Follows the Manuscript (MS. R.17.10) in Trinity College, Cambridge. This unpublished play, performed at Emmanuel College probably around 1626, is a late example of a Prodigal Son play.
From ca. 1300 a new genre developed in European literature, Neo-Latin drama. Building on medieval drama, vernacular theatre and classical drama, it spread around Europe. It was often used as a means to educate young boys in Latin, in acting and in moral issues. Comedies, tragedies and mixed forms were written. The Societas Jesu employed Latin drama in their education and public relations on a large scale. They had borrowed the concept of this drama from the humanist and Protestant gymnasia, and perfected it to a multi media show. However, the genre does not receive the attention that it deserves. In this volume, a historical overview of this genre is given, as well as analyses of separate plays. Contributors include: Jan Bloemendal, Jean-Frédéric Chevalier, Cora Dietl, Mathieu Ferrand, Howard Norland, Joaquín Pascual Barea, Fidel Rädle, and Raija Sarasti Willenius.
'. . . as when iron is drawn to a magnet, camphor is sucked into hot air, crystal lights up in the Sun, sulfur and a volatile liquid are kindled by flame, an empty eggshell filled with dew is raised towards the Sun . . .' An odd feature of the Bible is that it is full of stories featuring forms of magic and possession - from Joseph battling with Pharaoh's wizards to the supernatural actions of Jesus and his disciples. As, over the following centuries, the Christian church attempted to stamp out 'deviant' practices, there was a persistent interest in magic that drew strength from this Biblical validation. A strange blend of mumbo-jumbo, fraud and deeply serious study, magic was central to the European Renaissance, fascinating many of its greatest figures. Brian Copenhaver's wonderful anthology will be welcomed by everyone from those with the most casual interest in the magical tradition to anyone drawn to the Renaissance and the tangled, arcane roots of the scientific tradition.
Part II of the landmark Companion to Neo-Latin Studies covers all the relevant literary forms and genres of Neo-Latin literature, as well as their characteristics and evolution.
The story of the beliefs and practices called 'magic' starts in ancient Iran, Greece, and Rome, before entering its crucial Christian phase in the Middle Ages. Centering on the Renaissance and Marsilio Ficino, this richly illustrated and groundbreaking book treats magic as a classical tradition with foundations that were distinctly philosophical.