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“... than political ones. This arc from early to imperial Rome provides the organising principle for Catharine Edwards’s excellent book, which takes death and the representation of death as lenses through which to highlight some of the most striking characteristics of Roman culture. In analysing the ancient treatment of death, she shows that it is not ...”

“... At Rome, on the other hand, there was no respectable tradition of sacred theatre, and, as Catharine Edwards points out, the status of the theatre was very different. Actors were classified along with gladiators and prostitutes as infames, ‘without reputation’. Usually such people were slaves or foreigners and a Roman citizen who joined their ...”

“... These were achieved with the help of powerful and rich men like the Duke of Bedford and Passmore Edwards, and are tainted by the association. The Companion does, however, go out of its way to point to the ‘warm portrayal of the intense bonds between women’ in her fiction, with an implied Sapphic diagnosis. (That whirring you hear is Mrs Humphry Ward ...”