The thesis provides a comprehensive analysis of the characterisation of two of the major figures in the Aeneid, Aeneas and Turnus. Particular attention is paid to their direct speeches, all of which are examined and, where relevant, compared to Homeric models and parallels. To this purpose considerable use is made of the indices in Knauer's Die Aeneis und Homer. A more general comparison is made between the dramatic (direct speech) role of Aeneas and those of Homer's Achilles (Iliad) and Odysseus (Odyssey). An appraisal is made (from the viewpoint of depiction of character) of the relationship between the direct and indirect speeches in the Aeneid. Reasons are given to suggest that it is not mere chance, or for the sake of variety, that certain speeches of Aeneas and Turnus are expressed in oratio obliqua. In addition, the narrative portrayal of Aeneas and Turnus is considered in apposition to that of the speeches. A distinction is drawn between Vergil's direct method of characterisation (direct speeches) and his indirect methods (narrative/oratio obliqua). Inevitably, the analysis involves major consideration of the Roman values which pervade the work. All speeches, thoughts and actions of Aeneas and Turnus are assessed in terms of pietas, impietas, furor, virtus, ratio, clementia, humanitas (etc.). It is shown that individual concepts (such as pietas and impietas) are reflected in Vergil's direct and indirect methods of characterisation. The workings of fate and their relevance to the pietas concept are discussed throughout.

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The. thesis describes the, network of theories and practices which articulated the discourse of crime in legal and fictional writing in eighteenth-century England. Alter an Introduction which outlines the general scope of the thesis, successive chapters examine a number of issues which the representation of crime in eighteenth-century England raises. Chapter one is a study of the effects of luxury on the perception of crime in the Classical period (the seventeenth and eighteenth centuries); Chapter two is a critical approach to the English criminal law in the Classical Age. This chapter examines how legal thought was constructed and how its concepts and statements were defined within the general mode of knowledge during this period. Chapter three discusses the definitions of crime and the treatment of criminals in a world governed by a market-economy and representative authority. Chapter four describes the penal system which existed in England in the Classical period and analyses its theoretical choices, methods and practice. Chapter five which opens Part 11 is a study of the relationship between crime and narrative. The focus in this chapter is on Defoe's, Pelham's and Fielding's narratives of the life of Jonathan Wild. The chapter also studies the practices of Jonathan Wild in relation to the representation of crime in fiction. Chapter six is devoted mainly to Defoe's representation of crime in his fiction. The chapter examines a number of features in Defoe's configuration of crime in his writings: wealth, crime, masquerade, transformation, topography and geography are all important elements of his crime fiction. Chapter seven is4study of Fielding's Amelia and his magisterial activities. The aim in this chapter is to show how a magistrate sees and represents crime in fiction. Finally, the Conclusion is an assessment of the foregoing ideas.

In the present thesis the author professes to offer neither a systematic account of Sophoclean theology (if indeed there is such a thing) nor a study of the epistemological problem per se in Sophoclean tragedy. His purpose is rather to illuminate - partly expanding on a brief but suggestive study by Hans Diller ("Gottliches und menschliches Wissen bei Sophocles", Kiel 1950) - the ways in which the epistemological chasm between Man and God in Sophoclean tragedy becomes manifest through a 'collision' between the incompleteness and limitedness of human knowledge on the one hand and the transcendence and the unknowability of the gods on the other. An introductory chapter is prefixed which deals with the development of the idea of divine unknowability in archaic Greek literature and in Presocratic philosophy. There follows a detailed examination of the extant plays one by one (with special emphasis on the close reading of practically all the choral odes), by means of which the author endeavours to demonstrate that the centrality of the epistemological problem (in relation, always, to the inscrutability of the Godhead) in Sophocles, far from reducing his dramas to abstract philosophical treatises, contains a tremendous tragic potential and makes for powerful plays. Aspects of each play's structure, of its thematic articulation and of its vocabulary are studied, while a variety of methodological approaches are employed in order to illuminate problems of interpretation. All important secondary literature is cited and / or discussed. Thus, while never losing sight of its central concern (divine unknowability, limitedness of human knowledge), the present thesis also aims to be a thorough study of Sophoclean tragedy as a whole.

This study comprises a translation, textual commentary, and discussion of the fragments of the Old comic dramatist Strattis which engage with tragedy. It forms the centre of a wider examination of the art of paratragedy and tragic parody in Old Comedy because paratragedy represents the earliest reception of tragedy and one that is contemporary with the initial live performances of tragic plays. Ancient and modern scholarship alike has viewed Aristophanes as the dominant figure in the art of paratragedy and tragic parody. Strattis, a contemporary of Aristophanes, was active in the late fifth and early fourth centuries BC and the fragments of his comedies indicate a sustained and wide ranging interaction with contemporary tragedy which is rivalled only by Aristophanic comedy. This is particularly remarkable since the extant corpus of Strattis numbers less than ninety fragments. This work explores the phenomenon of paratragedy beyond Aristophanic paratragedy and raises awareness of the importance of Strattis in this respect. It begins with a survey of paratragedy in other non-Aristophanic fragments of Old Comedy and it examines the various ways that comedy engages with tragedy, indicating the depth and breadth of paratragedy in comic fragments. This provides the foundations on which to examine the fragments of Strattis through a text, translation and commentary on those fragments that engage with tragedy. It leads to a discussion of the works of Strattis overall for their use of tragedy and myth, which allows us to note characteristics of Strattis’ work. This enables a comparison of the paratragedy in the comedies of Strattis and Aristophanes which allows us to reassess the uniqueness of Aristophanic paratragedy and to consider reasons for the popularity of paratragedy in the late fifth century BC.

This dissertation explores Pausanias’ depiction of the (mythical) Messenian revolt against the Spartans in book 4 of his Periegesis in comparative perspective with ancient depictions of slave revolts and Flavius Josephus’ Jewish War. I concentrate on how Pausanias portrays Aristomenes and the other rebels, as well as the Messenians in general. Although recently the Messenian Wars have been the subject of scholarly interest from literary critics, historians, and archaeologists, who have fruitfully combined their disciplines in their interpretations of the story, Pausanias’ aims and agenda in his representation of the Messenians have so far been left unexplored. This dissertation therefore asks: What stance did Pausanias take in the contested history of Messenia? In my analysis of Pausanias’ figuration of Messenian history, in chapters 1 (the introduction) and 2 I concentrate on his frequent use of τόλμη and in particular in its combination with ἀπόνοια (‘despair’). Τόλμη, translated as daring, contains both positive and negative connotations. It is a necessary ingredient of courage, but can also lead to recklessness if uncontrolled. My comparative framework in chapters 3 to 6 puts this reading of Pausanias’ book 4 to the test. In chapter 3 I compare Pausanias’ depiction of Aristomenes’ leadership qualities with Athenaeus’ use of the story of Drimakos, the rebel leader of a slave revolt on the island of Chios. In chapters 4 and 5 I pursue the connection between slavery, τόλμη and ἀπόνοια further in a comparison of the Messenian revolt with Diodorus’ depiction of the two Sicilian slave wars, along with Plutarch’s and Appian’s account of Spartacus’ revolt. In the sixth chapter I interpret the Messenian revolt as a ‘nationalistic’ uprising and compare Pausanias’ account with Josephus’ Jewish War.

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