This volume investigates the various ways in which writers comment on, present, and defend their own works, and at the same time themselves, across early modern Europe. A multiplicity of self-commenting modes, ranging from annotations to explicatory prose to prefaces to separate critical texts and exemplifying a variety of literary genres, are subjected to analysis. Self-commentaries are more than just an external apparatus: they direct and control reception of the primary text, thus affecting notions of authorship and readership. With the writer understood as a potentially very influential and often tendentious interpreter of their own work, the essays in this collection offer new perspectives on pre-modern and modern forms of critical self-consciousness, self-representation, and self-validation. Contributors are Harriet Archer, Gilles Bertheau, Carlo Caruso, Jeroen De Keyser, Russell Ganim, Joseph Harris, Ian Johnson, Richard Maber, Martin McLaughlin, John O’Brien, Magdalena Ożarska, Federica Pich, Brian Richardson, Els Stronks, and Colin Thompson.

City of the Sun, written in 1602, is Tommaso Campanella's contribution to the body of literature concerned with utopia, the philosophical search for the perfect society. Campanella's utopia was based on a form of communism in which all possessions, including women and children, were shared by men. The great city was ruled by a spiritual leader named Metaphysic, whom Power, Wisdom, and Love served, overseeing all aspects of the society. Wisdom ensures that the sciences are properly taught, while Love ensures that men and women breed the most perfect children. Those with an interest in philosophy and sociology will find this book an intriguing take on the structure of an ideal society. Italian philosopher and theologian TOMMASO CAMPANELLA (1568-1639) became a monk at the age of fifteen. He was imprisoned for twenty-seven years for conspiring against the Spanish crown, and it was during this time that he wrote his most important works, including Atheismus triumphatus (1605) and Metaphysica (1609).

Poetry is supposed to be untranslatable. But many poems in English are also translations: Pope's Iliad, Pound's Cathay, and Dryden's Aeneis are only the most obvious examples. The Poetry of Translation explodes this paradox, launching a new theoretical approach to translation, and developing it through readings of English poem-translations, both major and neglected, from Chaucer and Petrarch to Homer and Logue. The word 'translation' includes within itself a picture: of something being carried across. This image gives a misleading idea of goes on in any translation; and poets have been quick to dislodge it with other metaphors. Poetry translation can be a process of opening; of pursuing desire, or succumbing to passion; of taking a view, or zooming in; of dying, metamorphosing, or bringing to life. These are the dominant metaphors that have jostled the idea of 'carrying across' in the history of poetry translation into English; and they form the spine of Reynolds's discussion. Where do these metaphors originate? Wide-ranging literary historical trends play their part; but a more important factor is what goes on in the poem that is being translated. Dryden thinks of himself as 'opening' Virgil's Aeneid because he thinks Virgil's Aeneid opens fate into world history; Pound tries to being Propertius to life because death and rebirth are central to Propertius's poems. In this way, translation can continue the creativity of its originals. The Poetry of Translation puts the translation of poetry back at the heart of English literature, allowing the many great poem-translations to be read anew.

"A discussion of the historical development of our ideas of time as they relate to nature, human nature and society. . . . The excellence of The Discovery of Time is unquestionable."—Martin Lebowitz, The Kenyon Review