The aim of this project is to provide a sustained analysis of the concept of ‘self’ in Statius’ Thebaid. It is this project’s contention that the poem is profoundly interested in ideas of identity and selfhood. The poem stages itself as a metapoetic exploration of the difficulties for a belated epicist in finding a place in the literary canon; it shows the impossibility of squaring large-scale epic poetics with small-scale, finely-wrought Callimacheanism; it reflects the violent disjunction between Statius’ authorial pose as a poet without power and the extreme violence of his poetics; it opens up the intricacies of constructing original, coherent characters out of intertextual, exemplary models. The central tenet of the project is that Statius in the Thebaid stages his own 'death', but does so that his poem may live. This book is intended for an academic audience including undergraduate and graduate students as well as specialists in the field. Although the project will be of primary importance to readers of Flavian literature, it will also be of interest to those who study intertextuality and characterisation in Roman literature more generally, selfhood and identity in Roman literature and culture and the reception of Roman literature.

How did Roman poets create character? The mythological figures that dot the landscape of Roman poetry entail their own predetermined plotlines and received characteristics: the idea of a gentle, maternal Medea is as absurd as a spineless and weak Achilles. For Roman poets, the problem is even more acute since they follow on late in a highly developed literary tradition. The fictional characters that populate Roman literature, such as Aeneas and Oedipus, link text and reader in a form of communication that is strikingly different from a first person narrator to an addressee. With Exemplary Traits, Mira Seo addresses this often overlooked question. Her study offers an examination of how Roman poets used models dynamically to create character, and how their referential approach to character reveals them mobilizing the literary tradition. Close readings of Virgil, Lucan, Seneca, and Statius offer a more nuanced discussion of the expectations of both authors and audiences in the Roman world than those currently available in scholarly debate. By tracing the philosophical and rhetorical concepts that underlie the function of characterization, Exemplary Traits allows for a timely reconsideration of it as a fruitful literary technique.

Men and women struggling for control of marriage and sexuality; narratives that focus on trickery, theft, and adultery; descriptions of sexual activities and body parts, the mention of which is prohibited in polite society: such are the elements that constitute what Nicole Nolan Sidhu calls a medieval discourse of obscene comedy, in which a particular way of thinking about men, women, and household organization crosses genres, forms, and languages. Inviting its audiences to laugh at violations of what is good, decent, and seemly, obscene comedy manifests a semiotic instability that at once supports established hierarchies and delights in overturning them. In Indecent Exposure, Sidhu explores the varied functions of obscene comedy in the literary and visual culture of fourteenth- and fifteenth-century England. In chapters that examine Chaucer's Reeve's Tale and Legend of Good Women; Langland's Piers Plowman; Lydgate's Mumming at Hertford, Troy Book, and Fall of Princes; the Book of Margery Kempe, the Wakefield "Second Shepherds' Play"; the Towneley "Noah"; and other works of drama, Sidhu proposes that Middle English writers use obscene comedy in predictable and unpredictable contexts to grapple with the disturbances that English society experienced in the century and a half following the Black Death. For Sidhu, obscene comedy emerges as a discourse through which writers could address not only issues of gender, sexuality, and marriage but also concerns as varied as the conflicts between Christian doctrine and lived experience, the exercise of free will, the social consequences of violence, and the nature of good government.

Silius Italicus' Punica, the longest surviving epic in Latin literature, has seen a resurgence of interest among scholars in recent years. A celebration of Rome's triumph over Hannibal and Carthage during the second Punic war, Silius' poem presents a plethora of familiar names to its readers: Fabius Maximus, Claudius Marcellus, Scipio Africanus and, of course, Rome's 'ultimate enemy' - Hannibal. Where most recent scholarship on the Punica has focused its attention of the problematic portrayal of Scipio Africanus as a hero for Rome, this book shifts the focus to Carthage and offers a new reading of Hannibal's place in Silius' epic, and in Rome's literary culture at large. Celebrated and demonised in equal measure, Hannibal became something of an anti-hero for Rome; a man who acquired mythic status, and was condemned by Rome's authors for his supposed greed and cruelty, yet admired for his military acumen. For the first time this book provides a comprehensive overview of this multi-faceted Hannibal as he appears in the Punica and suggests that Silius' portrayal of him can be read as the culmination to Rome's centuries-long engagement with the Carthaginian in its literature. Through detailed consideration of internal focalisation, Silius' Hannibal is revealed to be a man striving to create an eternal legacy, becoming the Hannibal whom a Roman, and a modern reader, would recognise. The works of Polybius, Livy, Virgil, and the post Virgilian epicists all have a bit-part in this book, which aims to show that Silius Italicus' Punica is as much an example of how Rome remembered its past, as it is a text striving to join Rome's epic canon.

Representing the Dynasty in Flavian Rome investigates the problem of contemporary historiography and regime representation in Flavian Rome through a close study of a text not usually read for such purposes but which has obvious promise for a study of this theme, the Jewish War of Flavius Josephus. Having surveyed the evolution of our conception of Josephus' relationship to Flavian power, taken a broad account of issues of political expression and regime representation in Flavian Rome outside Josephus and examined questions relating to the structure and date of the work, Davies provides a series of thematically-focused readings of the three senior members of the Flavian family, Vespasian, Titus, and Domitian, as represented by their contemporary and client Josephus. Key topics explored include the level of independence of Josephus' vision, his work's relationship to how the regime is depicted in other contemporary sources, how Josephus makes the Flavians serve his own agenda (which is distinct from the heavy focus of much previous scholarship on how Josephus served their agenda), and the viability and usefulness of certain types of reading practices relating to figured critique which have recently become influential in Josephan scholarship. The book offers a new approach to Josephus' relationship to the Flavian Dynasty and sheds new light on contemporary historiography and political expression in the Early Principate.

This monograph explicates suicide in Greek tragedy in light of the fifth-century ethical climate and social milieu. It organizes the suicides according to the important ethical considerations of the ancient world and places them in their theatrical context.

This book examines the meaning of justice or dike in the political poems of Solon from a new interpretative perspective. The first two chapters argue that neither standard historical nor literary treatments have provided an adequate foundation for understanding Solon’s dike. The main defect lies in an inability to connect Solon’s concrete political work with his poetic perceptions. The book’s central proposal is that the polis idea, from new classical archaeology, provides an objective standard for an interpretation of Solon’s dike, which remedies this defect. The third chapter sets forth the polis idea, which becomes the measure for an examination, in the final two chapters, of Solon’s view of dike. The book thus exhibits an interdisciplinary approach to Archaic poetry.

This is the first substantial commentary on Lucian's Verae Historiae ("True Histories"), a fantastic journey narrative considered the earliest surviving example of Science Fiction in the Western tradition. The Introduction situates the work in the context of Lucian's oeuvre, especially his preoccupation with distinguishing truth from fiction and exposing the lies of philosophers. In their commentary, the editors trace the sources and the meaning of the numerous intertextual allusions and parodies of philosophers, poets, historians and paradoxographers. The Verae Historiae emerges from this scrutiny as a remarkably complex text with some very "modern" concerns: it problematizes the act of reading, allegorical interpretation, authorial reliability, and the validity of cultural norms and literary genres.

The studies in this collection deal with a variety of subjects. Their focus is the Roman Empire in the East, the Roman army, Judaea in the Roman period, and Jewish history. Inscriptions are published in them and literary sources discussed. First, Judaea in the period before the arrival of the Romans as well as under Roman rule forms the centre of attention. Here, articles on specific documents are presented and historical problems discussed ranging from the Seleucid period to the Later Roman Empire. The second part of the book contains studies of the wider area and the third part is concerned with the Roman army, its organisation and aims in the Frontier areas. Many of these papers are hard to find and it is particularly valuable to have all of them together and logically arranged in one volume. Moreover extensive discussions of recent publications and newly published material have been added here.

The first three chapters of this book elucidate the scholastic goals of both classical cultures during the Roman Imperial period. Apuleius' works share the stage in these chapters with representatives of the second-century Greek cultural paradigm. They define patterns of discourse and fit selected examples of analogous Apuleian strategies into the broader cultural framework. Subsequent chapters focus closely on the complete Apuleian corpus under the general headings of Apuleius in the roles of orator, philosopher and novelist. Two of Apuleius' philosophical works and his novel the Golden Ass provide an unparalleled opportunity to analyze the methods of translation and adaptation employed by the major Latin writer of the second half of the second century.