And therefore the desire of truth, especially in what relates to the Gods, is a sort of grasping after divinity, it using learning and enquiry for a kind of resumption of things sacred, a work doubtless of more religion than any ritual purgation or charge of temples whatever, and especially most acceptable to the Goddess you serve, since she is more eminently wise and speculative, and since knowledge and science (as her very name seems to import) appertain more peculiarly to her than any other thing. For the name of Isis is Greek, and so is that of her adversary Typhon, who, being puffed up through ignorance and mistake, pulls in pieces and destroys that holy doctrine, which she on the contrary collects, compiles, and delivers down to such as are regularly advanced unto the deified state; which, by constancy of sober diet, and abstaining from sundry meats and the use of women, both restrains the intemperate and voluptuous part, and habituates them to austere and hard services in the temples, the end of which is the knowledge of the original, supreme, and mental being, which the Goddess would have them enquire for, as near to herself and as dwelling with her.

This study explains how the myths of Greece and Rome were transmitted from antiquity to the Renaissance. Luc Brisson argues that philosophy was ironically responsible for saving myth from historical annihilation. Although philosophy was initially critical of myth because it could not be declared true or false and because it was inferior to argumentation, mythology was progressively reincorporated into philosophy through allegorical exegesis. Brisson shows to what degree allegory was employed among philosophers and how it enabled myth to take on a number of different interpretive systems throughout the centuries: moral, physical, psychological, political, and even metaphysical. How Philosophers Saved Myths also describes how, during the first years of the modern era, allegory followed a more religious path, which was to assume a larger role in Neoplatonism. Ultimately, Brisson explains how this embrace of myth was carried forward by Byzantine thinkers and artists throughout the Middle Ages and Renaissance; after the triumph of Chistianity, Brisson argues, myths no longer had to agree with just history and philosophy but the dogmas of the Church as well.

This is the first full treatment of the Greek and Latin references to Zoroastrianism since the pioneering works of Benveniste, Bidez & Cumont, and Clemen. It focuses on the possibilities offered by the classical reports on Zoroastrianism to reconstruct the history of that faith. The book is divided into three sections. The first section deals with introductory problems concerning ancient religious ethnography and current views of the history of Zoroastrianism. The second section consists of commentaries on five selected passages. The third section offers a thematical overview of the materials and their relevance for the history of Iranian religions. Apart from offering introductions to a wide range of debates and topics in Classics and Iranian studies, the book aims to illustrate the diversity of beliefs and practices in ancient Zoroastrianism.

This volume tackles the role of smell, under-explored in relation to the other senses, in the modern rejection, reappraisal and idealisation of antiquity. Among the senses olfaction in particular has often been overlooked in classical reception studies due to its evanescent nature, which makes this sense difficult to apprehend in its past instantiations. And yet, the smells associated with a given figure or social group convey a rich imagery which in turn connotes specific values: perfumes, scents and foul odours both reflect and mould the ways in which a society thinks or acts. Smells also help to distinguish between male and female, citizens and strangers, and play an important role during rituals. The Smells and Senses of Antiquity in the Modern Imagination focuses on the representation of ancient smells - both enticing and repugnant - in the visual and performative arts from the late 18th century up to the 21st century. The individual contributions explore painting, sculpture, literature and film, but also theatrical performance, museum exhibitions, advertising, television series, historical reenactment and graphic novels, which have all played a part in reshaping modern audiences' perceptions and experiences of the antique.

The suggestion that the New Testament contains citations of early Christological hymns has long been a controversial issue in New Testament scholarship. As a way of advancing this facet of New Testament research, Matthew E. Gordley examines the Colossian hymn (Col 1:15-20) in light of its cultural and epistolary contexts. As a result of a broad comparative analysis, he claims that Col 1:15-20 is a citation of a prose-hymn which represents a fusion of Jewish and Greco-Roman conventions for praising an exalted figure. A review of hymns in the literature of Second Temple Judaism demonstrates that the Colossian hymn owes a number of features to Jewish modes of praise. Likewise, a review of hymns in the broader Greco-Roman world demonstrates that the Colossian hymn is equally indebted to conventions used for praising the divine in the Greco-Roman tradition. In light of these hymnic traditions of antiquity, the analysis of the form and content of the Colossian hymn shows how the passage fits well into a Greco-Roman context, and indicates that it is best understood as a quasi-philosophical prose-hymn cited in the context of a paraenetic letter. Finally, in view of ancient epistolary and rhetorical theory and practice, an analysis of the role of the hymn in Colossians suggests that the hymn serves a number of significant rhetorical functions throughout the remainder of the letter.