This chapter offers a survey of some basic information on the life and writings of Manganeios Prodromos. It concludes with an annotated edition and translation of a poem dedicated to Manuel I Komnenos as an example of how his verse might be presented to readers today.

This chapter investigates the role of Hellenistic kings and queens as victorious horse owners. It is asked to which degree the different dynasties of the period used equestrian victories as a means of representation. The fact that Philip II and his son Alexander had a different approach to agonistic competition gave leeway to their successors’ competitive behavior: Whereas the Antigonids and Seleucids refrained from equestrian competition, the Ptolemies became the most successful royal family in terms of athletics. They sponsored promising athletes, established a new category of contests, and were imitated by their courtiers with regard to their engagement in chariot races. In the agonistic context, the Ptolemies presented themselves as a victorious, Macedonian dynasty which integrated the female members of the family into an image of power. The Attalids, in contrast, labelled themselves a loving family of united brothers in which no disputes over the throne ever occurred.

Court poetry is the label given to skaldic poetry in dróttkvætt (court metre) or one of its many variations, delivered as praise of rulers by Icelandic, Norwegian and Orcadian poets. This chapter discusses its typical content, including battle, voyages, praise, self-referential allusions to poetry, and mythical and religious references, both Christian and pre-Christian. The characteristic techniques of skaldic poetry – complex metre, diction (especially kennings) and word order, including clause arrangement – are described in detail. The three main forms of skaldic poetry, the drápa, flokkr and vísur, are distinguished, and subgenres of skaldic poetry such as ekphrasis, genealogical and historical poems, and eddic-style praise poems are described. Other types of court poetry, not straightforwardly encomiastic, are also considered. The social context and purpose of court poetry is explained, and the chapter concludes with a survey of the transmission, influence and modern reconstruction of court poems. Court poetry was such a useful medium for entertaining warrior elites that it endured for four centuries, and the continued inventiveness of court poets is noted.

Chapter 2 treats the early Italianate-poetry that Cervantes wrote for Isabel de Valois (1567, 1568) when he was around twenty years old as serious works composed within the particular cultural and poetic practices of the Habsburg court. In his first sonnet, Cervantes’ speaker develops a conceptual play between the speaking ingenio and the lofty lady through the use of an exalted apostrophe, a key feature of Pastoral Petrarchism that would inflect the subsequent decades of the author’s literary career. The only known copy of this sonnet was preserved in an early seventeenth-century manuscript collection of pastoral and erotic lyric and narrative poetry pertaining to the Habsburg court, now housed in the Bibliothèque Nationale de France, Richelieu. This chapter examines and draws upon the manuscript in order to reconstruct the literary environment in which Cervantes wrote, as it was understood by the early modern compiler (a primary source on readership, reception, and genre). Ms. Espagnole 373 also recontextualizes the poetry that Cervantes composed the following year for the untimely death of Isabel on October 3, 1568. This chapter considers Cervantes’ relationship to Giulio Acquaviva while the papal legate was present in the Habsburg court, his journey to Rome, and the Sigura affair.