Cornell Studies in Classical Philology – serie

John G. Fitch's new Latin text of Seneca's play, Hercules Furens, is based on a collation of the chief manuscripts, including the Paris manuscript T.

Few encounters in antiquity have had more profound consequences than that between Greek culture and Republican Rome. Focusing on the ruling elites of the middle and later Republic, for whom Hellenic literature, religion, and visual arts were at once intimidating and appealing, Erich S. Gruen offers a compelling account of the assimilation and adaptation of Greek culture by the Romans.Gruen examines such key cultural developments in the history of Republican Rome as the adaptation of the legend of Troy to create a special place for Rome within Hellenic traditions and Cato's campaign to distinguish Roman cultural achievements by defining them in contrast to those of the Greeks. He describes the diverse purposes—civic, religious, and political—for which the Romans used Greek art, as well as the reshaping of Hellenic models to express a distinctively Roman character in historical reliefs, portraiture, and comic drama. The book treats a variety of means whereby the Greek legacy was molded to suit the living Roman tradition. Gruen shows that this complex process of cultural transformation served to sharpen the Romans' sense of their own values their national character, and their international image.Demonstrating that the Roman response to Hellenism was far more subtle and dynamic than has generally been acknowledged, Culture and National Identity in Republican Rome will be welcomed as an outstanding contribution by readers interested in ancient history, classical literature, and the history of art.

"They don't have syntax, so we can eat them." According to Richard Sorabji, this conclusion attributed to the Stoic philosophers was based on Aristotle's argument that animals lack reason. In his fascinating, deeply learned book, Sorabji traces the roots of our thinking about animals back to Aristotelian and Stoic beliefs. Charting a recurrent theme in ancient philosophy of mind, he shows that today's controversies about animal rights represent only the most recent chapter in millennia-old debates.Sorabji surveys a vast range of Greek philosophical texts and considers how classical discussions of animals' capacities intersect with central questions, not only in ethics but in the definition of human rationality as well: the nature of concepts; how perceptions differ from beliefs; how memory, intention, and emotion relate to reason; and to what extent speech, skills, and inference can serve as proofs of reason. Focusing on the significance of ritual sacrifice and the eating of meat, he explores religious contexts of the treatment of animals in ancient Greece and in medieval Western Christendom. He also looks closely at the contemporary defenses of animal rights offered by Peter Singer, Tom Regan, and Mary Midgley. Animal Minds and Human Morals sheds new light on traditional arguments surrounding the status of animals while pointing beyond them to current moral dilemmas. It will be crucial reading for scholars and students in the fields of ancient philosophy, ethics, history of philosophy, classics, and medieval studies, and for everyone seriously concerned about our relationship with other species.A Townsend Lecture Book

Julia Annas here offers a fundamental reexamination of Plato's ethical thought by investigating the Middle Platonist perspective, which emerged at the end of Plato's own school, the Academy. She highlights the differences between ancient and modern assumptions about Plato's ethics—and stresses the need to be more critical about our own.One of these modern assumptions is the notion that the dialogues record the development of Plato's thought. Annas shows how the Middle Platonists, by contrast, viewed the dialogues as multiple presentations of a single Platonic ethical philosophy, differing in form and purpose but ultimately coherent. They also read Plato's ethics as consistently defending the view that virtue is sufficient for happiness, and see it as converging in its main points with the ethics of the Stoics.Annas goes on to explore the Platonic idea that humankind's final end is "becoming like God"—an idea that is well known among the ancients but virtually ignored in modern interpretations. She also maintains that modern interpretations, beginning in the nineteenth century, have placed undue emphasis on the Republic, and have treated it too much as a political work, whereas the ancients rightly saw it as a continuation of Plato's ethical writings.

Much of what we know today of Rome in the fourth century has its source in Res Gestae, the sole surviving work of the historian Ammianus Marcellinus. The accuracy of Ammianus' reporting has come under question over the past fifty years, however, and Timothy D. Barnes here offers new grist for skepticism. This is the first book on Ammianus to place equal emphasis on the literary and historical aspects of his writing.Barnes assesses Ammianus' depiction of historical reality by investigating the Res Gestae's strengths and weaknesses, as well as its literary qualities. He examines its structure and arrangement, emphasizes its Greek and pagan features, and points out the extent to which Ammianus drew on his imagination in shaping the narrative. Ammianus, raised as a Christian, became an apostate when Julian seemed to promise a return to traditional religion and values. In Res Gestae, he expressed strongly held views, often in vivid and extreme language.Barnes explores the historian's biases and personal prejudices, documenting seemingly intentional distortions and demonstrating that Ammianus advanced a pessimistic and anti-Christian interpretation of the Roman Empire.

In The Mourning Voice, Nicole Loraux presents a radical challenge to what has become the dominant view of tragedy in recent years: that tragedy is primarily a civic phenomenon, infused with Athenian political ideology, which envisions its spectators first and foremost as citizens, members of the political collective. Instead, Loraux maintains, the spectator addressed by tragedy is the individual defined primarily in terms of his or her humanity, rather than in terms of affiliation with a political group. The plays, she says, involve the spectators in the emotional expressiveness of tragic suffering, thereby creating a theatrical identity. Aroused by the experience of suffering, the audience is reminded that it is witnessing a theatrical representation of the instability of the human condition—a state that Loraux asserts tragedy is uniquely suited to convey.

Aurelius Prudentius Clemens (348–ca. 406) is one of the great Christian Latin writers of late antiquity. Born in northeastern Spain during an era of momentous change for both the Empire and the Christian religion, he was well educated, well connected, and a successful member of the late Roman elite, a man fully engaged with the politics and culture of his times. Prudentius wrote poetry that was deeply influenced by classical writers and in the process he revived the ethical, historical, and political functions of poetry. This aspect of his work was especially valued in the Middle Ages by Christian writers who found themselves similarly drawn to the Classical tradition. Prudentius's Hamartigenia, consisting of a 63-line preface followed by 966 lines of dactylic hexameter verse, considers the origin of sin in the universe and its consequences, culminating with a vision of judgment day: the damned are condemned to torture, worms, and flames, while the saved return to a heaven filled with delights, one of which is the pleasure of watching the torments of the damned. As Martha A. Malamud shows in the interpretive essay that accompanies her lapidary translation, the first new English translation in more than forty years, Hamartigenia is critical for understanding late antique ideas about sin, justice, gender, violence, and the afterlife. Its radical exploration of and experimentation with language have inspired generations of thinkers and poets since—most notably John Milton, whose Paradise Lost owes much of its conception of language and its strikingly visual imagery to Prudentius's poem.

In this provocative book Éric Rebillard challenges many long-held assumptions about early Christian burial customs. For decades scholars of early Christianity have argued that the Church owned and operated burial grounds for Christians as early as the third century. Through a careful reading of primary sources including legal codes, theological works, epigraphical inscriptions, and sermons, Rebillard shows that there is little evidence to suggest that Christians occupied exclusive or isolated burial grounds in this early period. In fact, as late as the fourth and fifth centuries the Church did not impose on the faithful specific rituals for laying the dead to rest. In the preparation of Christians for burial, it was usually next of kin and not representatives of the Church who were responsible for what form of rite would be celebrated, and evidence from inscriptions and tombstones shows that for the most part Christians didn't separate themselves from non-Christians when burying their dead. According to Rebillard it would not be until the early Middle Ages that the Church gained control over burial practices and that "Christian cemeteries" became common.In this translation of Religion et Sépulture: L'église, les vivants et les morts dans l'Antiquité tardive, Rebillard fundamentally changes our understanding of early Christianity. The Care of the Dead in Late Antiquity will force scholars of the period to rethink their assumptions about early Christians as separate from their pagan contemporaries in daily life and ritual practice.

"There is something of a paradox about our access to ancient Greek religion. We know too much, and too little. The materials that bear on it far outreach an individual's capacity to assimilate: so many casual allusions in so many literary texts over more than a millennium, so many direct or indirect references in so many inscriptions from so many places in the Greek world, such an overwhelming abundance of physical remains. But genuinely revealing evidence does not often cluster coherently enough to create a vivid sense of the religious realities of a particular time and place. Amid a vast archipelago of scattered islets of information, only a few are of a size to be habitable."—from the PrefaceIn On Greek Religion, Robert Parker offers a provocative and wide-ranging entrée into the world of ancient Greek religion, focusing especially on the interpretive challenge of studying a religious system that in many ways remains desperately alien from the vantage point of the twenty-first century. One of the world's leading authorities on ancient Greek religion, Parker raises fundamental methodological questions about the study of this vast subject. Given the abundance of evidence we now have about the nature and practice of religion among the ancient Greeks—including literary, historical, and archaeological sources—how can we best exploit that evidence and agree on the central underlying issues? Is it possible to develop a larger, "unified" theoretical framework that allows for coherent discussions among archaeologists, anthropologists, literary scholars, and historians? In seven thematic chapters, Parker focuses on key themes in Greek religion: the epistemological basis of Greek religion; the relation of ritual to belief; theories of sacrifice; the nature of gods and heroes; the meaning of rituals, festivals, and feasts; and the absence of religious authority. Ranging across the archaic, classical, and Hellenistic periods, he draws on multiple disciplines both within and outside classical studies. He also remains sensitive to varieties of Greek religious experience. Also included are five appendixes in which Parker applies his innovative methodological approach to particular cases, such as the acceptance of new gods and the consultation of oracles. On Greek Religion will stir debate for its bold questioning of disciplinary norms and for offering scholars and students new points of departure for future research.

The publication of Jacqueline de Romilly's Histoire et raison chez Thucydide in 1956 virtually transformed scholarship on Thucydides. Rather than mining The Peloponnesian War to speculate on its layers of composition or second-guess its accuracy, it treated it as a work of art deserving rhetorical and aesthetic analysis. Ahead of its time in its sophisticated focus upon the verbal texture of narrative, it proved that a literary approach offered the most productive and nuanced way to study Thucydides. Still in print in the original French, the book has influenced numerous Classicists and historians, and is now available in English for the first time in a careful translation by Elizabeth Trapnell Rawlings. The Cornell edition includes an introduction by Hunter R. Rawlings III and Jeffrey Rusten tracing the context of this book's original publication and its continuing influence on the study of Thucydides.Romilly shows that Thucydides constructs his account of the Peloponnesian War as a profoundly intellectual experience for readers who want to discern the patterns underlying historical events. Employing a commanding logic that exercises total control over the data of history, Thucydides uses rigorous principles of selection, suggestive juxtapositions, and artfully opposed speeches to reveal systematic relationships between plans and outcomes, impose meaning on the smallest events, and insist on the constant battle between intellect and chance. Thucydides' mind found in unity and coherence its ideal of historical truth.

Libanius of Antioch was a rhetorician of rare skill and eloquence. So renowned was he in the fourth century that his school of rhetoric in Roman Syria became among the most prestigious in the Eastern Empire. In this book Raffaella Cribiore draws on her unique knowledge of the entire body of Libanius's vast literary output—including 64 orations, 1,544 letters, and exercises for his students—to offer the fullest intellectual portrait yet of this remarkable figure whom John Chrystostom called "the sophist of the city."Libanius (314–ca. 393) lived at a time when Christianity was celebrating its triumph but paganism tried to resist. Although himself a pagan, Libanius cultivated friendships within Antioch's Christian community and taught leaders of the Church including Chrysostom and Basil of Caesarea. Cribiore calls him a "gray pagan" who did not share the fanaticism of the Emperor Julian. Cribiore considers the role that a major intellectual of Libanius's caliber played in this religiously diverse society and culture. When he wrote a letter or delivered an oration, who was he addressing and what did he hope to accomplish? One thing that stands out in Libanius's speeches is the startling amount of invective against his enemies. How common was character assassination of this sort? What was the subtext to these speeches and how would they have been received? Adapted from the Townsend Lectures that Cribiore delivered at Cornell University in 2010, this book brilliantly restores Libanius to his rightful place in the rich and culturally complex world of Late Antiquity.

In The Space That Remains, Aaron Pelttari offers the first systematic study of the major fourth-century poets since Michael Robert's foundational The Jeweled Style. It is the first book to give equal attention to both Christian and Pagan poetry and the first to take seriously the issue of readership.As Pelttari shows, the period marked a turn towards forms of writing that privilege the reader's active involvement in shaping the meaning of the text. In the poetry of Ausonius, Claudian, and Prudentius we can see the increasing importance of distinctions between old and new, ancient and modern, forgotten and remembered. The strange traditionalism and verbalism of the day often concealed a desire for immediacy and presence. We can see these changes most clearly in the expectations placed upon readers. The space that remains is the space that the reader comes to inhabit, as would increasingly become the case in the literature of the Latin Middle Ages.

Theater, spectacle, and performance played significant roles in the political and social structure of the Roman Empire, which was diverse in population and language. A wide and varied range of entertainment was available to a Roman audience: the traditional festivals with their athletic contests and dramatic performances, pantomime and mime, the chariot races of the circus, and the gladiatorial shows and wild beast hunts of the arena. In Theater and Spectacle in the Art of the Roman Empire, which is richly illustrated in color throughout, Katherine M. D. Dunbabin emphasizes the visual evidence for these events.Images of spectacle appear in a wide range of artistic media, from the mosaics and paintings that decorated wealthy private houses to the sculpture of tomb monuments, and from luxury objects such as silver tableware to more humble ceramic lamps and pottery vessels. Dunbabin places the information derived from this visual material into the wider context provided by the written sources, both literary and epigraphic. This allows us to understand the functions that these images served in the social rituals of public and domestic life. By explicating both the social and cultural role of the spectacles themselves and the nature of their representation in art, Dunbabin provides a comprehensive portrait of the popular culture of the period.

John G. Fitch's new Latin text of Seneca's play, Hercules Furens, is based on a collation of the chief manuscripts, including the Paris manuscript T.

"There is something of a paradox about our access to ancient Greek religion. We know too much, and too little. The materials that bear on it far outreach an individual's capacity to assimilate: so many casual allusions in so many literary texts over more than a millennium, so many direct or indirect references in so many inscriptions from so many places in the Greek world, such an overwhelming abundance of physical remains. But genuinely revealing evidence does not often cluster coherently enough to create a vivid sense of the religious realities of a particular time and place. Amid a vast archipelago of scattered islets of information, only a few are of a size to be habitable."—from the PrefaceIn On Greek Religion, Robert Parker offers a provocative and wide-ranging entrée into the world of ancient Greek religion, focusing especially on the interpretive challenge of studying a religious system that in many ways remains desperately alien from the vantage point of the twenty-first century. One of the world's leading authorities on ancient Greek religion, Parker raises fundamental methodological questions about the study of this vast subject. Given the abundance of evidence we now have about the nature and practice of religion among the ancient Greeks—including literary, historical, and archaeological sources—how can we best exploit that evidence and agree on the central underlying issues? Is it possible to develop a larger, "unified" theoretical framework that allows for coherent discussions among archaeologists, anthropologists, literary scholars, and historians? In seven thematic chapters, Parker focuses on key themes in Greek religion: the epistemological basis of Greek religion; the relation of ritual to belief; theories of sacrifice; the nature of gods and heroes; the meaning of rituals, festivals, and feasts; and the absence of religious authority. Ranging across the archaic, classical, and Hellenistic periods, he draws on multiple disciplines both within and outside classical studies. He also remains sensitive to varieties of Greek religious experience. Also included are five appendixes in which Parker applies his innovative methodological approach to particular cases, such as the acceptance of new gods and the consultation of oracles. On Greek Religion will stir debate for its bold questioning of disciplinary norms and for offering scholars and students new points of departure for future research.

In this provocative book Éric Rebillard challenges many long-held assumptions about early Christian burial customs. For decades scholars of early Christianity have argued that the Church owned and operated burial grounds for Christians as early as the third century. Through a careful reading of primary sources including legal codes, theological works, epigraphical inscriptions, and sermons, Rebillard shows that there is little evidence to suggest that Christians occupied exclusive or isolated burial grounds in this early period. In fact, as late as the fourth and fifth centuries the Church did not impose on the faithful specific rituals for laying the dead to rest. In the preparation of Christians for burial, it was usually next of kin and not representatives of the Church who were responsible for what form of rite would be celebrated, and evidence from inscriptions and tombstones shows that for the most part Christians didn't separate themselves from non-Christians when burying their dead. According to Rebillard it would not be until the early Middle Ages that the Church gained control over burial practices and that "Christian cemeteries" became common.In this translation of Religion et Sépulture: L'église, les vivants et les morts dans l'Antiquité tardive, Rebillard fundamentally changes our understanding of early Christianity. The Care of the Dead in Late Antiquity will force scholars of the period to rethink their assumptions about early Christians as separate from their pagan contemporaries in daily life and ritual practice.

Few encounters in antiquity have had more profound consequences than that between Greek culture and Republican Rome. Focusing on the ruling elites of the middle and later Republic, for whom Hellenic literature, religion, and visual arts were at once intimidating and appealing, Erich S. Gruen offers a compelling account of the assimilation and adaptation of Greek culture by the Romans.Gruen examines such key cultural developments in the history of Republican Rome as the adaptation of the legend of Troy to create a special place for Rome within Hellenic traditions and Cato's campaign to distinguish Roman cultural achievements by defining them in contrast to those of the Greeks. He describes the diverse purposes—civic, religious, and political—for which the Romans used Greek art, as well as the reshaping of Hellenic models to express a distinctively Roman character in historical reliefs, portraiture, and comic drama. The book treats a variety of means whereby the Greek legacy was molded to suit the living Roman tradition. Gruen shows that this complex process of cultural transformation served to sharpen the Romans' sense of their own values their national character, and their international image.Demonstrating that the Roman response to Hellenism was far more subtle and dynamic than has generally been acknowledged, Culture and National Identity in Republican Rome will be welcomed as an outstanding contribution by readers interested in ancient history, classical literature, and the history of art.

Although many commentators have dealt with various aspects of structure in Sophoclean drama, G. M. Kirkwood contends that "Sophocles' mastery of dramatic form is accepted with casual and superficial deference rather than fully and clearly understood." This book shows how Sophocles' method of presenting character, his unique handling of myth, his predilection for presenting ideas by comparison and contrast, and his principles of structure are so closely related that they serve to clarify each other.In an analysis of the form of Sophocles' seven extant plays, Kirkwood demonstrates the existence of several deliberate and distinct types of dramatic construction. Sophocles' use of the chorus, his irony, and certain aspects of diction are considered as a part of his dramatic art and as elements of structure. Kirkwood discusses a number of traditional problems, among them questions of consistency and meaning in passages from Ajax, Antigone, and Electra. He also considers the problem of "diptych" structure, and shows that it is a definite dramatic shape, of primary importance in understanding the three plays in which it appears.Distinctive Sophoclean concepts in which the words eugenes and daimon are conspicuous, the meaning of tragedy in relation to Sophocles' plays, and Sophocles' outlook on deity and on man and his fate are also subjects of illuminating discussions. This book offers ample evidence to support Kirkwood's contention that, "Only when we inquire into the means by which Sophocles invests his plays with their constant air not only of relevance but of immediacy do we begin to understand Sophoclean form."For the paperback edition of his classic study of Sophoclean poetics, the author has written a new preface that assesses the reception of his work and has updated the bibliography to include more recent scholarship.

Friedrich Solmsen provides a new approach to Hesiod's personality in this book by distinguishing Hesiod's own contributions to Greek mythology and theology from the traditional aspects of his poetry. Hesiod's vision of a better world, expressed in religious language and imagery, pictures the savagery and brutality of the earlier days of Greece giving way to an order of justice. In this new order, however, the good aspects of the past would be preserved, giving an inner continuity and strength to the changing world.Solmsen traces the influence of Hesiod's ideas on other Athenian poets, Aeschylus in particular. From personal political experience Aeschylus could give a deeper meaning to Hesiod's dream of an organic historical evolution and of a synthesis of old and new powers. For Aeschylus, justice became the crucial problem of the political community as well as of the divine order. Through close readings of Hesiod's Theogony and Works and Days and of Aeschylus' Prometheia and Eumenides, Solmsen reinterprets the political ideas of the Greek city state and the relation between divine and human justice as seen by early Greek poets.First published in 1949, this book has long been recognized as the standard work on Hesiod's influence. For the 1995 paperback edition, G. M. Kirkwood has written a new foreword that addresses the book's reception and discusses more recent scholarship on the works Solmsen examines, including the disputed authorship of Prometheia.

"They don't have syntax, so we can eat them." According to Richard Sorabji, this conclusion attributed to the Stoic philosophers was based on Aristotle's argument that animals lack reason. In his fascinating, deeply learned book, Sorabji traces the roots of our thinking about animals back to Aristotelian and Stoic beliefs. Charting a recurrent theme in ancient philosophy of mind, he shows that today's controversies about animal rights represent only the most recent chapter in millennia-old debates.Sorabji surveys a vast range of Greek philosophical texts and considers how classical discussions of animals' capacities intersect with central questions, not only in ethics but in the definition of human rationality as well: the nature of concepts; how perceptions differ from beliefs; how memory, intention, and emotion relate to reason; and to what extent speech, skills, and inference can serve as proofs of reason. Focusing on the significance of ritual sacrifice and the eating of meat, he explores religious contexts of the treatment of animals in ancient Greece and in medieval Western Christendom. He also looks closely at the contemporary defenses of animal rights offered by Peter Singer, Tom Regan, and Mary Midgley. Animal Minds and Human Morals sheds new light on traditional arguments surrounding the status of animals while pointing beyond them to current moral dilemmas. It will be crucial reading for scholars and students in the fields of ancient philosophy, ethics, history of philosophy, classics, and medieval studies, and for everyone seriously concerned about our relationship with other species.A Townsend Lecture Book

Julia Annas here offers a fundamental reexamination of Plato's ethical thought by investigating the Middle Platonist perspective, which emerged at the end of Plato's own school, the Academy. She highlights the differences between ancient and modern assumptions about Plato's ethics—and stresses the need to be more critical about our own.One of these modern assumptions is the notion that the dialogues record the development of Plato's thought. Annas shows how the Middle Platonists, by contrast, viewed the dialogues as multiple presentations of a single Platonic ethical philosophy, differing in form and purpose but ultimately coherent. They also read Plato's ethics as consistently defending the view that virtue is sufficient for happiness, and see it as converging in its main points with the ethics of the Stoics.Annas goes on to explore the Platonic idea that humankind's final end is "becoming like God"—an idea that is well known among the ancients but virtually ignored in modern interpretations. She also maintains that modern interpretations, beginning in the nineteenth century, have placed undue emphasis on the Republic, and have treated it too much as a political work, whereas the ancients rightly saw it as a continuation of Plato's ethical writings.

Aurelius Prudentius Clemens (348–ca. 406) is one of the great Christian Latin writers of late antiquity. Born in northeastern Spain during an era of momentous change for both the Empire and the Christian religion, he was well educated, well connected, and a successful member of the late Roman elite, a man fully engaged with the politics and culture of his times. Prudentius wrote poetry that was deeply influenced by classical writers and in the process he revived the ethical, historical, and political functions of poetry. This aspect of his work was especially valued in the Middle Ages by Christian writers who found themselves similarly drawn to the Classical tradition. Prudentius's Hamartigenia, consisting of a 63-line preface followed by 966 lines of dactylic hexameter verse, considers the origin of sin in the universe and its consequences, culminating with a vision of judgment day: the damned are condemned to torture, worms, and flames, while the saved return to a heaven filled with delights, one of which is the pleasure of watching the torments of the damned. As Martha A. Malamud shows in the interpretive essay that accompanies her lapidary translation, the first new English translation in more than forty years, Hamartigenia is critical for understanding late antique ideas about sin, justice, gender, violence, and the afterlife. Its radical exploration of and experimentation with language have inspired generations of thinkers and poets since—most notably John Milton, whose Paradise Lost owes much of its conception of language and its strikingly visual imagery to Prudentius's poem.

"Gregory Vlastos's book begins from the conviction that Socrates' strangeness is 'the key to his philosophy.' It is a marvelous book, in which no major aspect of Socrates' career is eclipsed. The rigor of his arguments, the depth of his moral commitment and understanding, his complex relationship to Athenian ethical traditions, his rational religion: all this comes to life in writing whose vigor and lucidity put the challenge of Socrates squarely before the reader.... It deserves as much honor as any work of scholarship in Greek philosophy in this century."― Martha C. Nussbaum, The New RepublicThis vivid and compelling study of Socrates’s moral philosophy and, more generally, of his moral outlook and his attitude toward religion and society, reclaims the remarkable originality of his thought. Gregory Vlastos shows us a Socrates who, though he has been long overshadowed by his successors, Plato and Aristotle, represented the true turning point in Greek attitude toward philosophy, religion, and ethics. In his quest for the historical Socrates, Vlastos focuses on Plato's earlier dialogues, setting the Socrates we find there in sharp contrast to the Socrates of later dialogues, in which he is used as a mouthpiece for Plato's own doctrines, many of them anti-Socratic in nature.At the heart of the book is Vlastos's perception of the paradoxical nature of Socratic thought. But Vlastos explains the paradoxes rather than explaining them away, and he highlights the tensions in the Socratic search for the answer to the question: How should we live?The magnetic quality of Socrates' personality emerges throughout his book. Clearly and elegantly written, subtle in its arguments yet entirely accessible to non-specialists, this is major work in ancient philosophy and the history of Western thought.

In this provocative book, Pietro Pucci explores what he sees as Euripides's revolutionary literary art. While scholars have long pointed to subversive elements in Euripides's plays, Pucci goes a step further in identifying a Euripidean program of enlightened thought enacted through carefully wrought textual strategies. The driving force behind this program is Euripides's desire to subvert the traditional anthropomorphic view of the Greek gods—a belief system that in his view strips human beings of their independence and ability to act wisely and justly. Instead of fatuous religious beliefs, Athenians need the wisdom and the strength to navigate the challenges and difficulties of life. Throughout his lifetime, Euripides found himself the target of intense criticism and ridicule. He was accused of promoting new ideas that were considered destructive. Like his contemporary, Socrates, he was considered a corrupting influence. No wonder, then, that Euripides had to carry out his revolution "under cover." Pucci lays out the various ways the playwright skillfully inserted his philosophical principles into the text through innovative strategies of plot development, language and composition, and production techniques that subverted the traditionally staged anthropomorphic gods.

Provocative reading for anyone interested in Roman culture in the late Republic and early Empire.â• Religious Studies ReviewWas religious practice in ancient Rome cultic and hostile to individual expression? Or was there, rather, considerable latitude for individual initiative and creativity? JÖrg RÜpke, one of the world’s leading authorities on Roman religion, demonstrates in his new book that it was a lived religion with individual appropriations evident at the heart of such rituals as praying, dedicating, making vows, and reading. On Roman Religion definitively dismantles previous approaches that depicted religious practice as uniform and static. Juxtaposing very different, strategic, and even subversive forms of individuality with traditions, their normative claims, and their institutional protections, RÜpke highlights the dynamic character of Rome’s religious institutions and traditions.In RÜpke’s view, lived ancient religion is as much about variations or even outright deviance as it is about attempts and failures to establish or change rules and roles and to communicate them via priesthoods, practices related to images or classified as magic, and literary practices. RÜpke analyzes observations of religious experience by contemporary authors including Propertius, Ovid, and the author of the "Shepherd of Hermas." These authors, in very different ways, reflect on individual appropriation of religion among their contemporaries, and they offer these reflections to their readership or audiences. RÜpke also concentrates on the ways in which literary texts and inscriptions informed the practice of rituals.

The publication of Jacqueline de Romilly's Histoire et raison chez Thucydide in 1956 virtually transformed scholarship on Thucydides. Rather than mining The Peloponnesian War to speculate on its layers of composition or second-guess its accuracy, it treated it as a work of art deserving rhetorical and aesthetic analysis. Ahead of its time in its sophisticated focus upon the verbal texture of narrative, it proved that a literary approach offered the most productive and nuanced way to study Thucydides. Still in print in the original French, the book has influenced numerous Classicists and historians, and is now available in English for the first time in a careful translation by Elizabeth Trapnell Rawlings. The Cornell edition includes an introduction by Hunter R. Rawlings III and Jeffrey Rusten tracing the context of this book's original publication and its continuing influence on the study of Thucydides.Romilly shows that Thucydides constructs his account of the Peloponnesian War as a profoundly intellectual experience for readers who want to discern the patterns underlying historical events. Employing a commanding logic that exercises total control over the data of history, Thucydides uses rigorous principles of selection, suggestive juxtapositions, and artfully opposed speeches to reveal systematic relationships between plans and outcomes, impose meaning on the smallest events, and insist on the constant battle between intellect and chance. Thucydides' mind found in unity and coherence its ideal of historical truth.

This biography of Alcibiades, the charismatic Athenian statesman and general (c. 450–404 BC) who achieved both renown and infamy during the Peloponnesian War, is both an extraordinary adventure story and a cautionary tale that reveals the dangers that political opportunism and demagoguery pose to democracy. As Jacqueline de Romilly brilliantly documents, Alcibiades's life is one of wanderings and vicissitudes, promises and disappointments, brilliant successes and ruinous defeats. Born into a wealthy and powerful family in Athens, Alcibiades was a student of Socrates and disciple of Pericles, and he seemed destined to dominate the political life of his city—and his tumultuous age.Romilly shows, however, that he was too ambitious. Haunted by financial and sexual intrigues and political plots, Alcibiades was exiled from Athens, sentenced to death, recalled to his homeland, only to be exiled again. He defected from Athens to Sparta and from Sparta to Persia and then from Persia back to Athens, buffeted by scandal after scandal, most of them of his own making. A gifted demagogue and, according to his contemporaries, more handsome than the hero Achilles, Alcibiades is also a strikingly modern figure, whose seductive celebrity and dangerous ambition anticipated current crises of leadership.

Provocative reading for anyone interested in Roman culture in the late Republic and early Empire.â• Religious Studies ReviewWas religious practice in ancient Rome cultic and hostile to individual expression? Or was there, rather, considerable latitude for individual initiative and creativity? JÖrg RÜpke, one of the world’s leading authorities on Roman religion, demonstrates in his new book that it was a lived religion with individual appropriations evident at the heart of such rituals as praying, dedicating, making vows, and reading. On Roman Religion definitively dismantles previous approaches that depicted religious practice as uniform and static. Juxtaposing very different, strategic, and even subversive forms of individuality with traditions, their normative claims, and their institutional protections, RÜpke highlights the dynamic character of Rome’s religious institutions and traditions.In RÜpke’s view, lived ancient religion is as much about variations or even outright deviance as it is about attempts and failures to establish or change rules and roles and to communicate them via priesthoods, practices related to images or classified as magic, and literary practices. RÜpke analyzes observations of religious experience by contemporary authors including Propertius, Ovid, and the author of the "Shepherd of Hermas." These authors, in very different ways, reflect on individual appropriation of religion among their contemporaries, and they offer these reflections to their readership or audiences. RÜpke also concentrates on the ways in which literary texts and inscriptions informed the practice of rituals.

In The Space That Remains, Aaron Pelttari offers the first systematic study of the major fourth-century poets since Michael Robert's foundational The Jeweled Style. It is the first book to give equal attention to both Christian and Pagan poetry and the first to take seriously the issue of readership.As Pelttari shows, the period marked a turn towards forms of writing that privilege the reader's active involvement in shaping the meaning of the text. In the poetry of Ausonius, Claudian, and Prudentius we can see the increasing importance of distinctions between old and new, ancient and modern, forgotten and remembered. The strange traditionalism and verbalism of the day often concealed a desire for immediacy and presence. We can see these changes most clearly in the expectations placed upon readers. The space that remains is the space that the reader comes to inhabit, as would increasingly become the case in the literature of the Latin Middle Ages.