The 'Alexandra' attributed to Lykophron is a notoriously difficult poem but one that sheds crucial light on Greek religion, foundation myths, and myths of colonial identity. This book asserts its importance as a strongly political and historical document, and argues that the probable decade of its composition was a turning-point in Roman history.

This volume takes as its subject one of the most important Greek poems of the Hellenistic period: the Alexandra attributed to Lykophron, probably written in about 190 BC. At 1474 lines and with a riddling narrative and a preponderance of unusual vocabulary it is a notoriously challenging prospect for scholars, but it also sheds crucial light on Greek religion (in particular the role of women) and on foundation myths and myths of colonial identity. Most of the poem purports to be a prophecy by the Trojan princess, Kassandra, who foretells the conflicts between Europe and Asia from the Trojan Wars to the establishment of Roman ascendancy over the Greek world in the poet's own time. The central section narrates in the future tense the dispersal of returning Greek heroes throughout the Mediterranean zone, and their founding of new cities. This section culminates in the Italian wanderings and foundational activity of the Trojan refugee Aineias, Kassandra's own kinsman. Following Simon Hornblower's detailed full-length commentary on the Alexandra (OUP 2015; paperback 2017), this monograph asserts the poem's importance as not only a strongly political work, but also as a historical document of interest to cultural and religious historians and students of myths of identity. Divided into two Parts, the first explores Lykophron's geopolitical world, paying special attention to south Italy (perhaps the bilingual poet's own area of origin), Sicily, and Rhodes; it suggests that the recent hostile presence of Hannibal in south Italy surfaces as a frequent yet indirectly expressed concern of the poem. The thematic second Part investigates the Alexandra's relation to the Sibylline Oracles and to other apocalyptic literature of the period, and argues for its cultural and religious topicality. The Conclusion puts the case for the 190s BC as a turning-point in Roman history and contends that Lykophron demonstrates a veiled awareness of this, especially of certain peculiar features of Roman colonizing policy in that decade.

'In requital for one man's sin, all Greece/ shall mourn the empty tombs of ten thousand of its children'. These lines from a powerful but neglected Greek poem, Lykophron's Alexandra, were admiringly imitated by Virgil. Priam's beautiful daughter, prophetic Kassandra, foresees her rape in Athena's temple by the hateful Greek Ajax at Troy's fall, and warns of disastrous returns (nostoi) for all the Greek 'heroes'. But Troy will rise again as Rome, founded by Trojan refugees. The Alexandra (also known as Kassandra) narrates Mediterranean foundation myths as failed Greek nostoi, and culminates in 'prophecies-after-the-event' of Roman rule over land and sea. This pseudonymous poem, a generic mix but closest to tragedy, is an ingeniously constructed masterpiece. It is ascribed to a third-century BCE tragedian, but was probably written c.190, when Rome had defeated Carthaginian Hannibal and was poised to humble the Seleukid king Antiochos III. The Alexandra anticipates, by over two millennia, modern Trojan War novels which adopt bitterly disillusioned female perspectives.

Ancient Greek tragedy is ubiquitously studied and researched, but is generally considered to have ended, as it began, in the fifth century BC. However, plays continued to be written and staged in the Greek world for centuries, enjoying a period of unprecedented popularity and changing significantly from the better known Classical drama. Hellenistic drama also heavily influenced the birth of Roman tragedy and the development of other theatrical forms and literature (including comedies, mime and Greek romance). Hellenistic Tragedy: Texts, Translations and a Critical Survey offers a comprehensive picture of tragedy and the satyr play from the fourth century BCE. The surviving fragments of this dramatic genre are presented, alongside English translations and critical analysis, as well as a survey of the main writers involved and an exploration of the genre's formation, later influence and staging. Key features of the plays are analysed through extant texts and other evidence, including plots based on contemporary political themes, mythical subjects and Biblical themes, and features of metre and language. Practical elements of Hellenistic performance are also discussed, including those which have become the hallmarks of ancient theatre: actors' costumes of long robes, kothurnoi and high onkos-masks, the theatre building and the closed stage on the logeion. Piecing together a synthetic picture of Hellenistic tragedy and the satyr play, the volume also examines the key points of departure from earlier drama, including the mass audience, the mutual influence of Greek and Eastern traditions and the changes inside the genre which prove Hellenistic drama was an important stage in the development of the European theatre.

In this revisionist study of Roman imperialism in the Greek world, Gruen considers the Hellenistic context within which Roman expansion took place. The evidence discloses a preponderance of Greek rather than Roman ideas: a noteworthy readiness on the part of Roman policymakers to adjust to Hellenistic practices rather than to impose a system of their own.

This monograph is a literary study of Lycophron's Alexandra, whose obscurity, a quality notorious already in antiquity, has long hampered holistic approaches. Through a series of distinct but closely integrated literary studies of major aspects of the poem, including its style, its engagement with the traditions of epic and tragedy, and it's treatment of heroism and of the gods, the book explores the way the Alexandra reconfigures Greek mythology. In particular, as it is presented in Homeric epic and Athenian tragedy, in order to cast the Romans and their restoration of Trojan glory as the ultimate telos of history. In this sense, the poem emerges as an important intermediary between Homeric epic and Latin poetry, particularly Vergil's Aeneid. By rewriting specific features of the epic and tragic traditions, the Alexandra denies to Greek heroes the glory that was the traditional compensation for their suffering, while at the same time attributing to Cassandra's Trojan family honours framed in the traditional language of Greek heroism. In this sense, the figure of Cassandra, a prophetess traditionally gifted with the power of foresight but denied credibility, self-reflexively serves as a vehicle for exploring the potentials and limitations of poetry.

The Greek World After Alexander 323–30 BC examines social changes in the old and new cities of the Greek world and in the new post-Alexandrian kingdoms. An appraisal of the momentous military and political changes after the era of Alexander, this book considers developments in literature, religion, philosophy, and science, and establishes how far they are presented as radical departures from the culture of Classical Greece or were continuous developments from it. Graham Shipley explores the culture of the Hellenistic world in the context of the social divisions between an educated elite and a general population at once more mobile and less involved in the political life of the Greek city.