The elegists, ancient Rome's most introspective poets, filled their works with vivid, first-person accounts of dreams. Emma Scioli examines these varied and visually striking textual dreamscapes, arguing that the poets exploited dynamics of visual representation to share with readers the intensely personal experience of dreaming.

Dreaming with Open Eyes examines visual symbolism in late seventeenth-century Italian opera, contextualizing the genre amid the broad ocularcentric debates emerging at the crossroads of the early modern period and the Enlightenment. Ayana O. Smith reevaluates significant aspects of the Arcadian reform aesthetic and establishes a historically informed method of opera criticism for modern scholars and interpreters. Unfolding in a narrative fashion, the text explores facets of the philosophical and literary background and concludes with close readings of text and music, using visual symbolism to create readings of gender and character in two operas: Alessandro Scarlatti's La Statira (Rome, 1690), and Carlo Francesco Pollarolo's La forza della virtù (Venice, 1693). Smith’s interdisciplinary approach enhances our modern perception of this rich and underexplored repertory, and will appeal to students and scholars not only of opera, but also of literature, philosophy, and visual and intellectual cultures.

This book connects the emergence of Latin love elegy and a new, tender style in Roman wall painting.

Elegiac Love and Death in Vergil's 'Aeneid' poses new questions about Vergil's pervasive engagement with elegy, both amatory and funerary, throughout his final epic endeavor. A foundational discussion of elegiac experimentation in the Eclogues, Georgics, and Aeneid 1-6 explores the aesthetic and conceptual development of destructive Vergilian amor (passion). The unique emphasis of subsequent chapters on the amatory and funerary elegiac dimensions of crucial episodes in Aeneid 7-12 illuminates the intergeneric character of Vergil's martial maius opus. A detailed examination of the inter- and intratextual strands of pivotal moments in the Aeneid evinces Vergil's intense engagement with literary predecessors and contemporaries, his evolving artistic vision, and his enduring influence on subsequent Roman poets. Each chapter of this volume enhances our understanding of the generic complexity of the Aeneid, presenting revisionary readings of key episodes and transformative interpretations of its main characters.

The elegiac poet Propertius responds in his verse to the complex changes that Rome underwent in his lifetime, taking on numerous topics of poetry, poetic and sexual rivalry, visual art, violence, imperialism, colonialism, civil war, the radical new emperor Augustus, and more. These essays, by well-known scholars of Roman elegy, offer new ways of reading Propertius' topics, attitudes, and poetics. This book begins with two distinguished essays by influential Propertian scholar Barbara Flaschenriem, who passed away unexpectedly. The other contributions, offered in her memory, are by Diane Rayor, Andrew Feldherr, Ellen Greene, Lowell Bowditch, Alison Keith, and volume editor Sharon L. James. These essays explore themes including Propertian didacticism, dream interpretation, visual art and formalism, sex and violence, Roman imperialism and its connection to the elegiac puella, and Propertius' engagement, in Book 4, with Vergil's poetry.

This book is the first study to focus on a metaliterary interpretation of Maximianus’ Elegies, and aims to fill a major gap in international literature concerning the thoughts of the last love elegist on the evolution and renovation of the genre of love elegy during Late Antiquity. The book includes all known subjects of Maximianus’ poetry (e.g., the division of his work into six elegies, its attribution to Cornelius Gallus by Pomponius Gauricus in 1502, its reception in recent years, the intellectual milieu of the Ostrogothic Italy, the historical contextualization of his poetry, the Appendix Maximiani, the impact of the Augustan love elegy (and especially Ovid’s) upon it, etc.), in order to offer a more complete picture of it. However, the content of the book is predominantly prototype, as it examines subjects that have not previously been discussed in the past. These include: a) The generic interaction between the ‘host’ genre of love elegy, and several ‘guest’ genres (e.g., Roman comedy, epic, pastoral); b) The hidden metapoetic discourse regarding the genre of love elegy itself. The book is intended for scholars or students working on or interested in Roman love elegy and its generic evolution in Late Antiquity.

Born in 70 BCE, the Roman poet Vergil came of age during a period of literary experimentalism among Latin authors. These authors introduced new Greek verse forms and metres into the existing repertoire of Latin poetic genres and measures, foremost among them being elegy, a genre that the ancients thought originated in funeral lament, but which in classical Rome became first-person poetry about the poet-lover’s amatory vicissitudes. Despite the influence of notable elegists on Vergil’s early poetry, his critics have rarely paid attention to his engagement with the genre across his body of work. This collection is devoted to an exploration of Vergil’s multifaceted relations with elegy. Contributors shed light on Vergil’s interactions with the genre and its practitioners across classical, medieval, and early modern periods. The book investigates Vergil’s hexameter poetry in relation to contemporary Latin elegy by Gallus, Tibullus, and Propertius, and the subsequent reception of Vergil’s radical combination of epic with elegy by later Latin and Italian authors. Filling a striking gap in the scholarship, Vergil and Elegy illuminates the famous poet’s wide-ranging engagement with the genre of elegy across his oeuvre.

In the Flesh deeply engages postmodern and new materialist feminist thought in close readings of three significant poets—Propertius, Tibullus, and Ovid—writing in the early years of Rome's Augustan Principate. In their poems, they represent the flesh-and-blood body in both its integrity and vulnerability, as an index of social position along intersecting axes of sex, gender, status, and class. Erika Zimmermann Damer underscores the fluid, dynamic, and contingent nature of identities in Roman elegy, in response to a period of rapid legal, political, and social change. Recognizing this power of material flesh to shape elegiac poetry, she asserts, grants figures at the margins of this poetic discourse—mistresses, rivals, enslaved characters, overlooked members of households—their own identities, even when they do not speak. She demonstrates how the three poets create a prominent aesthetic of corporeal abjection and imperfection, associating the body as much with blood, wounds, and corporeal disintegration as with elegance, refinement, and sensuality.

Latin love elegy’s flourishing concurrent with Rome’s transition from Republic to Principate has remained an issue central to scholarship on the genre since the turn of the last millennium. This book addresses the Greco-Roman literary inheritance and Augustan socio-political context that paved the way for that flourishing, while examining the genre’s key elements and characters as illustrated in the poetry of Propertius, Tibullus, Ovid, and Sulpicia. Special attention is paid to the gendered dynamics that govern the relationship between “poet-lover” (amator) and beloved and to the role of the poet as artist and creator of a “written girl” (scripta puella).

This volume takes a fresh look at ekphrasis as a textual practice closely connected to our embodied imagination and its verbal dimension; it offers the first detailed study of a large family of ancient ecphrastic shields, often studied separately, but never as an ensemble with its own development. The main objective consists of establishing a theoretical and historical framework that is applied to a series of famous ecphrastic shields starting with the Homeric shield of Achilles. The latter is reinterpreted as a paradigmatic "thing" whose echoing down the centuries is reinforced by the fundamental connection between ekphrasis and artefacts as its primary objects. The book demonstrates that although the ancient sources do not limit ekphrasis to artificial creations, the latter are most efficient in bringing out the intimate affinity between artefacts and vivid mental images as two kind of entities that lack a natural scale and are rightly understood as ontologically unstable. Ecphrastic Shields in Graeco-Roman Literature: The World’s Forge should be read by those interested in ancient culture, art and philosophy, but also by those fascinated by the broader issue of imagination and by the interplay between the natural and the artificial.