Genealogical narratives often include a strand of violence and physical effort for women, particularly through childbirth but also through exile, migration for marriage, and establishing an independent life, as the previous chapters show. This chapter explores genealogical transmission and its relationship to violence and women’s action in the context of administrative communication networks in the Middle English Athelston, in which the king kicks his wife, killing his heir, and sentences his pregnant sister to a trial by fire. Drawing on network theory, which emphasizes the “doers” and “doing” of a network, the chapter explores the alignment of the two royal heir-bearers with messengers, which positions the women as key transmitters, not unlike the Virgin Mary at the Annunciation, rather than as wives who simply carry their husbands’ children. In this model of transmission, the women influence succession not only through childbearing but also through royal petitioning, letter writing, and prayer.

This chapter investigates the function of speeches in Thucydides’ work. It shows how speeches are used to advance the action of the story (using the examples of Brasidas’ speeches in Book 4 to illustrate this) and how they play on the expectations and assumptions of Thucydides’ rhetorically aware audience. The function of messengers is also discussed, along with the ‘soundscape’ evoked by less formal speech. Finally, the long-standing debate about of the composition and selection of the speeches is addressed, along with the question of how the speeches (and what Thucydides claims for his speeches) bear on the wider problem of the purpose of the work.

Chapter 4 is oriented around a letter-making signet ring whose imprint makes Curculio’s forged text “real.” Its agency, however, is not confined to epistolary deception, and this chapter unpacks the anulus’ potent theatrical agency by elucidating its operation in excess of human design. I shift my focus in exploring the metatheatrical portrait generated by Curculio’s epistolary motif. Whereas Chapters 1 through 3 consider the common ability of letters and scripts to evoke absent people, here I look at the power of these media to conjure up faraway places. Both epistles and dramatic texts bring “here” to “there” (or vice versa), a capacity enacted in Curculio’s composition of a letter at Epidaurus which encapsulates his encounter in Caria and flaunted in the choragus’ tour that blurs the line between theatrical and experiential space. Finally, this chapter returns to questions of innovation and artistic dependence. Curculio’s missive invites us to reflect on the impossibility of originality for the author on the outside when an author on the inside makes the play by recomposing yet another author’s text. A coda considers the play’s seal as related to the literary sphragis.