This book offers a radical reappraisal of the reputation of Plato in England between 1423 and 1603. Using many materials not hitherto available, including evidence of book publishing and book ownership, together with a comprehensive survey of allusions to Plato, the author shows that the English were far less interested in Plato than most historians have thought. Although the English, like the French, knew the `court' Plato as well as the `school' Plato, the English published only two works by Plato during this period, while the French published well over 100 editions, including several of the complete Works. In England allusions to Plato occur more often in prose writers such as Whetstone, Green, and Lodge, than in poets like Spenser and Chapman. Sidney did take his `Stella' from Plato, but most English allusions to Plato were taken not directly from Plato or from Ficino, but from other authors, especially Mornay, Nani-Mirabelli, Ricchieri, Steuco, and Tixier.

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Using a series of case-studies from across European philosophical traditions, this book traces the influence of Neoplatonism over the centuries.

The fifteenth-century discovery of Plautus’s lost comedies brought him, for the first time since antiquity, the status of a major author both on stage and page. It also led to a reinvention of comedy and to new thinking about its art and potential. This book aims to define the unique contribution of Plautus, detached from his fellow Roman dramatist Terence, and seen in the context of that European revival, first as it took shape on the Continent. The heart of the book, with special focus on English comedy ca. 1560 to 1640, analyzes elements of Plautine technique during the period, as differentiated from native and Terentian, considering such points of comparison as dialogue, asides, metadrama, observation scenes, characterization, and atmosphere. This is the first book to cover this ground, raising such questions as: How did comedy rather suddenly progress from the interludes and brief plays of the early sixteenth century to longer, more complex plays? What did “Plautus” mean to playwrights and readers of the time? Plays by Shakespeare, Jonson, and Middleton are foregrounded, but many other comedies provide illustration and support.

Philosophers of the Renaissance introduces readers to philosophical thinking from the end of the Middle Ages through the sixteenth century.

The Oxford History of Classical Reception (OHCREL) is designed to offer a comprehensive investigation of the numerous and diverse ways in which literary texts of the classical world have stimulated responses and refashioning by English writers. Covering the full range of English literature from the early Middle Ages to the present day, OHCREL both synthesizes existing scholarship and presents cutting-edge new research, employing an international team of expert contributors for each of the five volumes. OHCREL endeavours to interrogate, rather than inertly reiterate, conventional assumptions about literary 'periods', the processes of canon-formation, and the relations between literary and non-literary discourse. It conceives of 'reception' as a complex process of dialogic exchange and, rather than offering large cultural generalizations, it engages in close critical analysis of literary texts. It explores in detail the ways in which English writers' engagement with classical literature casts as much light on the classical originals as it does on the English writers' own cultural context. This second volume, and third to appear in the series, covers the years 1558-1660, and explores the reception of the ancient genres and authors in English Renaissance literature, engaging with the major, and many of the minor, writers of the period, including Shakespeare, Marlowe, Spenser, and Jonson. Separate chapters examine the Renaissance institutions and contexts which shape the reception of antiquity, and an annotated bibliography provides substantial material for further reading.

This book makes the case for Marsilio Ficino, a Renaissance philosopher and priest, as a canonical thinker, and provides an introduction for a broad audience. Sophia Howlett examines him as part of the milieu of Renaissance Florence, part of a history of Platonic philosophy, and as a key figure in the ongoing crisis between classical revivalism and Christian belief. The author discusses Ficino’s vision of a Platonic Christian universe with multiple worlds inhabited by angels, daemons and pagan gods, as well as our own distinctive role within that universe - climbing the heights to talk with angels yet constantly confused by the evidence of our own senses. Ficino as the “new Socrates” suggests to us that by changing ourselves, we can change our world.