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Perhaps no other work of secular poetry was as widely read in Tudor England as the historical verse tragedy collection A Mirror for Magistrates. For over sixty years (1559–1621), this compendium of tragic monologues presented in the voices of fallen political figures from England’s past remained almost constantly in print, offering both exemplary warnings to English rulers and inspiring models for literary authors, including Spenser and Shakespeare. In a striking departure from previous scholarship, Scott Lucas shows that modern critics have misconstrued the purpose of the tragic verse narratives of the Mirror, approaching them primarily as uncontroversial meditations on abstract political and philosophical doctrines. Lucas revises this view, revealing many of the Mirror tragedies to be works topically applicable in form and politically contentious in nature. Lucas returns the earliest poems of A Mirror for Magistrates to the troubled context of their production, the tumultuous reign of the Catholic Queen Mary (1553–1558). As Protestants suffering from the traumatic collapse of King Edward VI’s “godly” rule (1547–1553) and from the current policies of Mary’s government, the Mirror authors radically reshaped their poems’ historical sources in order to craft emotionally moving narratives designed to provide models for interpreting the political failures of Edward VI’s reign and to offer urgent warnings to Marian magistrates. Lucas’s study also reveals how, in later poems, the Mirror authors issued oblique appeals to Queen Elizabeth’s officers, boldly demanding that they allow the realm of “the literary” to stand as an unfettered discursive arena of public controversy. Lucas thus provides a provocative new approach to this seminal but long-misunderstood collection, one that restores the Mirror to its rightful place as one of the greatest works of sixteenth-century English political literature.
A Twelfth-Century Philosopher in His Context and Ours
Abelard in Four Dimensions: A Twelfth-Century Philosopher in His Context and Ours by John Marenbon, one of the leading scholars of medieval philosophy and a specialist on Abelard's thought, originated from a set of lectures in the distinguished Conway Lectures in Medieval Studies series and provides new interpretations of central areas of Peter Abelard's philosophy and its influence. The four dimensions of Abelard to which the title refers are that of the past (Abelard's predecessors), present (his works in context), future (the influence of his thinking up to the seventeenth century), and the present-day philosophical culture in which Abelard's works are still discussed and his arguments debated. For readers new to Abelard, this book provides an introduction to his life and works along with discussion of his central ideas in semantics, ethics, metaphysics, and philosophy of religion. For specialists, the book contains new arguments about the authenticity and chronology of his logical work, fresh evidence about Abelard’s relations with Anselm and Hugh of St. Victor, a new understanding of how he combines the necessity of divine action with human freedom, and reinterpretations of important passages in which he discusses semantics and metaphysics. For all historians of philosophy, it sets out and illustrates a new methodological approach, which can be used for any thinker in any period and will help to overcome the divisions between "historians" based in philosophy departments and scholars with historical or philological training.
This intensely personal book develops a new approach to the study of action in drama. Michael Goldman eloquently applies a method based on a crucial fact: our experience of a play in the theater is almost exclusively our experience of acting.
Originally published in 1985.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Gender, Drama, and Nostalgia in Ancient Greece
Greek drama demands a story of origins, writes Karen Bassi in Acting Like Men. Abandoning the search for ritual and native origins of Greek drama, Bassi argues for a more secular and less formalist approach to the emergence of theater in ancient Greece. Bassi takes a broad view of Greek drama as a cultural phenomenon, and she discusses a wide variety of texts and artifacts that include epic poetry, historical narrative, philosophical treatises, visual media, and the dramatic texts themselves. In her discussion of theaterlike practices and experiences, Bassi proposes new conceptual categories for understanding Greek drama as a cultural institution, viewing theatrical performance as part of what Foucault has called a discursive formation. Bassi also provides an important new analysis of gender in Greek culture at large and in Athenian civic ideology in particular, where spectatorship at the civic theater was a distinguishing feature of citizenship, and where citizenship was denied women. Acting Like Men includes detailed discussions of message-sending as a form of scripted speech in the Iliad, of disguise and the theatrical body of Odysseus in the Odyssey, of tyranny as a theaterlike phenomenon in the narratives of Herodotus, and of Dionysus as the tyrannical and effeminate god of the theater in Euripides' Bacchae and Aristophanes' Frogs. Bassi concludes that the validity of an idealized masculine identity in Greek and Athenian culture is highly contested in the theater, where--in principle--citizens become passive spectators. Thereafter the author considers Athenian theater and Athenian democracy as mutually reinforcing mimetic regimes. Acting Like Men will interest those interested in the history of the theater, performance theory, gender and cultural studies, and feminist approaches to ancient texts. Karen Bassi is Associate Professor of Classics, University of California, Santa Cruz.
Essays on Medieval Culture
This volume brings together Lee Patterson’s essays published in various venues over the past twenty-seven years. As he observes in his preface, “The one persistent recognition that emerged from writing these otherwise quite disparate essays is that whatever the text . . . and whoever the people . . ., the values at issue remain central to contemporary life.” Two dialectics are at work in this book: that between the past and the present and that between the individual and the social, and both have moral significance. The first two chapters are methodological; the first is on the historical understanding of medieval literature and the second on how to manage the inseparability of fact and value in the classroom. The next three chapters take up three “less-read” late medieval writers: Sir John Clanvowe, Thomas Hoccleve, and John Lydgate. Each is used to illuminate a social phenomenon: the nature of court culture, the experience of the city, and Henry V’s act of self-making. The following chapter explicitly links past and present by arguing that the bearing of the English aristocrat comes from a tradition beginning with Beowulf and later reinvoked in response to nineteenth-century imperialism. The next three chapters are the most literary, dealing with Chaucer and with literary conventions in relation to a number of texts. The final chapter is on the man Patterson considers one of the most important of our medieval ancestors, Francis of Assisi.
Adam Usk, a Welsh lawyer in England and Rome during the first years of the fifteenth century, lived a peculiar life. He was, by turns, a professor, a royal advisor, a traitor, a schismatic, and a spy. He cultivated and then sabotaged figures of great influence, switching allegiances between kings, upstarts, and popes at an astonishing pace. Usk also wrote a peculiar book: a chronicle of his own times, composed in a strangely anxious and secretive voice that seems better designed to withhold vital facts than to recount them. His bold starts tumble into anticlimax; he interrupts what he starts to tell and omits what he might have told. Yet the kind of secrets a political man might find safer to keep—the schemes and violence of regime change—Usk tells openly.
Steven Justice sets out to find what it was that Adam Usk wanted to hide. His search takes surprising turns through acts of political violence, persecution, censorship—and, ultimately, literary history. Adam Usk's narrow, eccentric literary genius calls into question some of the most casual and confident assumptions of literary criticism and historiography, making stale rhetorical habits seem new. Adam Usk's Secret concludes with a sharp challenge to historians over what they think they can know about literature and to literary scholars over what they think they can know about history.
This is the third volume in the Oratory of Classical Greece series. Planned for publication over several years, the series will present all of the surviving speeches from the late fifth and fourth centuries B.C. in new translations prepared by classical scholars who are at the forefront of the discipline. These translations are especially designed for the needs and interests of today’s undergraduates, Greekless scholars in other disciplines, and the general public. Classical oratory is an invaluable resource for the study of ancient Greek life and culture. The speeches offer evidence on Greek moral views, social and economic conditions, political and social ideology, and other aspects of Athenian culture that have been largely ignored: women and family life, slavery, and religion, to name just a few. This volume contains the three surviving speeches of Aeschines (390–? B.C.). His speeches all revolve around political developments in Athens during the second half of the fourth century B.C. and reflect the internal political rivalries in an Athens overshadowed by the growing power of Macedonia in the north. The first speech was delivered when Aeschines successfully prosecuted Timarchus, a political opponent, for having allegedly prostituted himself as a young man. The other two speeches were delivered in the context of Aeschines’ long-running political feud with Demosthenes. As a group, the speeches provide important information on Athenian law and politics, the political careers of Aeschines and Demosthenes, sexuality and social history, and the historical rivalry between Athens and Macedonia.
The Tragedy of Immigration
Popular Tradition, Cultural Dialogue, and the Invention of Greek Prose
Examining the figure of Aesop and the traditions surrounding him, Aesopic Conversations offers a portrait of what Greek popular culture might have looked like in the ancient world. What has survived from the literary record of antiquity is almost entirely the product of an elite of birth, wealth, and education, limiting our access to a fuller range of voices from the ancient past. This book, however, explores the anonymous Life of Aesop and offers a different set of perspectives. Leslie Kurke argues that the traditions surrounding this strange text, when read with and against the works of Greek high culture, allow us to reconstruct an ongoing conversation of "great" and "little" traditions spanning centuries.
Evidence going back to the fifth century BCE suggests that Aesop participated in the practices of nonphilosophical wisdom (sophia) while challenging it from below, and Kurke traces Aesop's double relation to this wisdom tradition. She also looks at the hidden influence of Aesop in early Greek mimetic or narrative prose writings, focusing particularly on the Socratic dialogues of Plato and the Histories of Herodotus. Challenging conventional accounts of the invention of Greek prose and recognizing the problematic sociopolitics of humble prose fable, Kurke provides a new approach to the beginnings of prose narrative and what would ultimately become the novel.
Delving into Aesop, his adventures, and his crafting of fables, Aesopic Conversations shows how this low, noncanonical figure was--unexpectedly--central to the construction of ancient Greek literature.
Some images inside the book are unavailable due to digital copyright restrictions.