In this chapter, I attempt to trace the influence of the Stoic tradition on Marcus Aurelius by focusing on his approach to impressions, material flux, and fate. The primary suggestion is that the influence of earlier Stoicism is best interpreted within the framework of how Marcus develops a normative response to the external world. It is within this context of getting to grips with fluctuating, alienating, and disturbing appearances that we should seek to locate his reception of the Stoic theories of the cognitive impression, material flux, and the philosophical life, more broadly. Such an emphasis on inculcating a reliable response in the soul to the outside world also helps to explain a much-discussed feature of the Meditations, namely the unusual incorporation of Epicurean atomism within the work. I also push back on recent claims that there is evidence of a flirtation with Platonism evident in this text. Marcus was an innovative interpreter of his tradition with a particular focus on psychological stability, but, for all that, he was also a thoroughgoing Stoic.

Outlines the aims and rationale of this guide to The Rite of Spring, sketching the book’s structure across four parts: The Paris Premiere; Contexts; Performance and Interpretation; and Scholarship. Situates the volume within a scholarly context, exploring how it relates to the enormous quantity of published literature on The Rite of Spring – a literature that can be difficult to navigate, especially for newcomers to the work. Also proposes a new, historically sensitive way of approaching the original 1913 production, combining historical and musical perspectives with a focus on the ballet’s intense corporeal impact as noted by some of the first critics inside the theatre.

Describes how Russian dancer-turned-choreographer Vaslav Nijinsky broke free from ballet conventions in his pre-war productions for Diaghilev’s Ballets Russes: L’Après-midi d’un faune (1912), Jeux (1913) and, most famously, The Rite of Spring (1913). Focuses on his characteristically reductive movement vocabulary, the arrangement of dancers on stage and his retreat from the traditions of illusionistic theatre as recognized and understood at the end of the long nineteenth century. Considers various source materials, including press reports, photographs, choreographic notation (where available) and oral testimony. Also explores possible influencing factors within the pre-war theatrical scene (modernist puppet theatre, two-dimensionality, the so-called ‘cinema of attractions’), as well as influences Nijinsky may have had on the choreographers who followed him.

This chapter explores Marcus’ concept of the soul and its main cognitive parts (hēgemonikon, nous, dianoia, daimon) and their relevance for the construction of a concept of the self that is closely interwoven with Stoic self-care. It also investigates Platonic influence on Marcus’ concept of the mind and its relation with the body. Selfhood, understood as an entity referring to itself, unfolds around the hēgemonikon and, to a lesser extent, the dianoia. Self-reference by cognitive acts is limited to the logical soul. These three rational elements are subordinated to the ‘I’ (or psychagogic subject) and serve as objects of its psychagogic self-(trans)formation, thereby construing its selfhood. The perfect starting point for mental self-transformation in Marcus is hypolēpsis ‘assumption’, a single mental act, similar to Epictetus’ prohairesis ‘choice’, to which Marcus’ concept of mental selfhood is heavily indebted. Platonising rhetoric supports the delineation and detachment of the soul’s rational part (esp. nous) from external entities and subordinate mental phenomena but offers no evidence for a dualist psychology or metaphysical concept of the mind. Instead, Marcus’ concepts of mind and body abide by Stoic orthodoxy and its materialist monism.

This chapter surveys the fields of musicology and dance studies, examining some of the most influential historically themed scholarship that has emerged within the two disciplines – and echoed across their own disciplinary histories – since the early twentieth century. Paying particular attention to the work of towering musicologist Richard Taruskin and dance expert Lynn Garafola, the chapter provides a useful account of the ballet’s scholarly legacy and the principal themes that have arisen across what has been a stupendous (and seemingly endless) volume of literature. Of these themes, race, gender and national identity prove particularly enduring, as generations of scholars seek to situate the ballet within coterminous histories of rupture and continuity.

This chapter sets Marcus Aurelius’ Meditations in the wider historical context of the emperor’s life and reign. It considers his family, upbringing, and route to the imperial purple, as well as his principal philosophical and intellectual influences. Marcus’ attitudes to proper imperial conduct are explored through his description of his adoptive father Antoninus Pius. Special attention is paid to comparing and contrasting Marcus’ own views in the Meditations with other ancient sources, particularly his correspondence with his tutor Fronto and later accounts by Cassius Dio and the Historia Augusta.

The Meditations of Marcus Aurelius is consistently one of the best-selling philosophy books among the general public. Over the years, it has also attracted a number of famous admirers, from the Prussian king Frederick the Great to US president Bill Clinton.1 It continues to attract large numbers of new readers, drawn to its reflections on life and death. Despite this, it is not the sort of text read much by professional philosophers or even, until recently, taken especially seriously by specialists in ancient philosophy. It is a highly personal, easily accessible, yet deceptively simple work.

On the face of it, what we find are a series of notebook jottings, reminders that Marcus has written to himself, comments on events that have happened to him, reflections on his own mortality, and a few quotations from things that he has been reading. There is little in the way of structure and a good deal of repetition.

Marcus’ Meditations have been the object of special attention for their literary form, structure, and style as well as for the function and destination that the author ascribed to them. Since they lack a precise plan and present some formal characteristics, the most important of which are the use of the second person, i.e. self-reference, conciseness, and repetitiveness, most scholars have concluded that the work was intended only for the emperor’s reading and use. This chapter provides, after an overview of the scholarly trends that have promoted such an exegesis of the form and function of the Meditations, a reconstruction of the relationship between formal elements and philosophical content follows and a terminological analysis of a sample of the text, concluding with a proposal to revise the widespread belief that the Meditations were conceived by the author only for his own education and spiritual improvement.

Examines surviving drafts of The Rite of Spring’s written scenario, created jointly by Roerich and Stravinsky, to explore how the ballet embodies on stage some of the ritual festivities that take place through the spring season of the Russian rural agricultural calendar. Prominent within this context is the singing of vesnyanki, ritual ‘calls’ for spring – short, repetitive invocations sung outdoors, from an elevated position, by children and unmarried girls. Khorovod dancing and games are also shown to be important activities central to springtime ritual observances. Charting how these activities make an appearance in the ballet, this chapter also explores the nationalist agenda of the Russian Silver Age, a period of roughly three decades, from the 1890s (the Russian fin de siècle) to the late 1910s, which witnessed a tremendous explosion of creativity in literature, philosophy and the arts. Folk song anthologies from the period, including those by Mily Balakirev, Nikolai Lvov and Ivan Prach, Nikolai Rimsky-Korsakov and Anton Juszkiewicz, emerge as historical artefacts of key significance to our understanding of the inspiration behind and source material of original works such as The Rite of Spring. In conclusion, this chapter considers a little-known connecting thread between the ballet and the opera Snow Maiden by Rimsky-Korsakov, which also features prominent ritual springtime observances, including a scene of sacrifice.

Identifies and explores the surviving sources of The Rite of Spring’s original visual aspect: costumes, designs for décor, posed photographs, articles and reviews in the press (especially the full-colour supplement Comœdia illustré), and artwork by the eminent Russian painter Nicholas Roerich. Also considers the role of the Hodson/Archer reconstruction (Joffrey Ballet, broadcast in 1989) in determining the look of the ballet and how that look captivated the scholarly imagination. Provides a structured account of Roerich’s career and theatrical experience, the main stylistic characteristics of his output and, in particular, his work alongside Ballets-Russes impresario Sergei Diaghilev and composer Igor Stravinsky.

Cognitive-behavioural therapy (CBT) is the leading evidence-based form of modern psychotherapy. Albert Ellis and Aaron T. Beck, the two main pioneers of CBT, both described Stoicism as the main philosophical inspiration for their respective approaches. The idea of a Stoic psychotherapy isn’t new, and indeed the ancient Stoics referred to their philosophy as a type of therapy (therapeia) for the psyche. This chapter focuses on the ways in which concepts and practices described in the Meditations resemble those of modern psychotherapists, and indeed the direct influence of Marcus and other Stoics upon them. Marcus’ remarks about the Stoic therapy of anger provide an example of a specific application.