The title equates 'wandering' and 'poetry' just as great poets including Shakespeare, Milton and Johann Wolfgang v. Goethe did, not to mention William Wordsworth and the other Romantic poets.

"Wandering" in the sense indicated in the title of this book concerns the fact that within the ambit of German and English literature since the days of Shakespeare words based on the root of the verbs 'to wander' and 'wandern' appear with great frequency and prominence in such titles as "Wandrers Nachtlied" and "I wandered lonely as a cloud." Is it not strange then that very little interest has been taken in this phenomenon on the part of leading literary critics and scholars with one or two notable exceptions? One reason for this neglect might lie in intransient attitudes and dogmatic theories that deny the very relevance of high literature to all things external in common life, social conditions and the quest for truth.

The title picture of Percy Bysshe Shelley in combination with the words 'Wandering" and "defence" imply that "wandering" is another way of saying "poetry," an inference to be drawn from the words of great poets of Shelley's generation. In every age most probably poetry needs to be defended anew. In Shelley's day the threat sprang from a philosophical climate that saw virtue in lucid unambiguous prose alone. Today leading theorists deny any vital connection between words found in poetry and literary prose and what they ostensibly point to in the world around. As such critics cannot find anything in 'wandering' to support their arguments they tend to ignore it as far as possible but words such as 'wanderer' are so deeply entrenched in German and English poetry that "wandering" resolutely stays put.

This book presents a substantially revised version of some of the most important and innovative articles published by Alan Cameron in the field of late antique Greek poetry and philosophy. Much new material has been added to the account of the "Wandering Poets" from early Byzantine Egypt, and earlier judgment on their paganism is nuanced. The story of Cyrus of Panopolis and the empress Eudocia takes into account important recent work on the poetry of Eudocia. Several chapters discuss the date and identity of the influential poet Nonnus. The longest chapter reviews the celebrated story of the so-called closing of the Academy of Athens and the trip of its seven remaining philosophers to the court of the Persian king Chosroes, rejecting the fashionable current idea that they set up a new school at Harran on the Persian border. An entirely new chapter discusses a recently published papyrus containing poems of the Alexandrian epigrammatist Palladas, rejecting the editor's claim that Palladas wrote almost a century earlier than hitherto believed. A concluding chapter, never before published, reinvestigates the evidence for paganism in sixth-century Byzantium. Boldly and persuasively argued, and drawing on a profound knowledge of the period, the volume as a whole deepens our knowledge of the rich intellectual traditions of the late antique Hellenic world.

The reference to 'questing unity" pertains to many different subjects and themes involving grappling with issues in such areas as comparative literature, linguistics, literature, history and mythology. In all events every comparison implies a criterion wide enough to comprehend the scope of the common area occupied by the subjects of comparison, whether the inquirer is aware f it or not. Thus comparison involves delving into one's own psyche, or not? Without the assumption of a universal underlying unity: no religion, no science and no sanity.

An Apology for Poetry (or The Defence of Poesy), by the celebrated soldier-poet Sir Philip Sidney, is the most important work of literary theory published in the Renaissance. Its wit and inventiveness place it among the first great literary productions of the age of Shakespeare. Since 1965 Geoffrey Shepherd's edition of the Apology has been the standard, and this revision of Shepherd's edition, with a new introduction and extensive notes, is designed to introduce Sidney's best-known work to a new generation of readers at the beginning of thetwenty-first century.Unfamiliar words and phrases are glossed, classical and other references explained, and difficult passages analysed in detail. This greatly expanded edition will be of value to all those interested in the Renaissance, from students and teachers at school and university to the inquisitive general reader.