealth and morality, individual responsibility, the bonds that unite generations and the grand movements of history. From Homer to Proclus, it played a major role in some of the most critical and pressing reflections of Greek culture on divinity, society and knowledge. The burning modern preoccupation with collective responsibility across generations has a long, deep antecedent in classical Greek literature and its reception. This book retraces the trajectories of Greek ancestral fault and the varieties of its expression through the many genres and centuries where it is found.

This volume explores how the choruses of Greek tragedy creatively combined media and discourses to generate their own specific forms of meaning. The contributors analyse choruses as fictional, religious and civic performers; as combinations of text, song and dance; and as objects of reflection in themselves, in relation and contrast to the choruses of comedy and melic poetry. Drawing on earlier analyses of the social context of Greek drama, the non-textual dimensions of tragedy, and the relations between dramatic and melic choruses, the chapters explore the uses of various analytic tools in allowing us better to capture the specificity of the tragic chorus. Special attention is given to the physicality of choral dancing, musical interactions between choruses and actors, the trajectories of reception, and the treatment of time and space in the odes.