The writings of Cicero contain hundreds of quotations of Latin poetry. This book examines his citations of Latin poets writing in diverse poetic genres and demonstrates the importance of poetry as an ethical, historical, and linguistic resource in the late Roman Republic. Hannah Čulík-Baird studies Cicero's use of poetry in his letters, speeches, and philosophical works, contextualizing his practice within the broader intellectual trends of contemporary Rome. Cicero's quotations of the 'classic' Latin poets, such as Ennius, Pacuvius, Accius, and Lucilius, are responsible for preserving the most significant fragments of verse from the second century BCE. The book also therefore examines the process of fragmentation in classical antiquity, with particular attention to the relationship between quotation and fragmentation. The Appendices collect perceptible instances of poetic citation (Greek as well as Latin) in the Ciceronian corpus.

PIERIDES IV This volume examines interpretation as the original process of critical reception vis-a-vis Terence’s experimental comedies. The book, which consists of two parts, looks at Terence as both an agent and a subject of interpretation. The First Part (‘Terence as Interpreter’) examines Terence as an interpreter of earlier literary traditions, both Greek and Roman. The Second Part (‘Interpretations of Terence’) identifies and explores different expressions of the critical reception of Terence’s output. The papers in both sections illustrate the various expressions of originality and individual creative genius that the process of interpretation entails. The volume at hand is the first study to focus not only on the interpreter, but also on the continuity and evolution of the principles of interpretation. In this way, it directs the focus from Terence’s work to the meaning of Terence’s work in relation to his predecessors (the past literary tradition), his contemporaries (his literary antagonists, but also his audience), and posterity (his critical readers across the centuries).

The sixteenth century was an exciting period in the history of European theatre. In the Iberian Peninsula, Italy, France, Germany and England, writers and actors experimented with new dramatic techniques and found new publics. They prepared the way for the better-known dramatists of the next century but produced much work which is valuable in its own right, in Latin and in their own vernaculars. The popular theatre of the Middle Ages gave endless material for reinvention by playwrights, and the legacy of the ancient world became a spur to creativity, in tragedy and comedy. As soon as readers and audiences had taken in the new plays, they were changed again, taking new forms as the first experiments were themselves modified and reinvented. Writers constantly adapted the texts of plays to meet new requirements. These and other issues are explored by a group of international experts from a comparative perspective, giving particular emphasis to one of the great European comic dramatists, the Portuguese Gil Vicente. Tom Earle is King John II Professor of Portuguese at Oxford. Catarina Fouto is a Lecturer in Portuguese at King's College London.