Through patronage of art, architecture, and classical scholarship and through development of classically inspired rhetoric and ceremonies, the popes of the medieval and early modern periods promoted the recovery and reinterpretation of ancient Greek and Roman culture. Critics (including Roman civic leaders, Renaissance humanists, and Protestant reformers) pilloried the papal court as a symbol of corruption and cultural stagnation, but pontiffs and their advisers continued to adapt ancient and early Christian precedents to support their traditional claims to authority and to justify their new initiatives. This chapter argues that the papacy played a vital role in recovering and using the classical legacy throughout the (long) Middle Ages. It also argues that the venues and motivations for this appropriation remained more consistent than standard periodization of the medieval, Renaissance, and Counter Reformation papacy has suggested.

Lysias, the son of Cephalus, was an Athenian logographer, a wealthy metic and a staunch democrat: In the Dictionary of Received Ideas about Greek antiquity, the entry devoted to Lysias would probably read along these lines. If there was ever a man identified with a status, a social class, a professional function and a political identity, it is indeed the orator Lysias, whose family, originally from Syracuse, benefits from an exceptional documentary focus. Considering all the available evidence and his path through life as a whole, a completely different image of the man emerges. Outside of the brief context of the civil war, Lysias was never depicted as a metic and never defined himself as such; nothing, moreover, indicates that he particularly suffered from this status or that he sought to be a naturalized Athenian at any price after the failure of his bid for citizenship in 403. Likewise, considering his life as a whole, his attachment to the democratic regime is not as clear to see as his vibrant proclamations in Against Eratosthenes suggest: The company he kept and the choice of his clients plead for a much more nuanced approach. Finally, his conversion to logography also deserves to be put into perspective: Was he not already considered a brilliant ‘sophist,’ albeit not a logographer, before the beginning of the civil war? He certainly continued to be considered as such after the reconciliation. Beyond the din of stasis, which forced everyone to choose their camp and froze individuals in clear-cut positions, Lysias’ life reveals that Athenian society was much more fluid than it appears in terms of status, partisanship or profession. On deeper examination, the life of Lysias seems marked by a form of uncertainty due not only to gaps in the source material, but also to the irreducible complexity of Athenian community life. Around this ill-defined man gravitate shifting choruses whose principles of composition and recomposition can be defined by taking advantage of the exceptional light shone on them by the shock of the civil war.

The rhetoric of Roman moralising has often seemed alien to modern readers. This book, in linking together studies of apparently diverse topics, might be seen as appropriating a trope of Roman moralistic discourse, presenting arguments concerning different subjects as parallel so that they may serve to reinforce one another. A better understanding of this and similar literary devices, as they operate in Roman moralising texts, can help us to make sense of some features of those texts which modern readers have found puzzling. We begin with an apparently bizarre example of this kind of rhetoric (included in the book of rhetorical exercises put together by the elder Seneca).

Chapter 1 explores the use of gesture in preaching, with reference to the branch of rhetoric known as pronunciatio, which provided the theoretical basis for much of the discussion of gesture in the early modern period. The basic rules of pronunciatio were derived from classical sources, but were developed and adapted by sixteenth-century writers on sacred rhetoric. All these writers were united by a shared insistence on the need for decorum and moderation, but in the early seventeenth century a contrast began to emerge between the techniques favoured by Reformed theologians in the Ramist tradition, who stressed the importance of bodily restraint and self-control, and the more dramatic style of preaching pioneered by Jesuit rhetoricians in France. One of the unexpected findings of this chapter is that the Jesuit style was widely admired and copied by seventeenth-century English Protestant preachers as a way of giving their sermons more emotional impact. Against the common assumption of an anti-theatrical prejudice in early modern Protestantism, we should think of a dynamic relationship between the pulpit and the stage in which preachers and actors watched and learned from each other.

The Introduction gives an overview of the book’s most important findings and contributions. Since international relations are anarchical and international legal norms are incomplete or in tension with other norms, there is potential for contestation whenever a general norm is applied to specific situations. The reactions of others to proposed norm interpretations can alter norms and their strength. The second section describes the book’s rhetorical approach, and the third section summarizes the main theoretical contributions. First, the "alternate endings" typology shows that it matters whether dispute parties (dis)agree on the norm frame or behavioral claim. Frame agreement is an internal source of stability. Moreover, the typology can guide assessment of how contestation affects norm strength. Second, I describe the focus on audience reactions, argumentation, and speakers (including delegation to agents) when analyzing extrinsic influences on the persistence of norm interpretations, and thus of alternate endings. The fourth section discusses the main contributions to the existing literature on norm strength, the dual quality of norms, legal argumentation and interpretive communities, and delegation to courts and other relevant agents. The Introduction then discusses the research design and methodology, before concluding with an overview of the remaining chapters.

Full of allusions and images derived from the Garden of Eden, dreams of Daniel, and schematics of Ezekiel’s temple, and populated with rebooted characters like Balaam and Jezebel, this concluding chapter addresses the question of whether an overarching narrative arc can be discerned in the Bible’s final book.

The historian’s task is to narrate, but he must also win credibility for that narrative: his task is therefore also to persuade his audience that he is the proper person to tell the story and, moreover, that his account is one that should be believed. In his capacity as persuader, the historian will often try to shape the audience’s perception of his character and to use this as an additional claim to authority; indeed, among the Roman historians, where explicit professions of research are rarer than with the Greeks, the shaping of the narrator’s character takes on a correspondingly larger role. But most of the historians, Greek and Roman, try to shape their audience’s perception of their character. Nor is this surprising when we consider the teachings of rhetoric.

The third chapter builds on an increase in Arabic manuscript circulation from the fifteenth to the seventeenth centuries in the Deccan to demonstrate how Arabic philology became a significant intellectual pursuit for a growing learned community. My research on manuscript notes traces textual practices and how they changed over time, and how this contributed to a localisation of Arabic learning across the multilingual landscape of the subcontinent. It zooms in on scholar-scribes, copyist-scribes, and owners of manuscripts. It highlights ‘definitive texts’ in the fields of Arabic grammar, rhetoric, and lexicography and what we know about their circulation across the Deccan and beyond based on two manuscript collections from Hyderabad, and the Bijapur collection. Book exchanges and the emergence of ‘commonplace notebooks’ as a multi-layered intertextual product of intellectual engagements with a scholarly text make plain the social and cultural dynamisms of this field of learning. The formation of cultural tastes in Arabic philology, new studying enactments of manuscripts, and a socially more diverse community shaped the significances of reading and writing Arabic in South Asia.

Hume’s ‘Of Eloquence’ – in which Hume implores English orators to imitate the sublime style of Demosthenes – has long puzzled readers, for two reasons. First, it is rare for Hume to present ancient examples as suitable for moderns to imitate, particularly where politics is concerned. Second, in the essay’s conclusion, Hume seems to backtrack by encouraging English speakers to give up on sublimity and introduce more order and method into their speeches instead, inviting the accusation of incoherence. In this chapter, I show how reading Hume’s essay through the lens of ancients and moderns is limiting and that a comparison between the political cultures of England and France was central to his analysis. For Hume, the lack of sublimity in Parliament was a specifically English problem with roots in the English national character. If the revival of classical eloquence that Hume desired looked unlikely to him, I argue, this was due less to the unsuitability of sublime speech to a modern society than to the peculiar place of Parliament in Britain’s mixed constitutional order. I also demonstrate that Hume’s closing call for more order and method in English speechmaking was consistent with his earlier endorsement of the sublime.

Although no direct claim for the autonomy of spheres was advanced in the scholastic speculations discussed in Chapter 5, such notions would be put forward in the circles where humanism and the artistic renewal pursued in contact with it emerged in Renaissance Italy. A powerful example was Giorgio Vasari’s assertion that what caused art and architecture to decline from its ancient heights was the substitution of religious values for aesthetic ones by Christianity as it became established under the Roman Empire. This defense of aesthetic autonomy would become more general and explicit as the expansion of the audience for painting and sculpture and the display of art objects in locations specifically dedicated to them – museums and galleries instead of churches or princely and noble residences – confronted viewers with “art as such,” and it would be theorized in Kant’s aesthetics at the end of the eighteenth century, which removed both religious and social value from judgments about art. But this development was singularly European. No similar move toward attributing autonomy to the aesthetic sphere would take place in India, China, or Muslim territories, despite the many beautiful objects produced in all of them and the exalted position attributed to artists in some.

This chapter argues that the spoken word had special significance in the Russian literary tradition due to censorship and other constraints on the printed word, and also because of the cultural chasm between a small, educated elite and a weakly literate majority. It begins with Baroque rhetoric in the eighteenth century before examining the role of oral performance and rhetoric in the Romantic era. It then shows a reinvigoration of literature’s oral dimension from the reform era of the 1860s through to the early twentieth century, as writers became public readers of their work and the educated elite sought to render a popular ‘voice’ in literary form. Following a repressive hiatus in the Stalin period, the spoken word had its heyday in the postwar era: guitar poetry, a popular form of urban folklore, entered the field of literature, while poets achieved national fame as performers as well as published authors.

I conclude with a review of my findings in Chapters 3–7. I elucidate the relationship between “oil” and “Islam” and what that relationship teaches us about politics in Gulf monarchies. The overwhelming message is that with their abundant wealth, Gulf rulers have been exploiting not only oil rents but also religious doctrine and its (re-)formulations to function as tools of social management and social control. Their aim is to bolster their authoritarian ambitions: ruling families’ capacity to both dominate and shape their societies and retain their monopoly over resources. For the sake of maintaining – and enriching – dynastic states and constructing the nation, oil and Islam are their principal tools.

Marie Bouhaïk-Gironès and Estelle Doudet counter the perception that ‘French medieval theatre’ might be French, medieval, or even theatre. Whereas theatre created from the seventeenth century onwards is termed ‘modern’, activity prior to this period is often portrayed as unsophisticated and non-professional. Bouhaïk-Gironès and Doudet argue for a new approach to the theatre that emerged between the mid twelfth and mid sixteenth centuries, which firstly testifies to its rich and varied nature. Second, they decentralize the geographical frame implied by ‘French’, recounting the French-speaking theatre activity taking place over France’s borders. Finally, they describe the sophisticated processes of collaborative performance-making, rehearsal and stage production that evolved during this period, which gave rise to a whole new lexicon of terms for describing practices by playwrights, actors, producers and audience members, many of which are used in European languages to this day.

Lucian’s In Praise of the Fly offers a delightfully wry encomium of the humble house fly. While the speech engages wittily with sophistic traditions by praising this troublesome insect, it also raises important questions about social marginality and the workings of power, and about the mechanisms through which value is conventionally assessed and reinforced. This chapter examines scale, social status, and literary self-consciousness in Lucian’s representation of the fly as a creature of immense cultural importance. The encomium, it is argued, plays with conventional associations between size and value, revelling in comic juxtapositions of scale, and in the mismatch between ambition and achievement. It also exploits traditional modes of discourse that present animals as models for the socially disenfranchised, and draws on the vocabulary of literary criticism and composition in order to evoke and challenge the symbolism traditionally attributed to other insects and to represent the fly provocatively as the new emblem of a refined literary and cultural aesthetic.