This satirical poem, known popularly as the Miliade because of its thousand-verse length (in octosyllabic verse), was printed anonymously around 1636. The poem's endurance and plentiful and specific political references make it a lively commentary encompassing discontent with the increasingly centralized government before the outbreak of the civil wars, the Frondes (1648-53).

As a student at the University of Jena at the beginning of the nineteenth century, Henry Crabb Robinson (1775-1867) became the outstanding English mediator of the revolution in German thought. For the first time, this volume collects his early writings, both published and unpublished. The contents include 'Letters on the Philosophy of Kant' and notes from F.W.J. Schelling's lectures on the philosophy of art. Further, Robinson's private lectures for Madame de Staël are presented with her marginalia. In the intellectual history of Romanticism, Robinson emerges as a major figure whose lucid and entertaining essays can still guide the modern reader through the key German texts.

Maciej Kazimierz Sarbiewski (1595-1640) was known in his lifetime as the Christian Horace. He was one of the most famous Neo-Latin poets of the Baroque, widely read, commented and translated throughout Europe. He was nominated Poet Laureate by Pope Urban VIII. Sarbiewski was also famous for his studies in rhetoric and critical works such as De perfecta poesi sive Vergilius et Homerus. His Latin poetry was read, translated and imitated also in England, especially from 1640 until the first half of the 19th century. The first edition of Sarbiewski's English translations, by George Hills, was published in 1646. From that time onwards, Sarbiewski was translated by a variety of poets ranging from Hills to such famous authors as Vaughan, Burns and Coleridge. His poetry was universally read in grammar schools and used as a medium of improving the knowledge of Latin during a period exceeding two centuries. Thanks to Sarbiewski, English poets started to imitate Horace, which was an important factor in overcoming the Pindaric tradition. Sarbiewski's oeuvre was also attractive owing to its immersion in various cultural traditions such as Stoicism, Ignatian spirituality, Platonism, and Hermeticism. This revised edition includes all known English translations of Sarbiewski's poems. The texts are accompanied by an introduction presenting the biography and works of Sarbiewski, as well as a short critical analysis of the translations included in the volume.

Richard Robinson's 'The Rewarde of Wickednesse' (1574) is a quasi-epic poem that imitates the de casibus form of 'A Mirror for Magistrates' and makes a clear indication of the hellish position of the damned. Robinson wrote the poem during the period when his employer, George Talbot, was appointed as the jailer over Elizabeth's cousin Mary Stuart during the period of her imprisonment at Sheffield Castle and Sheffield Manor. The poem is anti-Catholic polemic, but it is not simply an invective against Catholicism; Robinson's work condemns bad moral behaviour but in the context of the dialectical opposition between Catholicism and Protestantism; an opposition that was not clearly demarcated during this period. Robinson's poem 'The Rewarde of Wickednesse' explores the notion that sinful people on earth are influenced by a Hellish force but he emphasises the punishment for sin and makes the link between the damned and Hell. 'The Rewarde of Wickednesse', through its inclusion of different, and sometimes opposing, traditions, faiths and literary formats, reveals an Elizabethan culture rife with the apprehensions concerning salvation and damnation that define early English Protestantism Robinson stages his laments for the sinners in the space of Hell as he and the god Morpheus travel through the underworld witnessing the punishments inflicted on sinners. Allyna E Ward is Assistant Professor of English at Booth College in Winnipeg, Canada where she works on Tudor and Early Modern Literature.

‘Quid est sacramentum?’ Visual Representation of Sacred Mysteries in Early Modern Europe, 1400–1700 investigates how sacred mysteries (in Latin, sacramenta or mysteria) were visualized in a wide range of media, including illustrated religious literature such as catechisms, prayerbooks, meditative treatises, and emblem books, produced in Italy, France, and the Low Countries between ca. 1500 and 1700. The contributors ask why the mysteries of faith and, in particular, sacramental mysteries were construed as amenable to processes of representation and figuration, and why the resultant images were thought capable of engaging mortal eyes, minds, and hearts. Mysteries by their very nature appeal to the spirit, rather than to sense or reason, since they operate beyond the limitations of the human faculties; and yet, the visual and literary arts served as vehicles for the dissemination of these mysteries and for prompting reflection upon them. Contributors: David Areford, AnnMarie Micikas Bridges, Mette Birkedal Bruun, James Clifton, Anna Dlabačková, Wim François, Robert Kendrick, Aiden Kumler, Noria Litaker, Walter S. Melion, Lars Cyril Nørgaard, Elizabeth Pastan, Donna Sadler, Alexa Sand, Tanya Tiffany, Lee Palmer Wandel, Geert Warner, Bronwen Wilson, and Elliott Wise.

Given the outstanding popularity of Ovid in Europe throughout the Middle Ages, disappointingly few translations of his works into French have survived and even fewer have been carefully studied. This edition is an attempt to remedy this situation in two ways. First, it presents a hitherto unpublished version of the Remedia amoris, thus expanding the corpus of materials available to students of the transmission of Ovid in the Middle Ages. Second, it provides, for the first time, a detailed survey of the existing versions of the Remedia and their principal characteristics. Against this background the version published comes closest to what can be called a translation and is thus significant for understanding the techniques of translation in the medieval period.

In two of his most celebrated plays, Britannicus and Bérénice, Racine depicts the tragedies of characters trapped by the ideals, desires, and cruelties of ancient Rome. This international collection of essays deploys cutting-edge research to illuminate the plays and their contexts.