Instant Classics

It’s not every year that a classicist wins the Nobel Prize for Literature (in fact, it hasn’t happened since 1959), so Mary and Charlotte interrupt the schedule to reflect on Anne Carson’s extraordinary career as both a classicist and a poet.

Carson is most famous as a poet, but her work is rooted in her scholarly essays and translations of Ancient Greek. Mary and Charlotte talk about how her pioneering book Eros the Bittersweet (1986, based on her phd thesis) linked Sappho to love poetry throughout the ages, including Emily Dickinson and Virginia Woolf - at a time when ‘Comparative Literature’ was a dirty phrase. This book also informed Carson’s own bittersweet love poetry in books like Glass and God and The Beauty of the Husband.

Mary and Charlotte also discuss Autobiography of Red, her bold re-interpretation of Stesichorus’ account of the monster Geryon and Heracles, which not only responds to an Ancient Greek poet most people haven’t heard of, but brings the story into the present day.

Further reading:

We discussed in particular, Eros the Bittersweet (available in many different editions) and Autobiography of Red (available online here: https://eclass.uoa.gr/modules/document/file.php/PSPA254/AUTOBIOGRAPHY%20OF%20RED.pdf)

H of H Playbook is published by Jonathan Cape in the UK and by New Directions in the US.

Her full (immense) biography has its own wiki page: https://en.wikipedia.org/wiki/Anne_Carson_bibliography

The interview with Carson in the Paris Review is here: https://www.theparisreview.org/interviews/5420/the-art-of-poetry-no-88-anne-carson

The 2013 New York Times profile is here:

https://www.nytimes.com/2013/03/17/magazine/the-inscrutable-brilliance-of-anne-carson.html

And in the Iowa Review, here: https://pubs.lib.uiowa.edu/iowareview/article/id/15965/ (there’s a download link)

Daniel Mendelsohn engaged with Carson on Sappho in the New York Review of Books 14 August, 2003

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Theme music: Casey Gibson



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We think of cancel culture as a 21st-century phenomenon, but it’s been going on since the ancient Egyptians (if not earlier) and the Romans were enthusiastic adopters as a strategy for control. Mary and Charlotte discuss ‘damnatio memoriae’ (condemnation of memory) - the practice of erasing a person from public life and history, usually after their death. (Pedant alert: Romans didn’t use the term ‘damnatio memoriae’ - it was coined much later - and Mary and Charlotte admit straight up that to use the phrase ‘cancel culture’ is a cheeky, and inaccurate, anachronism.)

Further reading:

The classic study of this is Harriet Flower The Art of Forgetting (Univ of NCarolina Press, pb, 2011)

The full text and translation of the senatorial decree on Cn. Piso is in A Cooley, The Senatus Consultum de Cn Pisone patre (Cambridge UP, 2023)

On recarving, see E. R. Varner, From Caligula to Constantine (Uni of Washington Press, pb. 2000).

Charlotte writes about Carausius and the Tullie House inscriptions in Under Another Sky: Journeys in Roman Britain (Vintage paperback 2014)

We refer again to the Severan Tondo, now in Berlin: https://search.smb.museum/object/obj-681547

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Producer: Jonty Claypole

Video Editor: Jak Ford

Theme music: Casey Gibson



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There are thousands of surviving busts and sculptures of Roman emperors, but… do we actually know what they looked like? The problem is that the function of these statues was less to do with realistically representing the supreme ruler (if at all), and more about asserting his power over the empire. Mary and Charlotte delve into the complexities of representation in ancient Rome.

People across the Roman Empire certainly had an image in mind when they thought about Augustus, because it’s estimated there were over 50,000 sculptures of him – and his profile was on millions of coins. But these idealised images are very different to Suetonius’ descriptions of an almost toothless, blotchy-faced man with various skin conditions. And, of course, Suetonius had his own agenda when it came to describing the emperors of the past. So where does the truth lie? The buff hero of sculpture, the dermatologically fascinating figure of Suetonius, somewhere in between, or none of the above?

There are clues, from documents and other sources, which suggest some attempts at resemblance were made in official portraiture - for some emperors at least. And a remarkable surviving painting of Septimius Severus suggests he may have been black, despite the lack of any written commentary on this subject. But even here… the skin tone may have indicated patriarchal seniority rather than ethnicity. As ever, if we leave you more unsure of your history then when you started, we feel we’re doing our job!

Further reading:

Mary has written about Roman imperial portraiture in several places. Try her Emperor of Rome (Profile, pb. 2024), especially the chapter “Face to Face”; or The Twelve Caesars (Princeton UP, pb, 2023) (most of the book is concerned with modern images of emperors, but it starts with Roman versions of emperors)

An important turning point in modern studies of Augustus’ portraits was P Zanker’s The Power of Images (UMichigan Press, pb, 1990)

One useful discussion of Hadrian’s beard (and there are many others) is C. Vout’s “What's in a beard? Rethinking Hadrian's Hellenism” in S.Goldbill and R. Osborne, Rethinking Revolutions (Cambridge UP, pb, 2010)

Lea Cline and Nathan Elkins (eds), The Oxford handbook of Roman imagery and iconography. (Oxford UP, pb., 2025) offers a series of more theoretical approaches.

The Severan Tondo is in the Antikensammlung in Berlin. Here is the object webpage: https://search.smb.museum/en/object/obj-681547

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Mary and Charlotte delve into the stitching of the Bayeux Tapestry, a 224-foot long narrative embroidery charting William the Conqueror’s successful invasion of England in 1066. Little is certain about the creation of the textile, but it was likely commissioned by one of the Norman victors, Bishop Odo of Bayeux, who was granted lands in Kent by his half brother William the Conqueror, shortly after the conquest, and it is widely believed the actual labour was primarily done by women in Canterbury. An English story told by English craftspeople - no wonder England is so excited about its temporary visit to the British Museum.

But what does the Bayeux Tapestry have to do with ancient Greece and Rome? Well, quite a lot actually. There are 338 Latin words on the tapestry, providing added context to the images. The words say things like ‘HIC HAROLD REX INTERFECTUS EST’ (Here King Harold was killed). Those words also give names to participants lower down the social scale, like Turold and Wadard, who were retainers of Bishop Odo and - who knows? - might have been the Laurel and Hardy of their day.

The Latin words provide a vital piece of evidence to the ‘Made in England’ argument because the Latin is particular (and contains one or two telling inaccuracies). It includes some Norman variations, but also - and here’s the smoking gun - Anglo-Saxon variations too, suggesting that both Norman and Anglo-Saxon hands and minds were involved at various stages. Surely the greatest English-French collab until the Channel Tunnel?

The Latin language is one classical presence in the tapestry, but so too is the narrative form. Scholars have identified several ways in which the tapestry seems to refer to and even verbally echo Virgil’s Aeneid. There are other resonances too, such as the presence of Halley’s Comet (not called Halley’s Comet at the time, of course), which passed close to Earth in 1066. The sighting of a comet early in the Aeneid is one of inciting incidents that sets Aeneas off on his long journey to Italy.

Further reading:

A fantastically detailed and well informed series of podcasts from History Extra brings together scholars to talk about the tapestry in 5 episodes - highly recommended if you are lucky enough to have bagged tickets for the British Museum exhibition

https://podcasts.apple.com/gb/podcast/unravelling-the-bayeux-tapestry-ep1-when-where-and/id256580326?i=1000513237032

The Bayeux museum has a wonderful version of the complete tapestry online: https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/discover-the-bayeux-tapestry/explore-online/

There is a vast bibliography on the tapestry itself. A major study has been produced by the BM to accompany the show, with more reading suggestions than any could need! The Bayeux Tapestry, edited by Sue Brunning et al (British Museum Press, 2026)

The studies of the Latin itself are usually very technical. One of the more approachable is: Gale Owen-Crocker, "The embroidered word: text in the Bayeux Tapestry." , in Signs on the edge: space, text and margin in medieval manuscripts, edited by Sarah Keefer & Rolf Bremmer, (Rodopi, 2007).

On the influence of Virgil in particular, there are two notable articles in journals: N. Rollason and M Lewis, “Harold-as-Aeneas”, Greece and Rome 2020.

T. A Heslop, “Regarding the spectators of the Bayeux Tapestry”, Art History 2009

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Theme music: Casey Gibson

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Mary and Charlotte talk to Daniel Mendelsohn, one of America’s most revered classicists, whose new translation of the Odyssey was published last year.

Daniel’s decision to translate the Odyssey occurred rather unusually. In 2011, his 82-year-old father decided to attend his weekly Odyssey seminar at Bard College. In his memoir An Odyssey: A Father, A Son, and an Epic (2017), Daniel recounts how through his father’s eyes he came to see the Odyssey differently - as well as their own relationship. In the book, he translated short passages which led to a commission from University of Chicago Press to translate the entire poem.

Daniel talks about the decisions he made in his translation - and, of course, how he tackled the word polytropos. He also talks about the response to his less than enthusiastic review of Nolan’s adaptation, why it’s nevertheless been a great moment for the Odyssey, and why literature is sometimes best when it’s NOT relatable.

Further reading:

Slightly confusingly, Mendelsohn’s Odyssey is published by University of Chicago Press in the USA and by Penguin Classics in the UK (adding to Penguin’s array of Odyssey translations).

Daniel has his own website: https://www.danielmendelsohn.com/ with links to many of his great classical (and other) essays.

Emily Wilson reviewed An Odyssey: A Father, A Son and and Epic in the Guardian: https://www.theguardian.com/books/2017/sep/13/an-odyssey-a-father-a-son-and-an-epic-by-daniel-mendelsohn-review

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@insta_classics for X

email: instantclassicspod@gmail.com

Instant Classics handmade by Vespucci

Producer: Jonty Claypole

Video Editor: Jak Ford

Theme music: Casey Gibson

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