Marc Mastrangelo

A Reappraisal of the Greek Sources and the Origins of Allegory

The "Psychomachia" of Prudentius

Prudentius

This new translation brings to life Prudentius' Psychomachia, one of the most widely read poems in western Europe from Late Antiquity through the Renaissance. With accompanying notes and introduction, this volume provides a fresh exploration of its themes and influence. The Psychomachia of Prudentius (348-c. 405), an allegorical epic poem of nearly 1000 lines about the battle between the virtues and the vices for possession of the human soul, led early modern scholars to refer to the late antique poet as the Christian Vergil. Combining depictions of violent, single combats with allusions to pagan epic poetry, biblical scenes, and Christian doctrine, the poem captures the dynamism of the later Roman Empire in which the pagan world was giving way to a new, Christian Europe. In this volume, the introduction sets the historical and literary context and illuminates the Psychomachia's prominent role in western literary history. Mastrangelo's translation aims to capture the rhetorical power of the author's Roman Christian Latin for the 21st century reader. The notes provide the reader with in-depth information on Prudentius' Latinity, the Roman epic tradition, and Christian doctrine. This volume is directed at students and scholars across the disciplines of comparative literature, classics, religion, and ancient and medieval studies, as well as any reader interested in the history and development of literature in the West.

Prudentius' Psychomachia

This new translation brings to life Prudentius' Psychomachia, one of the most widely read poems in western Europe from Late Antiquity through the Renaissance. With accompanying notes and introduction, this volume provides a fresh exploration of its themes and influence. The Psychomachia of Prudentius (348–c. 405), an allegorical epic poem of nearly 1,000 lines about the battle between the virtues and the vices for possession of the human soul, led early modern scholars to refer to the late antique poet as "the Christian Vergil." Combining depictions of violent, single combats with allusions to pagan epic poetry, biblical scenes, and Christian doctrine, the poem captures the dynamism of the later Roman Empire in which the pagan world was giving way to a new, Christian Europe. In this volume, the introduction sets the historical and literary context and illuminates the Psychomachia’s prominent role in western literary history. Mastrangelo’s translation aims to capture the rhetorical power of the author’s Roman Christian Latin for the 21st-century reader. The notes provide the reader with in-depth information on Prudentius’ Latinity, the Roman epic tradition, and Christian doctrine. This volume is directed at students and scholars across the disciplines of comparative literature, classics, religion, and ancient and medieval studies, as well as any reader interested in the history and development of literature in the West.

Prudentius’ Psychomachia

It seeks to restore poetry to its rightful place as a crucial source for interpreting the rich cultural and intellectual life of the era.

Prudentius and the Poetics of the Soul

The Roman Self in Late Antiquity

R. Scott Smith

Libanius

William Musgrave Calder

Bernhard Huss

Socrates (469-399 BC) is one of history's most enigmatic figures. Our knowledge of him comes to us second-hand, primarily from the philosopher Plato, who was Socrates' most gifted student, and from the historian and sometime-philosopher Xenophon, who counted himself as a member of Socrates' inner circle of friends. We also hear of Socrates in one comic play produced during his lifetime (Aristophanes' Clouds) and in passing from the philosopher Aristotle, a student of Plato. Socrates is a figure of enduring interest. He is often considered the father of Western Philosophy, yet the four most famous accounts we have of him present a contradictory, confusing picture. Just who was Socrates? A brilliant philosopher, at times confounding and infuriating, morally serious and yet ironic; the ever-worldly man, sometime mystic, and uncommon martyr depicted by Plato? Or did Plato conflate Socrates' views with his own startling genius, as Aristotle suggests? Was So rates instead the less impressive, more mundane man whose commonsense impressed the laconic Xenophon? Or was Socrates the charlatan, the long-winded phony of Aristophanes' play? The Socratic works of Diogenes Laertius (3rd century AD), Libanius (AD 314 -- c. 393), Maximus of 'Tyre (2nd century AD), and Apuleius (born c. AD 125) add important dimensions to the portrait of Socrates: Diogenes Laertius' Life of Socrates emphasizes Socrates' deep ethical nature and his extraordinary personality; Libanius' Apology of Socrates is based on sources now lost to us; Maximus of Tyre's Whether Socrates Did the Right Thing When He Did Not Defend Himself makes the star ling claim (against testimony of Plato and Xenophon) that Socrates never spoke athis own trial; from Apuleius' On the God of Socrates we hear at length of Socrates' infamous daimonion: the "divine sign" only mentioned elsewhere, the sign that warned Socrates against certain courses of action. In short, from these four texts we are reintroduced to Socrates, and new wrinkles are added to an already intriguing historical figure.

Marc Mastrangelo

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