Focusing on intertextuality, this book investigates Pliny the Younger's engagement with other authors and genres in his Epistles.

The first modern literary commentary on Pliny the Younger's Epistles II, essential reading for students and scholars of Roman literature.

Imitation was central to Roman culture, and a staple of Latin poetry. But it was also fundamental to prose. This book brings together two monuments of the High Empire, Quintilian's Institutio oratoria ('Training of the orator') and Pliny's Epistles, to reveal a spectacular project of textual and ethical imitation. As a young man Pliny had studied with Quintilian. In the Epistles he meticulously transforms and subsumes his teacher's masterpiece, together with poetry and prose ranging from Homer to Tacitus' Dialogus de oratoribus. In teasing apart Pliny's rich intertextual weave, this book reinterprets Quintilian through the eyes of one of his sharpest readers, radically reassesses the Epistles as a work of minute textual artistry, and makes a major intervention in scholarly debates on intertextuality, imitation and rhetorical culture at Rome. The result is a landmark study with far-reaching implications for how we read Latin literature.

"Essential reading for anyone interested in the artistry of Pliny's Epistles and, more broadly, in Latin prose intertextuality, in the generic enrichment of Latin epistolography and in the literary and cultural interactions of the Imperial period. The book also serves as an advanced introduction to Latin prose poetics"--

The first holistic study of Roman literature and literary culture under Nerva, Trajan and Hadrian (AD 96-138). Authors treated include Frontinus, Juvenal, Martial, Pliny the Younger, Plutarch, Quintilian, Suetonius and Tacitus. Key topics and approaches include recitation, allusion, intertextuality, 'extratextuality' and socioliterary interactions.

Letters are famously easy to recognise, notoriously hard to define. Both real and fictitious letters can look identical to the point that there are no formal criteria which can distinguish one from the other. This has long been a point of anxiety in scholarship which has considered the value of an ancient letter to be determined by its authenticity, necessitating a strict binary opposition of genuine as opposed to fake letters. This volume challenges this dichotomy directly. Rather than defining epistolary fiction as a literary genre in opposition to ‘genuine’ letters or reducing it down to fixed rhetorical features, it argues that fiction is an inherent and fluid property of letters which ancient writers recognised and exploited. This volume contributes to wider scholarship on ancient fiction by demonstrating through the multiplicity of genres, contexts, and time periods discussed how complex and multifaceted ancient awareness of fictionality was. As such, this volume shows that letters are uniquely well-placed to unsettle disciplinary boundaries of fact and fiction, authentic and spurious, and that this allows for a deeper understanding of how ancient writers conceptualised and manipulated the fictional potential of letters.

Pliny's Panegyricus (AD 100) survives as a unique example of senatorial rhetoric from the early Roman Empire. It offers an eyewitness account of the last years of Domitian's principate, the reign of Nerva and Trajan's early years, and it communicates a detailed senatorial view on the behaviour expected of an emperor. It is an important document in the development of the ideals of imperial leadership, but it also contributes greatly to our understanding of imperial political culture more generally. This volume, the first ever devoted to the Panegyricus, contains expert studies of its key historical and rhetorical contexts, as well as important critical approaches to the published version of the speech and its influence in antiquity. It offers scholars of Roman history, literature and rhetoric an up-to-date overview of key approaches to the speech, and students and interested readers an authoritative introduction to this vital and under-appreciated speech.

How Romans used the world of the house to interpret and interrogate the role of the emperor. The Julio-Claudian dynasty, beginning with the rise of Augustus in the late first century BCE and ending with the death of Nero in 68 CE, was the first ruling family of the Roman Empire. Elite Romans had always used domestic space to assert and promote their authority, but what was different about the emperor's house? In The Ruler's House, Harriet Fertik considers how the emperor's household and the space he called home shaped Roman conceptions of power and one-man rule. While previous studies of power and privacy in Julio-Claudian Rome have emphasized the emperor's intrusions into the private lives of his fellow elites, this book focuses on Roman ideas of the ruler's lack of privacy. Fertik argues that houses were spaces that Romans used to contest power and to confront the contingency of their own and others' claims to rule. Describing how the Julio-Claudian period provoked anxieties not only about the ruler's power but also about his vulnerability, she reveals that the ruler's house offered a point of entry for reflecting on the interdependence and intimacy of ruler and ruled. Fertik explores the world of the Roman house, from family bonds and elite self-display to bodily functions and relations between masters and slaves. She draws on a wide range of sources, including epic and tragedy, historiography and philosophy, and art and architecture, and she investigates shared conceptions of power in elite literature and everyday life in Roman Pompeii. Examining political culture and thought in early imperial Rome, The Ruler's House confronts the fragility of one-man rule.

This volume is the first holistic investigation of Roman literature and literary culture under Nerva, Trajan and Hadrian (AD 96–138). With case studies from Frontinus, Juvenal, Martial, Pliny the Younger, Plutarch, Quintilian, Suetonius and Tacitus among others, the eighteen chapters offer not just innovative readings of literary (and some 'less literary') texts, but a collaborative enquiry into the networks and culture in which they are embedded. The book brings together established and novel methodologies to explore the connections, conversations and silences between these texts and their authors, both on and off the page. The scholarly dialogues that result not only shed fresh light on the dynamics of literary production and consumption in the 'High Roman Empire', but offer new provocations to students of intertextuality and interdiscursivity across classical literature. How can and should we read textual interactions in their social, literary and cultural contexts?

This is not a commentary on Juvenal 10 but a critical appreciation of the poem which examines it on its own and in context and tries to make it come alive as a piece of literature, offering one man's close reading of Satire 10 as poetry, and concerned with literary criticism rather than philological minutiae. In line with the recent broadening of insight into Juvenal's writing this book often addresses the issues of distortion and problematizing and covers style, sound and diction as well. Much time is also devoted to intertextuality and to humour, wit and irony. This is something new: building on the work of scholars like Martyn, Jenkyns and Schmitz, who see in Juvenal a consistently skilful and sophisticated author, this is a whole book demonstrating a high level of expertise on Juvenal's part sustained throughout a long poem (rather than intermittent flashes). This investigation of 10 leads to the conclusion that Juvenal is an accomplished poet and provocative satirist, a writer with real focus, who makes every word count, and a final chapter exploring 11 and 12 confirms that assessment. Translation of the Latin and explanation of references are included so that Classics students will find the book easier to use and it will also be accessible to scholars and students interested in satire outside of Classics departments.