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This chapter attempts to reconstruct the textual history of the Latin–Greek glossary known as Hermeneumata Celtis, from antiquity to the year 1495, when the Humanist Conrad Celtis transcribed the work from a medieval antigraph that was subsequently lost. The thematic glossary of Hermeneumata Celtis is unique among other extant bilingual glossaries because it was supplemented, at some time in Late Antiquity, with the inclusion of Greek words and definitions culled from a Greek alphabetical lexicon similar to Hesychius (but possibly earlier). Other increments came from contamination with other thematic glossaries; the most recognisable points of contact are with what modern scholars call the Hermeneumata Montepessulana.
The author’s introduction includes a general introduction to the period, that is, the era from the middle to later Republic (roughly the late fourth, early third, centuries BCE) through to the end of the Pax Romana (the end of the second century CE). The main regions ied will be the western regions of the Empire, although there will be discussion of Rome’s involvement with the Greek East, and how Greek culture came to play an important influence in Roman culture; Rome’s involvement with Egypt will also be included, especially as Julius Caesar and Mark Antony’s adventures with Cleopatra are popular topics with authors and screenwriters. The introduction discusses which aspects of Roman culture are discussed in subsequent chapters.
Chapter 18 introduces the theory of natural law to be found in Plotinus and in Proclus in connection with the interpretation of Plato’s Timaeus. Natural law derives from the ‘law of being’ which is divine Intellect and from souls which, in their nature, are laws unto themselves (autonomous). Divine and natural law are considered as paradigmatic for human law. I explore this relationship as it is presented in Proclus and as exemplified in the idea of rulership for women. Appropriate knowledge in metaphysics and physics is required of the legislator in formulating corresponding human law.
The initial editions and, more importantly, the first reproductions of the few extant Latin papyri introduced a novel approach to our understanding of writing and provided new interpretative tools that generally remain relevant well beyond the Roman period. This brief reflection discusses several technical terms used to describe significant graphic features from the Roman era. The author maintains that a specialised vocabulary – essential in any discipline aspiring to scientific rigour, such as palaeography – is both a fundamental tool and a product of a systematic methodology and critical analysis.
Chapter 20 presents the way in which Proclus interpreted the figure of the tyrant in Plato’s dialogues. Tyranny is based on force, violates law, both cosmic and human, and is motivated by a misled desire for power, power divorced from goodness and knowledge. I argue that Proclus and other Platonists, Damascius and Simplicius, could use this interpretation of Plato to describe the political regimes of their period, in particular the rule of Emperor Justinian, as tyrannies. These tyrannies, in their metaphysical ignorance and moral turpitude, violated divine order and law in destroying pagan temples and statues. I consider finally the cases of two authors, John Lydus and Procopius of Caesarea, who describe Justinian’s rule in terms of kingship or tyranny.
This book examines how the spatial, characterization, and staging traditions of early drama were transformed over time, as well as the inherent capability of the traditions themselves to transform space, audience, time, and belief. It presents ten new chapters by specialists in the field of early English drama. The collection, which includes an Afterword by Theresa Coletti, is unique in its focus on the dramaturgical and cultural traditions that shaped and were shaped by early English drama until the closing of the theatres in 1642. By framing its argument in terms of traditions, this collection moves beyond long-standing biases imposed by period categories, thereby addressing the continuities of early English drama that persisted in the face of cultural and religious change. Scholars still use the terms ‘medieval’ and ‘early modern’ to distinguish between theatrical practices before and after the onset of religious conflict and the emergence of professional playhouses in England. Yet this period division has obscured much of what was most vital and lasting in the drama of the age, and, most crucially, the things which survived, were transformed, or repurposed for active use in new contexts. Through examining connections and transformations, the chapters of this book seek to refine and deepen our understanding of the richness and singularity of early English drama beyond the period divide: its copiousness, versatility, and playfulness.