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Situated in the centre of the Saronic Gulf, the island of Aegina has long been recognized as a powerful force in the cultural, political, economic, and strategic history of fifth-century Greece. The island is well known as the original home of the magnificent Doric architecture and sculpture of the Temple of Aphaia and of many of the patrons of the epinician poets Pindar and Bacchylides; with a thriving maritime economy and an effective navy, Aegina was powerful enough to challenge the security and ambitions of its neighbour Athens, by whom it was reduced to a kleruchy at the start of the Peloponnesian War. Many of the fascinating aspects of the island within the history and culture of fifth-century Greece have, however, been studied separately, rendering a rounded view of the significance of the island, and the significance of the island's choral lyric poetry, difficult. This volume aims to redress the balance by suggesting ways in which the different aspects of the island's make-up can fruitfully be explored together. Eleven chapters by established and younger scholars examine different aspects of the island's nature, and factors which link them: mythological genealogies, economics, cult song, religion, athletics, epinician poetry, inter-state networking, aristocratic politics and culture, art history, and the views of the island offered by classical historiography. The interdisciplinary nature of the volume aims to provide new insights into the diversity and significance of classical Greek history and culture, as well as being suggestive for future research on the cultural and political diversity of classical Greece.

This book is a comprehensive study of the methods of interpreting myths developed by the Greeks, adopted by the Romans, and passed on to Jewish and Christian interpreters of the Bible. Methods of interpretation are closely related to developments in Greek philosophy from the Presocratics to the Neoplatonists. Most Greeks viewed myths as the creation of poets, especially Homer and Hesiod, or else as an ancient revelation corrupted by them. In the first instance, critics sought in the intention of the authors some deeper truth, whether physical or spiritual; in the second, they deemed it necessary to clear away poetic falsehoods in order to recapture an ancient revelation. Early Greek historians attempted to explain myths as exaggerated history; myths could be purified by logos (reason) and rendered believable. Practically all of these early methods could be lumped under the term “allegory”—to intend something different from what one expressed. Occasionally, philosophers veered from a concern for the literal truth of myths. A few thinkers, while acknowledging myths as fictions, defended their value for the examples of good and bad human behavior they offered. These early efforts were invaluable for the development of critical thinking, enabling public criticism of even the most authoritative texts. The Church Fathers took the interpretative methods of their pagan contemporaries and applied them to their reading of the scriptures. Greek methods of myth interpretation passed into the Middle Ages and beyond, serving as a perennial defense against the damaging effects of scriptural literalism and fundamentalism.

Commonly understood as a modern conceptual invention rather than the discovery of a psychic reality, the notion of the unconscious is often criticized by traditional classicists as an anachronistic lens, one that ineluctably subjects ancient experience to modern patterns of thought. The book challenges this ambivalent theoretical disposition toward the psychoanalytic concept by offering an interpretation of the unconscious, explaining why this concept is in fact inseparable from, and crucial for, the study of the ancient text and more generally for the methodology of classical philology. The book thus examines the complicated, often conflicted, relationship between classical studies and psychoanalytic theory. The Ancient Unconscious considers the debate over whether the ancients had an unconscious as an invitation to rethink the relationship between antiquity and modernity. While antiquity does not provide organic provenance for modernity, it is nevertheless the case that despite the cultural and historical distance, the two epochs are firmly connected. The book investigates the meaning of the textual ties created by arbitrary, spontaneous, and unintentional contacts between the past and its future. Understanding the meaning of textuality through contact between times, historical moments that have no priority under the law of chronology, goes hand in hand with the book’s interpretation of the unconscious. Associations and connections between the past and its future—including the present—belong to the sphere of the unconscious. This latter is primarily employed here in order to study the inherent, often hidden links that bind modernity to classical antiquity, modern to ancient experiences.

The volume assesses the changing impact on English culture over 500 years of Ariosto’s poem, the Orlando Furioso, first published in Italy in 1516, and subsequently in an expanded version in 1532. Individual chapters address the recurring presence of Ariosto’s poem in English literature, but also the multimedial nature of the transmission of the Furioso into English culture: through the visual arts, theatre, music and spectacle to video games and the internet, as well as through often heated critical debates. The introduction provides an overview of the history of criticism and interpretation of the Furioso in England. Within the four main sections – entitled: Before reading – the image; From the Elizabethans to the Enlightenment; Gothic and Romantic Ariosto; Text and translation in the modern era – individual studies explore key moments in the reception of the poem into English culture: the adaptation and translation of the poem among the Elizabethans; Milton’s detailed appreciation of the work; and the ambivalent attitudes of eighteenth-century writers and critics; the influence of illustrations to the poem; and its transformation into opera for the English stage. Emphasis is also placed on: the dynamic responses of Romantic writers to Ariosto; the crucial work of editors and translators in the nineteenth and twentieth centuries; and the stimulating adaptations and rewritings by modern authors. The volume concludes with a comprehensive bibliography.

This collection of essays on Ovid's corpus of erotodidactic poetry from an international contingent of Ovidian scholars finds its origins in a major conference held at the University of Manchester in 2002. The contributors between them offer a series of perspectives on the issues that have dominated scholarship on the poems in recent decades: questions of genre, intertextuality, narratology, and reception; the socio-historical Augustan context for the poems; and the nature of ‘love’ as it is constructed in the poems. Moreover, the introduction provides a comprehensive history of scholarship on the poems in the last fifty years, in which the current papers are situated. As the first collection of critical essays on Ovid's erotodidactic poetry to appear in English, one final aim of the present volume (and its original conference) is to bring together the important cultural or national traditions – German, Italian, Anglophone (British, Irish, and American) – of scholarship on the Ars and Remedia that have so far existed largely in isolation.

This book provides a series of studies of the ways in which the major Augustan poets construct and explore images of the Roman Republic. It stands at the intersection between literature and history, offering an original and important exploration of an under-researched subject. The book’s explorations of the ways in which memories of the Roman Republic function in early imperial literature have illustrated the potential richness of this topic. Crucially, however, the book begins his survey with the age of Tiberius. In doing so, it underlines in the clearest possible way the liminal status of the Augustan period, with its inherent tensions between a rhetoric based on the idea of res publica restituta and the expression of the need for a radical renewal of the Roman political system after decades of civil strife. This volume attempts to examine some of the ways in which the major Roman poets deal with these and related issues, by providing a collection of studies of the various ways in which individual Augustan texts handle the idea of the Roman Republic. It has long been recognised that literary texts can provide us with insights into the realities and ideologies of the age. But in order to exploit fully the potential of this line of enquiry and open up lines of further research into the ways in which the Augustan poets explore the Roman past, much work remains to be done. This volume attempts to open up this vast topic by exploring some of the ways in which Vergil, Horace, Propertius and Ovid, can be seen as constructing and investigating images of the Roman past as a specifically Republican history. The contributors are all experts in the field of Augustan poetry. The book contains an introduction which contextualizes the whole topic in light of recent research. It also contains an epilogue which surveys the book’s contribution to on-going debates about literature, history and memory. In between, the book contains fifteen chapters.

This book combines close literary analysis of Bacchylides' poetry with detailed discussion of the central role poetry played in a variety of differing political contexts throughout Greece in the early 5th century BC. In Bacchylides' praise poetry, it is argued, the poet manipulates a wide range of earlier Greek literature not only to elevate the status of his wealthy patrons, but also to provoke thought about the nature of political power and aristocratic society. New light is also shed on Bacchylides' Dithyrambs, through detailed discussion of the evidence for the kuklios khoros (‘circular chorus’) and its relation to a variety of different religious festivals, especially within democratic Athens. The links created between literary concerns and cultural contexts reinvigorate these underappreciated poems and reveal their central importance for the self-definition of political communities.

The region of Campania with its fertility and volcanic landscape was greatly influential on the Roman cultural imagination. The Bay of Naples was a centre outside the city of Rome, a place of otium, leisure and quiet, repose and literary productivity. And yet this is also a place of danger: Vesuvius inspires the inhabitants with fear and awe and, in addition to the majestic presence of the mountain, the Phlegraean Fields evoke the story of the gigantomachy, whilst sulphurous lakes invite entry to the Underworld. For the Flavian writers, in particular, Campania becomes a locus for literary activity and geographical disaster. In 79 CE, the eruption of Vesuvius annihilates a great expanse of the region, burying under a mass of ash and lava the cities of Pompeii, Herculaneum, and Stabiae. In the aftermath of such tragedy the writers examined in this volume, Martial, Silius Italicus, Statius, and Valerius Flaccus, continue to live, work, and write about Campania, an alluring region of luxury and peril.

This book studies the social and ethical formation of selected characters in ancient Greek epic and tragedy. Its point of departure is the claim made by Achilles’ tutor Phoenix, who reminds his former pupil, “I made you the man you are” (Homer, Iliad 9.485) as he pleads with him to let go of his anger. Following an introduction that sketches the conceptual background for literary representations of teaching and learning, Chapter 1 considers the pedagogic persona of Cheiron the centaur, the first teacher in the Greek tradition. Chapters 2 and 3 focus on the Iliadic Achilles, who achieves maturity by way of successive crises of disillusionment and empathy and who becomes an influential prototype for tragedy. Chapter 4 discusses Telemachus and Odysseus in the Odyssey; Chapter 5, Ajax in his name play; Chapter 6, Neoptolemus in Philoctetes; Chapter 7, Hippolytus in his name play, with an excursus on Ion; and Chapter 8, Achilles and Iphigenia in Iphigenia in Aulis, with a preliminary discussion of Nausicaa in the Odyssey. A coda summarizes results and takes note of the perennial lure (despite its uncertain results) of the educational enterprise for communities, students, and teachers.

Classical Traditions in Modern Fantasy is the first collection of essays in English focusing on how fantasy draws deeply on ancient Greek and Roman myth, philosophy, literature, history, art, and cult practice. Presenting 15 all-new essays intended for both scholars and other readers of fantasy, this volume explores many of the most significant examples of the modern genre—including the works of H. P. Lovecraft, J. R. R. Tolkien’s The Hobbit, C. S. Lewis’s Chronicles of Narnia, J. K. Rowling’s Harry Potter series, George R. R. Martin’s Game of Thrones series, and more—in relation to important ancient texts such as Aeschylus’ Oresteia, Aristotle’s Poetics, Virgil’s Aeneid, and Apuleius’ The Golden Ass. These varied studies raise fascinating questions about genre, literary and artistic histories, and the suspension of disbelief required not only of readers of fantasy but also of students of antiquity. Ranging from harpies to hobbits, from Cyclopes to Cthulhu, the comparative study of Classics and fantasy reveals deep similarities between ancient and modern ways of imagining the world. Although antiquity and the present day differ in many ways, at its base, ancient literature resonates deeply with modern fantasy's image of worlds in flux and bodies in motion.

This book traces the reception history of Catullus in Romantic-era Britain. It was in this turbulent period of British history that Catullus’ whole book of poems was first translated into English, and the poet first achieved widespread canonical status. In between John Nott’s pioneering book-length bilingual edition of Catullus (1795) and George Lamb’s polished verse translation (1821) there was a great deal of Catullan literary activity (translation and allusion). Building upon existing work in Romantic studies, the book shows how the so-called Cockney School was especially receptive to Catullus’ poetry. Chapter 1 focuses first on routes of access to Catullus’ poetry from the late seventeenth to the late eighteenth centuries, then compares the translations of Nott (1795) and Lamb (1821). Chapter 2—about Catullus’ 64th poem—begins with a comparative analysis of Charles Abraham Elton’s and Frank Sayers’s translations, and ends with a discussion about the reformist use of the poem by members of the Cockney School, including Leigh Hunt, John Keats, Thomas Love Peacock, and Barry Cornwall. The first section of Chapter 3 presents the non-cockney Catullan engagements of Walter Savage Landor, William Wordsworth, Thomas Moore, and Lord Byron. The second focuses on the Catullus found in the pages of the counter-revolutionary weekly journal The Anti-Jacobin (1797–8). The book closes with two chapters discussing the relationships between Catullus and Leigh Hunt and John Keats, respectively.

This volume investigates an important and widespread strategy in Latin literature which has to date received little sustained discussion: the deliberate assumption of a weaker voice by speakers who in fact hold sufficient status not to be forced into this position. Itself widely associated with the markers of imperial hegemony and elite speech, Latin literature comprises a broad range of phenomena that involve the strategic adoption of a markedly disempowered voice: topoi such as recusatio (professing a lack of ability to write in status-conforming, superior genres) and rhetorical devices such as prosopopoeia (artfully and strategically adopting a persona to garner favour, even when this means temporarily forfeiting one’s higher status and discursive privileges); works, such as Ovid’s Heroides with its long-silenced female heroines, and entire genres, such as satire with its irreverent take on the great and the good generically framed as articulated ‘from below’; and even large-scale cultural self-positionings such as expressions of Roman cultural inferiority vis-à-vis classical Greece or the tensions that arise between humble (yet spiritually superior) Christian writers and their grand, canonical, and classical (yet pagan) predecessors. This volume is dedicated to the literary and cultural-political possibilities opened up by assuming and speaking in voices of weakness and inferiority. It demonstrates that re-negotiating alleged weakness constitutes a central activity in Latin literature and plays a crucial role in establishing, perpetuating, and challenging hierarchies and values in a wide range of fields: from poetics and choices of genre to social status and intra- and intercultural relations.

Cratinus, one of the great lost poets of fifth-century Athenian comedy and a canonical author of the classical world, had a formative influence on the comic genre, including Aristophanes himself. In what is the first major monograph in the best part of a century devoted to this author, Emmanuela Bakola offers a modern, comprehensive overview of Cratinus and his position within the genre of Greek comedy using a methodologically innovative approach. Unlike traditional ways of addressing fragmentary drama, this book does not merely reconstruct plays or texts, but by drawing on a range of hermeneutic frameworks, it adopts a thematic approach which allows her to explore Cratinus' poetics. Major issues which this book addresses include the creation of a poetic persona within a performative tradition of vigorous interpoetic rivalry; comedy's interaction with lyric poetry, iambos, and the literary-critical debates reflected by these genres; the play with the boundaries of the comic genre and the interaction with satyr drama and tragedy, especially Aeschylus; the multiple levels of comic plot-construction and characterization; comedy's reflection on its immediate political, social, and intellectual context; stagecraft and dramaturgy; comedy and ritual. Whilst being firmly based on principles of rigorous textual analysis, philology, and papyrology, by taking a broad and diverse outlook this study offers not just an insight into Cratinus, but a way of opening up and enriching our understanding of fifth-century Athenian comedy in a dynamic evolving environment.

This book studies in detail the representations of Pasiphae, Ariadne, and Phaedra in Latin poetry. It investigates both the literary history of the myths (the Greek roots, the interactions between Roman versions) and their cultural resonance. In addition to close readings of the major treatments of each woman's story (in Catullus, Virgil, Ovid, and Seneca), the book offers extended thematic explorations of the importance of memory, wildness, and morality in the myths. By extending the net to encompass three women (all from the same ill-fated family), the book gives a clear picture of the complexity and fascinating interconnectedness of myths and texts in Ancient Rome.

The symposion is arguably the most significant and well-documented context for the performance, transmission, and criticism of archaic and classical Greek poetry. The Cup of Song explores how Greek poetry relates to the symposion considered as both an actual performance context and an imaginary space pregnant with social, political, and aesthetic implications. This collection of essays by an international group of leading scholars flashes light on different facets of this symbiotic relation of symposion and poetry across Greek literary history. It covers the entire span of Greek literature into its afterlife, from the Near Eastern origins of the Greek symposion in the eighth century to Horace’s evocations of his archaic models and Lucian’s knowing reworking of classic texts. The Introduction traces the running threads of sympotic poetry from its beginnings to the Hellenistic age, while each of the twelve chapters discusses one aspect of sympotic engagement by key authors in archaic and classical lyric, tragedy, comedy, and Hellenistic epigram, also taking into account the visual evidence of painted pottery. By examining this diverse body of texts from the unifying perspective of their relation to the symposion, with an eye to both the common features and the specificity of individual genres and texts, the volume attempts a characterization of the full spectrum of sympotic poetry.

This book develops an authentic and revolutionary musical analysis of ancient Greek poetry. It brings the interpretation of ancient verse into step with the sorts of analyses customarily enjoyed by works in all the more recent poetical and musical traditions. It departs from the abstract metrical analyses of the past in that it conceives the rhythmic and harmonic elements of poetry as integral to the whole expression, and decisive in the interpretation of its meaning. Such an analysis is now possible because of a new theory of the Greek tonic accent, set out in the third chapter, and its application to Greek poetry understood as choreia — the proper name for the art and work of ancient poets in both epic and lyric, described by Plato as a synthesis of dance rhythm and vocal harmony, in disagreement moving toward agreement. The book offers a thorough-going treatment of Homeric poetics: here some remarkable discoveries in the harmonic movement of epic verse, when combined with some neglected facts about the origin of the hexameter in a ‘dance of the Muses’, lead to essential new thinking about the genesis and the form of Homeric poetry. The book also gives a foretaste of the fruits to be harvested in lyric by a musical analysis, applying the new theory of the accent and considering concretely the role of dance in performance.

Prudentius is arguably the greatest Latin poet of late antiquity. This book provides the Latin text, a new English verse translation, and critical reviews on each of his twelve lyric poems, the Cathemerinon, Poems for the Day, which were published early in the fifth century ad. They reflect the religious concerns of the increasingly Christianized western Roman Empire in the age of the emperor Theodosius and Ambrose of Milan, but they are above all the writings of a private person, and of the ways in which his religious beliefs colour his everyday life. Several of these poems follow the day's course, from pre-dawn to mealtime and nightfall. Others celebrate Christ's miracles, cult of the dead, and the feasts of Christmas and Epiphany. They are rich in biblical themes and narratives, images and symbols. But they are written in the classical metres of Latin poetry, use its vocabulary and metaphors, and exploit its themes as much as those of the Bible. They achieve a remarkable creative tension between the two worlds that determined Prudentius' culture: the beliefs and practices, sacred books and doctrines of Christianity, and the traditions, poetry, and ideas of the Greeks and Romans. A good part of the attractiveness of these poems comes from the interplay in Prudentius' reception of these two worlds.

From a corpus of Greek epics known in antiquity as the “Epic Cycle,” six poems dealt with the same Trojan War mythology as the Homeric poems. Though they are now lost, these poems were much read and much discussed in ancient times, not only for their content but for their mysterious relationship with the more famous works attributed to Homer. This study shows that these lost poems belonged, compositionally, to essentially the same tradition as the Homeric poems. It demonstrates that various compositional devices well-known from the Homeric epics were also fundamental to the narrative construction of these later works. Yet while the “cyclic” poets constructed their works using the same traditional devices as Homer, they used these to different ends and with different results. The essential difference between cyclic and Homeric epics lies not in the fundamental building blocks from which they are constructed, but in the scale of these components relative to the overall construction of poems. This sheds important light on the early history of epic as a genre, since it is likely that these devices originally developed to provide large-scale structure to shorter poems and have been put to quite different use in the composition of the monumental Homeric epics. This study includes many new suggestions about the overall form of lost cyclic epics and about the meaning and context of the few surviving verse fragments.

Where does the Greek novel come from? This book argues that whereas much of Greek literature was committed to a form of cultural purism, presenting itself as part of a continuous tradition reaching back to definitively Greek founding fathers, the novel revelled in cultural hybridity. The earliest Greek novelistic literature combined Greek and non-Greek traditions (or at least affected to combine them: it is often hard to tell how ‘authentic’ the non-Greek material is). More than this, however, it also often self-consciously explored its own hybridity by focusing on stories of cultural hybridisation, or what we would now call ‘mixed race’ relations. This book is thus not a conventional account of the origins of the Greek novel: it is not an attempt to pinpoint the moment of invention, and to trace its subsequent development in a straight line. Rather, it makes a virtue of the murkiness, or ‘dirtiness’, of the origins of the novel: there is no single point of creation, no pure tradition, only transgression, transformation and mess. The novel thus emerges as an outlier within the Greek literary corpus: a form of literature written in Greek, but not always committing to Greek cultural identity. Dirty Love focuses particularly on the relationship between Persian, Egyptian, Jewish and Greek literature, and covers such texts as Ctesias’s Persica, Joseph and Aseneth, the Alexander Romance and the tale of Ninus and Semiramis.

The American modernist E.E. Cummings is not usually thought of as a classically-influenced poet. With his experimental form and syntax, his irreverence, and his rejection of the highbrow, there are probably very few current readers who would name Cummings if asked to identify twentieth-century Anglophone poets in the classical tradition. But for most of his life, and even for ten or twenty years after his death, this is how many readers and critics did see Cummings. Cummings specialised in the study of classical literature as an undergraduate at Harvard, and his contemporaries saw him as a “pagan” poet or a “Juvenalian” satirist, with an Aristophanic sense of humour. E.E. Cummings’ Modernism and the Classics aims to recover for the contemporary reader this lost understanding of Cummings as a classicizing poet, and examines his Classical engagements from several related perspectives, including his translations from the classics, his paganism, the influence of the ancient languages on his own syntax, and his Horatian carpe diem poetry of seduction.The book includes an edition of previously unpublished work by Cummings himself: translations from Horace, Homer, and Greek drama, two short pieces of Classically-related prose, a short ‘Alcaics’, and a previously unknown and classicising parody of T.S. Eliot’s The Waste Land. This new work is exciting in its own right, as well as essential to an understanding of Cummings’ development as a poet and an appreciation of his Classical engagements.