The Introduction offers an analysis of the poem’s proem to offer a first example of the methodology of the book and of Statius’ sophisticated engagement with Ovid. A discussion of the historical context in which the poem was composed warns readers about the risks of interpreting the Thebaid only in the light of the anti-Domitianic writings of Tacitus, Suetonius, and Pliny, suggesting the importance of non-literary and material sources. A critical overview of the scholarly debate on the Thebaid and the exploration of ancient reading habits – including the consideration of attestations of Ovidian stories in frescoes and monuments – suggests that intertextuality can consist of interactions of meanings (potentially independent of verbal allusions). Furthermore, texts can engage in dialogue with the semantics of both textual and non-textual narratives. Accordingly, the introduction suggests that the study of the Thebaid’s poetics and politics (broadly understood) involves the exploration of how different kinds of intertextual and intermedial interplays shape the poem’s engagement with both past literary models and the contemporary realities of Flavian Rome.

In contrast with the emphasis put on pietas and providentia by Flavian discourse, the Thebaid is the only Flavian poem that begins and ends without gods, much like Lucan’s Bellum Civile. However, Statius’ gods are described in Ovidian terms and use thought-provoking allusions to the Metamorphoses to challenge the readers’ poetic memory with distorted versions of their literary past. The ways in which Statius and his gods allude to and manipulate the Metamorphoses’ divine narratives, reworking Ovid’s coded use of celestial geographies, both mark a significant distance from Lucan’s epic universe and highlight the Roman significance of the Thebaid’s divine world. The gods’ attempts to legitimise their morally dubious actions by manipulating the readers’ understanding of the Metamorphoses not only shows the Thebaid’s sophisticated engagement with the former literary tradition but also exploits the traditional analogy between heavenly and Roman power to reflect on the Flavian emperors’ progressive sacralisation of the imperial institution and selective renegotiation of Augustan legacy in the tense religious atmosphere of post–civil-war Rome.

The Conclusion summarises the book’s main arguments and offers an analysis of the poem’s epilogue to reassess the post-Ovidian nature of the Thebaid. By reflecting on the new insights offered by the book into the poetics and the politics of different types of literary interactions, this analysis raises new questions in different fields, from Flavian and intertextual studies to the study of spatiality, suggesting ways to further advance the practical and theoretical study of ancient intertextuality and intermediality.

As a complement to the work of Alastair Minnis and Brian Scott on a collection of accessus or introductions to pedagogical texts copied on their own in a collection of such ’Literary Prefaces’, this essay examines the accessüs to a typical series of school texts copied together in a single thirteenth-century manuscript, Munich, Bayerische Staatsbibliothek Clm 391. The works included in this manuscript were all widely taught during the Middle Ages and are all known to scholars and available in English translations. Yet they are not automatically included in discussions of literary works studied in the Middle Ages and this essay is meant to support the implications of Minnis and Scott’s term for them.The introductory matter, sometimes more than two accessūs, is significantly more extensive at the beginning of the manuscript and as much as possible has been edited and translated in this essay. Ways that we might look positively upon repetition, variation and contradiction are suggested and the implications of the evolving formats of the introductory material throughout the manuscript are explored. It is hoped that this approach may encourage other scholars to look at the accessūs to school texts in other relevant collections.

The chapters in this book are all readings, or interpretations, of key characters and episodes in the Divine Comedy where it can be shown that what is at stake is a kind of faith. What has been argued is that reading itself is an act of faith, a willingness to trust not only in the individual human author or narrator, but in the larger story in which all truthful, good faith narratives somehow fit. A different faith, like a superseded hypothesis in science, is another way of approaching a single truth and it can be read, charitably, as such.

Soon after the eruption of Vesuvius in 79 CE, Pompeii seemed to have vanished. The buried city maintained a presence in the region’s collective memory primarily as an overwhelming absence, repressed even in the near-contemporary poetry that ruminated on its demise. In such texts, the name of Pompeii is conspicuous by its absence, and the shock over the swallowing up of this solid ancestral ground is keenly felt. This chapter argues that Martial, Statius, and others initiate the trope of Pompeii as an absent presence that continues to characterize our responses to the site today, even in the face of the apparently abundant materiality of the site. By following Pompeii’s disappearing act from these Latin authors through a variety of more recent engagements with the city – from the subterranean journey to the site in Jacopo Sannazaro’s Arcadia (1504), to the sci-fi dislocation of the city in Amelie Nothomb’s novella, Péplum (1996), and the recent video installation Soleil Noir (2014), in which Pompeii becomes a post-human landscape – we can observe Pompeii’s importance as a locus for understanding the absences that permeate Roman culture, and our modern receptions of it.

From Homer on, the first similes in epic are strongly paradigmatic and symbolic; they emblematise an order on the human or cosmic scale, showing a contest between order and chaos. This pattern is analysed from Homer, Lucretius, Virgil and Lucan up to Milton’s Paradise Lost, whose first similes show a deep understanding of this ancient template.

Statius’ unfinished epic, the Achilleid, describes in its surviving opening portion the attempt of Achilles’ mother, Thetis, to stop him joining the expedition against Troy by disguising him as a girl on the island of Scyros. The chapter analyses Roman conceptions of gender and sexuality, as Achilles’ disguise does not prevent him from having sex with Deidamia. His underlying violent masculinity is revealed by the trickery of Ulysses.

Catullus features heavily in Chapter 21 of The Cambridge Companion to Sappho, but he is by no means the only Roman literary figure to have found in Sappho an important predecessor. Ovid, Horace, and others give powerful evidence of her influence in Latin literature.

The Conclusion brings us back full circle to the Introduction. A first section opens with a brief epilogue on Latin receptions and the reinventions of the Hyperborean nexus as a figure of liminality beyond the reach of Rome's power, shaped by the tense and shifting dialogue of geographical knowledge and Roman imperium. The brief epilogue continues with further thoughts on the Western medieval fortunes of Hyperborea, as it makes its way through negotiations with the baggage and authority of classical geography, and the difficult integration of a northern earthly paradise in the eschatological space of Christian cosmovision. This is the moment when Hyperborea, the focus of our etic study of cosmography, becomes a figure of emic cosmographia. The discussion in these two sections rapidly moves from Catullus to Claudian, and from Aethicus Ister to the Hereford Map and Roger Bacon, an occasion to end with a glance at the emergence of Hyperborea as an object of scientific and theological knowledge in the early European university. A final section ends with a quick retrospective and further considerations on cosmography and the philology of distant worlds.

The dominant feature of the Greco-Roman afterlife was the idea that justice would be served after death. This chapter outlines the manifestations of that idea of justice in a range of forms from the positive vision of eternal existence in the Elysian Fields to the negative images of criminals suffering tortures without end or relief. Many of the essential concepts of pagan eschatological thought emerged in philosophical and literary texts written in Greek. Elite Roman authors of the late Republic and imperial periods appropriated these ideas to send a strongly moralised message in terms of rewards and punishments in the afterlife. Central texts include Cicero’s Somnium Scipionis and Virgil’s Aeneid Book 6 along with Ovid’s Metamorphoses and Statius’ Thebaid. The treatment of the afterlife in these works paved the way for Christianity’s shift from the elite focus of the classical world to include any and everyone in the scope of just deserts after death.