This chapter argues that in Longus, Daphnis and Chloe, the depictions in the inset tales of male self-assertion and sexual violence are offered not as models which we may expect Daphnis to imitate (as suggested e.g. by Winkler) but as contrasts to his reciprocal and considerate relationship with Chloe.

Chapter 4 examines the musical activities of Herbert’s elder brothe, Edward, first Lord Herbert of Cherbury (c.1582–1648). Cherbury’s musical activities are regularly overlooked by scholars interested in his work as a philosopher, historian, or diplomat. Yet music played an important role in his self-fashioning as a ‘Citizen of the world’, and these Stoic cosmopolitan ideals shaped his work as a diplomat and as a philosopher. In his philosophical work, Cherbury repeatedly turns to musical ideas to understand the nature of truth as a ‘harmonising’ of our faculties with the world. Most remarkably, evidence suggests that his philosophical ideas influenced his work as a composer: founded on the mathematical and astrological principles of harmony, his lute compositions attempted to express in a deeply personal and private music his relationship to the wider cosmos. The chapter concludes with a discussion of the echo poems composed by both brothers, demonstrating how the musical idea of resonance between the microcosm and the macrocosm informs their poetry.

The Epilogue includes a new interpretation of a late antique poem by Pentadius. The Epilogue also summarises the findings of the book.

Establishing a treatment relationship with a mental healthcare provider can be difficult for myriad reasons. This chapter discusses the different types of mental healthcare providers, including prescribing clinicians, psychotherapists, and behavior analysts. All bring a unique and useful perspective to treatment. When deciding on the right provider, it is important to consider the symptoms and behaviors to be addressed. Providers can be found through recommendations of primary care physicians, PWS associations, professional organizations, state licensing boards, and recommendations of friends or family members. Finally, while ending a relationship with a provider can be difficult, there are times when it may be necessary in order to provide continuity or improve the quality of care you or your loved one is receiving. A collaborative relationship with your loved one’s treating clinician is based on trust and strengthened overtime. With careful cultivation, your relationship with a provider can prove to be long-lasting support to your loved one with PWS.

Chapter 6, ‘Absence of the Other’, points to moments in Schumann where the music is marked by the absence of another’s voice, be it through the Romantic evocation of distant voices in pieces such as the Novelletten’s ‘Stimme aus der Ferne’, or, more troublingly, the loss of voice in songs like ‘Des Sennen Abschied’ and ‘Die Sennin’ – a non-presence often explicitly denoting death, as is the case at the close of Frauenliebe or in the Kerner setting ‘Aus das Trinkglas eines verstorbenen Freundes’. As is found increasingly in Schumann’s later work, the music may pointedly not trace a successful ‘coming to lyricism’: the emergence of an expected lyrical voice is missing. This tendency is epitomised in the genre of melodrama, where music accompanies a declaimed speech that refuses to attain the subjective presence of lyricism, and in pieces such as Manfred.

Here, we look at a number of syntactic differences that are used for different pragmatic purposes, specifically the characteristic but imperfect relations between the following clause types and speech acts: declarative clauses for making statements, closed interrogative clauses for asking closed questions, open interrogative clauses for asking open questions, imperative clauses for issuing commands, and exclamative clauses for uttering exclamations. These relations exist for both main and subordinate clauses.

Declarative clauses are the basic clause type that we’ve been describing so far. Interrogatives have a number of characteristics differences, including subject–auxiliary inversion and the use of interrogative words and fronting of the interrogative phrase in open interrogatives. The exclamatives are always marked by an initial exclamative phrase that begins with either adjective ‘what’ or adverb ‘how’. Imperatives characteristically lack a subject and use the plain form of the verb. We conclude with a brief description of a few minor clause types.

The relation of Keats to Shakespeare seems straightforward: lifelong admiration; the desire to imitate him; delight in Shakespeare’s use of language; approval of Shakespeare’s bypassing of the ethical in order to enter myriad kinds of human experience through negative capability; and wonder at his imagined worlds. Byron’s complex, shifting and almost never straightforward relation to Shakespeare is unlike this. Yet Byron, I will argue, is more pervasively, though less devoutly, Shakespearian than Keats.

This chapter takes a metapoetic approach to Lucretian allusion to show that the DRN figures the phenomenon of echo as a metaphor for literary appropriation. Lucretius culminates his discussion of acoustic phenomena and hearing with the example of the echo (DRN 4.549–94). Insofar as echo is introduced as the most prominent effect in the perceptible world of the atomic reverberations that give rise to auditory aisthēsis, I argue that Lucretius' multiple allusions to earlier poetry in this passage also serve to illustrate metapoetically the process itself of hearing. The ideas inherent in this Lucretian passage find parallels in the fragmentary papyri of Philodemus.

Attuning to feminism with sound as a trans-historical listening practice, this chapter considers the intersections of feminism(s) and sound through echo, making the case for the phenomenon of echoic sound as feminist method alongside considering Echo, the Greek mythological character whose reappearances through literature confer upon her a cumulative agency, evidenced in her sonic invention/intervention. The writing charts a reading of Echo as complicating any idea of a coherent female identity, and then considers echo’s legacy through two recent examples of sonic art works: Bouchra Ouizguen’s Corbeaux and Sonya Boyce’s Devotional Series, both of which insistently demand to take up space through sounding out multiple times, and multiple women in and through history. Rather than constructing identities of the artist and/or audience, the chapter attends to these works’ formation of collectives in and of those who witness, organised following Jennifer Nash in her writing on black feminist love politics, ‘around the vibrancy and complexity of difference.’

Chaucer’s God considers how characters invoke God, both in terms of the everyday language of late medieval England and in the ways that the idea of God is reflected in Chaucer’s fiction. Conventional, non-theological utterances of the names for God by Chaucer’s characters as part of their, by turns, outwardly pious and unthinkingly impious phraseologies are discussed in the opening section, God Woot – ‘God knows’. Under the heading God Forwoot – ‘God foreknows’, some of the more challenging invocations of God are considered, such as the implications of divine foreknowledge and predestination on human free will in the Knight’s Tale, the Nun’s Priest’s Tale and Troilus and Criseyde. The concluding section, God in a Cruel World, asks whether in the Clerk’s Tale and the Franklin’s Tale, if Chaucer allowed his tales to reflect, and characters to reflect upon, the heretical notion of a God lacking in compassion for humanity.

Rather than trawl through medieval philosophical texts for references to selfhood, I analyse a story Chaucer knew well: that of Narcissus and Echo. Narcissus’s fatal encounter with his own reflection suggests a number of points: i) that self-awareness is associated with sight (the word ‘introspection’ means ‘looking within’); ii) that beauty also is associated with sight; iii) that love makes one self-aware (Narcissus understands that his love-object is himself, not that that helps him any); iv) that sight can be ironically linked to moral blindness. Chaucer explores all these points, often with reference to mirrors, and to women in love or being loved. Medieval mirrors were usually small and convex, requiring the viewer to stand close to interpret the distorted images from multiple angles that they generated. Chaucer especially represents women experiencing how it feels to ‘be me’, making of his own poetry a mirror that reflects from oblique positions.