The Brutus Revival

In a discussion of the Renaissance revival of classical culture, Piccolomini considers the period s mythologizing of Brutus, Caesar s assassin. He cites Dante as the initiator of an important literary, dramatic, political, and artistic theme and explains how the historical Brutus was changed by literature and theatre into a symbol of the just citizen rebelling against the unjust tyrant.Piccolomini discusses several Renaissance political conspiracies modeled after Brutus act and explores how those conspiracies, in turn, formed the basis for the theme s recurrence in Italian, French, and English theatre of the period."

Less than two years before his murder, Cicero created a catalogue of his philosophical writings that included dialogues he had written years before, numerous recently completed works, and even one he had not yet begun to write, all arranged in the order he intended them to be read, beginning with the introductory Hortensius, rather than in accordance with order of composition. Following the order of the De divinatione catalogue, William H. F. Altman considers each of Cicero’s late works as part of a coherent philosophical project determined throughout by its author’s Platonism. Locating the parallel between Plato’s Allegory of the Cave and Cicero’s “Dream of Scipio” at the center of Cicero’s life and thought as both philosopher and orator, Altman argues that Cicero is not only “Plato’s rival” (it was Quintilian who called him Platonis aemulus) but also a peerless guide to what it means to be a Platonist, especially since Plato’s legacy was as hotly debated in his own time as it still is in ours. Distinctive of Cicero’s late dialogues is the invention of a character named “Cicero,” an amiable if incompetent adherent of the New Academy whose primary concern is only with what is truth-like (veri simile); following Augustine’s lead, Altman shows the deliberate inadequacy of this pose, and that Cicero himself, the writer of dialogues who used “Cicero” as one of many philosophical personae, must always be sought elsewhere: in direct dialogue with the dialogues of Plato, the teacher he revered and whose Platonism he revived.

This award-winning biography delves beyond the myths about Ancient Rome’s most famous assassin: “A beautifully written and thought-provoking book” (Christopher Pelling, author of Plutarch and History). Conspirator and assassin, philosopher and statesman, promoter of peace and commander in war, Marcus Brutus was a controversial and enigmatic man even to those who knew him. His leading role in the murder of Julius Caesar on the Ides of March, 44 BC, immortalized his name, but no final verdict has ever been made about his fateful act. Was Brutus wrong to kill his friend and benefactor or was he right to place his duty to country ahead of personal obligations? In this comprehensive biography, Kathryn Tempest examines historical sources to bring to light the personal and political struggles Brutus faced. As the details are revealed—from his own correspondence with Cicero, the perceptions of his peers, and the Roman aristocratic values and concepts that held sway in his time—Brutus emerges from legend, revealed as the complex man he was. A Choice Outstanding Academic Title Winner

In Making a New Man John Dugan investigates how Cicero (106-43 BCE) uses his major treatises on rhetorical theory (De oratore, Brutus, and Orator) in order to construct himself as a new entity within Roman cultural life: a leader who based his authority upon intellectual, oratorical, and literary accomplishments instead of the traditional avenues for prestige such as a distinguished familial pedigree or political or military feats. Eschewing conventional Roman notions of manliness, Cicero constructed a distinctly aesthetized identity that flirts with the questionable domains of the theatre and the feminine, and thus fashioned himself as a "new man."

"The First Folio of 1623 is the definitive edition of Shakespeare's plays. It is more often than not the closest we can now get to what Shakespeare actually wrote. But the Folio's antiquated typography and cramped layout make it remote and inaccessible to modern eyes. The Shakespeare Folios on the other hand offer easy access directly to the First Folio by presenting the text in modern type but otherwise unchanged. All the First Folio's idiosyncrasies of layout and spelling, even its obvious errors, have been scrupulously left intact, but the text suddenly becomes as easily legible as the script of any modern play." "As an additional aid to understanding, readers will find, printed opposite each page of the Folio, the very same passage in a modern edition. So, whenever the Folio presents a problem, the reader can refer to this parallel text for a solution, either in the text itself or in the set of notes at the end of the book. These notes draw on the long tradition of Shakespearean scholarship and include full reference to surviving Quarto texts."--BOOK JACKET.

Ancient Models in the Early Modern Republican Imagination offers a new approach to the study of the classical dimensions of early modern republican thought by analysing its specific and concrete uses of ancient republican models.

During the so-called Age of Melancholy, many writers invoked both traditional and new conceptualizations of the disease in order to account for various types of social turbulence, ranging from discontent and factionalism to civil war. Writing about melancholy became a way to explore both the causes and preventions of political disorder, on both specific and abstract levels. Thus, at one and the same moment, a writer could write about melancholy to discuss specific and ongoing political crises and to explore more generally the principles which generate political conflicts in the first place. In the course of developing a traditional discourse of melancholy of its own, English writers appropriated representations of the disease - often ineffectively - in order to account for the political turbulence during the civil war and Interregnum periods