During the sixteenth century, the King in Parliament terminated the jurisdiction of the Papacy in England and established by law the Church of England, with the King as its head. One task was to institute a new system of canon law for the national Church. Parliamentary statute provided for a commission to reform the canon law. In the meantime, pre-Reformation Roman canon law was to continue to apply to the Church of England if it was not repugnant to the royal prerogative and the laws of the realm. The commission was never appointed. The Roman canon law continued to apply on the basis of both statute and custom as part of the King’s ecclesiastical law. This chapter explores how the post-Reformation English ecclesiastical lawyers understood this continuing Roman canon law, its legal basis, and the role of the doctrine of reception in all this.

The introduction sets out the aims of the book and explains in brief the history of Hopkins’s writing and reception. It begins by discussing Hopkins’s posthumous publication and its distinctive effect upon his early reputation and influence, notably in relation to modernism. The introduction then goes on to relate the more recent historical emphasis in Hopkins scholarship before setting out the approach taken in the book and outlining its contents.

This chapter explores the reception of David Hume’s Essays in eighteenth-century Britain by linking computational methods of text reuse detection with more traditional approaches to the history of ideas. We find that many of Hume’s essays were frequently reprinted individually, in whole and in part, including in anthologies, grammars, style guides, and collections such as The Philosophical Dictionary, where editors often moulded for their readers what they took Hume’s message to be. As the century drew to a close, Hume’s essays were firmly integrated into the diverse landscape of eighteenth-century British literary culture. We reveal which essays underwent the most extensive reuse, carefully analysing them based on their respective collections and as individual titles. We find that, just because Hume ‘withdrew’ an essay from his collection, it did not necessarily mean it was withdrawn from the public eye. Several essays by Hume experienced evolving life cycles, and numerous authors incorporated his texts discreetly, some without explicitly acknowledging their use. Taking Hume’s essays as a whole, the range of topics and venues involved in the history of their eighteenth-century reuses is striking. Our story includes not only prominent political and economic thinkers, historians, philosophers, lawyers and clergy but also scores of hack writers, anonymous authors and a range of publishers, editors and compilers. The chapter demonstrates how a more comprehensive grasp of the reception of Hume’s Essays in eighteenth-century Britain accommodates all these facets.

The chapter explores how Hume’s Essays were received in Germany during the eighteenth century, highlighting the cultural exchange and intellectual shifts of that time. Hume’s influence is analysed in the context of the growing interest in English books and culture in Germany during the eighteenth century, a trend known as ‘Anglophilia’. Hume’s political and economic writings were translated into German shortly after their original publication. His name was held in high regard and his writings were considered to be instructive. But the specifics of cameralism prevented his economic and political essays from having a major impact on German discourse. Nonetheless, new translations continued to appear. In the German reform debate of the late eighteenth century, Hume’s Essays were used to both support the status quo and to advocate for political change. In the early nineteenth century, an academic translation of Hume’s essay was published, acknowledging his contribution to the formation of political economy as a science. By exploring the reception of Hume’s Essays in eighteenth-century Germany, the chapter shows how translations not only played a big role in sharing knowledge during the Enlightenment but also reflected cultural differences.

The role of France in David Hume’s intellectual biography is difficult to overestimate. He visited that country three times, wrote the Treatise in La Flèche, and reached the peak of his success during the years he spent in Paris (1763–66), where he was welcomed as a highly valuable member of the Republic of Letters. He cared greatly about the circulation of his writings in France, and actually succeeded in establishing his reputation across the Channel. The History of England made him an outstanding historian, the Natural History of Religion an authoritative esprit fort, but it was the Essays that confirmed him as a subtle political thinker and, what he cared about most, as a profound philosopher in the eyes of his French readers. Before and besides being translated in the form of collections, many of Hume’s essays were translated, summarised, commented on, reviewed, and discussed individually, giving rise to a complex and divergent reception. The present chapter provides an overview of this reception, based on first-hand research on eighteenth-century French translations, reviews, commentaries and criticisms of the Essays.

Chapter 6 reads Horace’s Odes as thoroughly place-based lyric poetry. The chapter begins by differentiating its approach from landscape and symbolic readings of place. It organizes an account of the Odes around the concepts of place and place attachment, familiar from the Eclogues. Horace represents dynamic experiences of specific localities, constituted by human and nonhuman beings. He anchors his poetry to particular locations, while also making those locations real-and-textual sites of Horatian poetry. In addition, Horace represents place as helping to produce and shape his poetry through tropes of lyric ecology and poetic reciprocity. The second half of the chapter complicates this place-based reading of Horace by attending to the pervasive theme of mobility in the Odes. It argues that Horace models a translocal poetics, in which locality is continually fashioned and refashioned through forms of translation and transport. Whereas forced movement in the Eclogues means the end of local dwelling and local song alike, for Horace mobility helps create both his local place attachments and a form of lyric that is place-based but not place-bound.

The Introduction makes the case for why it is important and timely to return afresh to ancient greek epic, despite or even because of the huge amount of scholarship that already exists on this genre. After a brief overview of the current state of the field, it outlines the main points of innovation and interventions of the volume, focusing on its thematic structure, its emphasis on the lesser-known authors or dimensions of Greek epic, and its integration of ancient material and modern responses to it. It ends with a brief overview of the sections of the volume and draws out the connections between the chapters within them.

In the Epilogue Christoforou offers an impressionistic essay on encounters with ancient Greek epic in modern Greek lands. In an alternative, personal perspective on the political account provided in Hanink’s chapter, he explores the problematic ownership of the past in Greece and how the central place held by Greek antiquity, and in particular epic, in the construction of western civilisation has created a strange distance between Greeks and the Greek past and its literature. Reflecting on his own experience as a Grecophone classicist, Christoforou shows how the story of Greekness and epic is now played out in the background of Greeks performing their Hellenicity in a world that does not always trust their inheritance.

This chapter argues for and interprets allusions to the invocation before the Catalogue of Ships (Il. 2.484-93) in Ibycus’ ’Polycrates Ode’, Pindar’s Paean 6 and Paean 7b, and Simonides’ ’Plataea Elegy’. It then considers these four poems together as a unique case study for the early reception of Homer. For no other passage from the Iliad or the Odyssey can we trace an equally extensive afterlife in early Greek lyric. The author argues that the unusual prominence of the narrator’s personality and the exceptionally emphatic claim to objective truth in Il. 2.484–93 made these lines a privileged point of reference for subsequent explorations of the nature of poetic authority.

The book of Isaiah reflects many of the population movements that took place in the period of its formation. Much biblical scholarship focuses on “the (Babylonian) Exile,” but as C. L. Crouch points out in “Isaiah and Migration,” mass population movements were carried out in the sphere of Israel and Judah by the Assyrians long before the Babylonians overthrew Jerusalem. She also calls attention to the migrations experienced by other nations, and to forces of displacement other than deportation, such as warfare, famine, and natural disasters. She analyzes the literary reception of these numerous involuntary migrations, and the ways in which the prophet and his audiences made sense of them.

Brennan Breed’s “The Reception History of Isaiah: Unsealing the Book” takes a single theme attested in just a few verses (Isa 8:16; 29:11; and 30:8) and shows how it has been reinterpreted by readers ceaselessly across the centuries, all the way from later biblical authors to modern times, in response to everything from sectarian divisions to African-American slavery to the trauma of the Holocaust. These verses refer to the words of the prophet being sealed, especially to those who are ignorant, until the time comes for their meaning to be revealed. This theme brings into focus the ways in which Isaiah has been used polemically, and it also points to the text’s power as a seemingly inexhaustible well of meaning.

Schubert was fond of writing four-hand music to be played by two pianists sitting on the same piano bench. His thirty-four compositions in this medium range from the earliest extant composition in his hand (a Fantasy penned in 1810) to his Rondo in A Major finished in the summer of 1828. No composer ever approached the piano duet with the seriousness Schubert did, and his corpus of four-hand pieces stands as the apex of the genre. The four-hand configuration seemed ideally suited to his temperament, as it was a congenial form of music-making that was emblematic in Biedermeier culture as an activity of friendship and sociability. It is thus not surprising that these works were a staple in his Schubertiads and ranked among his most successful publications during his lifetime. But the four-handed configuration was also a critical medium for the transmission and reception of much of his orchestral and chamber music. The many piano transcriptions of Schubert’s instrumental music arranged for four-hands issued by publishers over the course of the nineteenth century allowed any two decently practised amateur pianists a chance to get to know his music by reproducing it in the domestic space of the bourgeois parlour.

Relatively few works of ancient literature survive intact. Many more are known only as fragments or through the testimony of other authors. How should literary history acknowledge the fact and the consequences of such extensive loss? This chapter reviews the difficulties in identifying and presenting the evidence for lost works, explores what (besides their hypothetical reconstruction) can be learned from their remains, and considers how accommodation of the lost and the fragmentary challenges historians of literature to rethink the objectives and the methods of their enterprise.

Uncle Tom’s Cabin, Harriet Beecher Stowe’s antislavery novel, was a tremendous success and the source of intense polemic when it first appeared in 1852. Since then, the novel has never entirely disappeared from the scene and has remained the locus of heated discussion on the representation of race and on race relations in the United States. This chapter will attempt to trace the role Uncle Tom’s Cabin – Stowe’s novel, but also its rewritings, tie-ins, and adaptations – has played in discussions of race in the United States since the 1850s. The first part will investigate the inception of the novel, its strategies, publishing circumstances, and immediate reception. The second part will focus on the afterlife of Uncle Tom’s Cabin, both in terms of scholarly commentary and popular appropriations.