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The Institutio Oratoria of Quintilian (Marcus Fabius Quintilianus) is a work that follows in a tradition of writing on rhetoric, a tradition that dates back to the fifth century B.C. My thesis establishes Quintilian and his work within this tradition, and encourages the reader both to consider one aspect of the convention of technical instruction in rhetoric, namely criticism, and to reflect on the originality of criticism in Quintilian's work. Accordingly, I have two main aims. Firstly, I intend to give full detail of examples of criticism in the Institutio Oratoria, and this will include identifying, where possible, people who are targeted by Quintilian for criticism. Thus, in detailing examples - which I do by paraphrase and translation - and assigning them to chapters in this thesis, I follow the structure that Quintilian provides for his work in the preface to his first book. Targets of criticism include groups, such as parents, pupils, teachers, philosophers, actors, dancers, and specific individuals. My second aim is to assess the originality of Quintilian's criticism. Thus, I examine the works of predecessors, notably, but not exclusively, other writers on rhetoric, whose works are extant or partly extant. My feelings indicate that there is much criticism that can serve as precedent for criticism in the Institutio Oratoria. However, it is evident that Quintilian has not indulged in mere repetition. He has changed and adapted criticisms in a way that reflects his educational and forensic background. He also implies that many of these still relate to his own time. I have also found that much criticism lacks apparent precedent - apparent, because other works on rhetoric that precede the Institutio Oratoria and have not survived could feasibly have provided precedents for criticisms in Quintilian's work that appear novel - and I suggest that the underlying intention of this is to relate practice more closely to theory, and theory more closely to practice.

This thesis is a commentary on G.'s extant works and fragments which consists in three main parts: an Introduction, the Greek text, and notes on the text and fragments. a) The Introduction offers an account of G.'s life which is based on the information provided by ancient authors, a discussion of the stylistic features of his prose - along with a presentation of the criticism of his style by ancient authorities - and an analysis of the recurring argumentative schemata that underlie G.'s extant work. b) The Greek text, as it stands, embodies the readings that I adopt. c) The commentary on the extant texts and fragments is normally preceded by short Introductions, which are pertinent to the main problems of interpretation posed by the individual texts. The notes themselves normally include: i) a presentation of the textual problems and the possible solutions which have been proposed by previous scholars, together with the arguments that support the readings adopted in the text, ii) explanation of the text and its stylistic characteristics, iii) discussion of the individual arguments, and their role in the reasoning as a whole, and iv) where appropriate an analysis of the philosophical issues raised by the texts themselves.

I have attempted in the following pages to examine Athenian law and customary practices that shaped the lives of widows and orphans in the society during the classical period, using evidence mainly from the Attic orators. The work has two main divisions classified as follows: (A): The Athenian Widow in Law and Society; (B): Orphans in Classical Athens. Among the main issues discussed in section A, are the impact of the cycle of wars (foreign and internal) and other demographic features on family life and structure, instances of family laws about widows and orphans, and what role the archon could play the protect the welfare of widows and orphans in the society. Other matters discussed also are the status of the widow's marriage and dowry at the death of her husband, her residential status, rights to maintenance and support, the question of remarriage among widows, and what influence the widow could exert in either her deceased husband's household or that of her kindred. The fundamental motives for the striking phenomenon of appointing nearest relatives as guardians of orphans are discussed in Section B. An attempt has also been made not only to resolve the seeming uncertainties among scholars as to whether or not an epikleros, the other of the two categories of females with special legal protection, could be claimed before her puberty at the death of her father, but to examine also her peculiar status in the family and kinship structure. Other issues discussed also in Section B are the assumption of responsibilities of guardians, how the duties of guardians reflected the social and legal status of orphans under their guardians, and the position of state orphans.

The introduction deals briefly with the question of the classification of societies as shame or guilt-cultures, and the position is taken that, firstly, such a distinction has no real basis in human psychology and, secondly, that its application to the differences between ancient Greek culture and our own is largely superficial. The challenge to the shame-culture/guilt culture antithesis continues in the chapter on Homer, of which one of the central topics is the extent to which Homeric man possesses an internal conscience. The fundamental association of aidos with popular opinion is noted, and the terms which describe both the kind of situation or conduct which merits censure and the censure itself are studied, with a particular view to their relevance to competitive and co-operative standards. It is concluded that there is no basis for a subordination of the co-operative to the competitive in the vocabulary of the poems, although it is certainly the case that many characters are more concerned with failure in the latter sphere. This, however, is in no way part of the moral ideology of either the poet or his characters. The main areas of operation of aidos are identified: its role in battle and as fear of disgrace in general, its relevance to the co-operative standard of philia, its concern with positive regard for others, especially suppliants and guests and the particular form which the concept takes with regard to sex, especially in women. These are broadly the categories which also obtain in subsequent chapters. Instances of the relevant terms in the poetry from Hesiod to Pindar are largely heterogeneous, but particularly worthy of note are Hesiod's remarks on the ambivalence of aidos (a notion also present in Homer), Solon's application of the verb, aideomai, to his lack of concern for the misguided opinions of others, and the association of qualities like aidos and loyalty to one's friends, itself promoted by aidos, with arete, both moral and social, in Theognis. In the Tragedians, attention is paid first of all to the role of aidos etc. in the motivation of characters, then to its importance in the thematic structure of the plays, and only then, and with some caution, to the possibility that the usage of the tragedians may reflect changes in the society outside the plays. In Aeschylus, the operation of the concept in the above-mentioned categories is, briefly, surveyed, but the bulk of the chapter is concerned with its role in the psychology of characters faced with an acutely difficult choice: here the inhibitory force of aidos is apparent, as it frequently provokes crises of indecision. Such indecision, moreover, is often an important sign that all is not well. The psychological insight of Aeschylus, it is argued, is very far from elementary, but, of the three tragedians, it is Sophokles who makes most use of aidos in the psychology and motivation of his characters. In all but two of the extant tragedies aidos etc. have a central thematic importance: the possibility of conflicting ideas of aidos, a topic perhaps suggested by sophistic relativist theory, is frequently explored, and one demand of traditional aidos is often set against another. Sophistic discussions of the nature of aidos are particularly in evidence in two plays, the Ajax and the Philoktetes, which both reveal the operation of the concept as an internal form of conscience which can work without reference to the `other people' whose judgement is often mentioned in the context of the aidos-reaction. This appreciation of the internal aspect of aidos corresponds with Demokritos' view of its operation in the conscience of the individual. Sophistic ideas are even more readily apparent in Euripides, although they are much less closely integrated into the psychology of individual characters than they are in Sophokles. Relativism is also important in the younger poet, and a particular feature of his

This study looks at three episodes in Ovid’s Metamorphoses, namely the Hercules episode in Book 9 and the Pygmalion and Myrrha episodes in Book 10. These episodes are connected by the fact that, in each, the superficial interpretation of the text interacts with the tale’s underlying meaning and thus invites reassessment of that tale. This is a recurring feature throughout the Metamorphoses. The first chapter looks at the Hercules episode. It begins with a study of Ovid’s sources for the tale of Hercules and Deianira and is followed by a discussion of the episode itself. The central argument is that despite the amatory facade of the tale, the narrator systematically establishes Hercules’ lack of amorous interest in Deianira. The second chapter examines the Pygmalion episode. It looks at recent critical interest in the implicit eroticism of the episode and further contributes to this area of discussion. This study has two parts. In the first, Venus’ contribution to the erotic undercurrent in the tale is discussed. In the second, the relationship between Pygmalion and the Iphis episode in Book 9 is examined. The third chapter discusses the Myrrha episode which immediately follows that of Pygmalion in Ovid’s epic. The central argument of this chapter is that Ovid deliberately establishes a ritual undercurrent of sacred marriage in the tale. This Cyprian cult practice was an important feature of the Myrrha-Cinyras legend and examination of this aspect in the Ovidian adaptation begins with an examination of the relevance of this ritual motif to that legend generally. This is followed by a discussion of how Ovid deliberately establishes the scared marriage as a backdrop to his own incest tale. This depends on the creation of an undercurrent of marriage and on the religious atmosphere which exists alongside it.

The thesis offers a critical analysis of the transmission of Seneca's Thyestes in the sixteenth and seventeenth centuries. In Volume 1, the 1584 Gryphius edition of Seneca's Thyestes; the 1560 edition of Heywood's translation of the play and the 1674 edition of Wright's translation and burlesque version have been transcribed. This is the first time that these texts have been presented together for discussion. The commentary (Volume II) examines a broad range of dramatic material including Neo- Latin plays such as Goldingham's Herodes (1570/80); Gwinne's Nero (1603); Snelling's Thibaldus (1640) and the anonymous Stoicus Vapulans (1648). Prose works considered include the Latin lexicas and grammars of Lilly and Whitinton; philosophical treatises such as Reynolds A Treatise of the Passions and Faculties of the soule of Man (1640); and religious works such as Hooper on the Ten Commandments (1560). It presents hitherto unpublished material- MS Sloane 1041; and material that has previously received little attention- the Hendrik Goltzius' engraving of Melpomene (1592) and the Restoration Mock-Thyestes in Burlesque. Research material was consulted at the British Library; BL Department of Manuscripts; BL Print Room; University of Warwick Library; University of Birmingham Library; Senate House Library, University of London; The Bodleian Library, University of Oxford; The Warburg Institute and The Institute of Classical Studies.

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This thesis is a synchronic reception study of a single play, the Oedipus at Colonus. Rather than providing a commentary, or extracting one or two themes in isolation for examination, it considers the play through the lens of the eighteenth century. In so doing it offers a variety of disciplinary approaches, looking at the QC through the eyes of an aesthetic philosopher, creative writer, textual critic, artist, politician, historian, art historian, composer, musicologist, teacher or clergyman. After an introduction outlining some basic presuppositions for the thesis, chapter 1 covers aesthetic philosophy, chapter 2 books, chapter 3 staged reworking, chapter 4 paintings and chapter 5 opera. In reflecting on the play from such a broad range of perspectives, a range of insights emerge. The major theme is the way in which aesthetics develops over time and how these developments are reflected in the wide range of material under discussion. This thesis is about the sublime. Reading the DC through eighteenth-century eyes prioritises certain aspects of it which can, in various guises and at various times, be understood as sublime. This places great emphasis on themes such as religion and the role of landscape, while diminishing others, such as that of blindness, which might usually seem obvious ways to think about the play. Each act of reception draws out something slightly different from the Greek model, and by examining a range of material, our overall appreciation of the play and the eighteenth century is significantly enhanced, particularly in respect to the aforementioned themes.

<p> This thesis analyzes the utility of Finite Element Analysis (FEA) in testing strength trends in <i>Type A, Ci, Dii, F,</i> and <i> G</i> swords described by the Sandars Bronze Age Aegean classification. Comparing sword composition of a variety of alloys and using three-dimensional models of each sword type, I evaluate the strength and resilience of each sword shape form in thrusting and hacking impact and shearing under a series of force intervals. The results of these tests suggest that there is performance variability between the sword types and that the sword forms generally correlate with an increase in strength over time. Furthermore, the tests suggest that the alloy and temper of the sword have a significant impact on the sword&rsquo;s strength. This indicates that a sword&rsquo;s form was based on more than mere prestige and had clear functional characteristics. Further testing on alloy and temper type use over time is necessary.</p>