In this edition Colin Macleod tries to reach both scholars and Greekless readers alike. In his commentary he gives help to readers unfamiliar with the language of Homer and discusses problems of content and expression, never treating this book in isolation but drawing attention to Homer's artistry and thought in the context of the whole of the Iliad. In his introduction Mr Macleod examines Homer's notion of poetry, his style and language and the architecture and meaning of his work. He tries to show why Book XXIV is a proper conclusion to the Iliad. This is an edition for classical scholars, undergraduates and students in the upper forms of schools. The introduction and substantial parts of the commentary require no knowledge of Greek and should find readers among all who are interested in European literature.

    The third edition adds new texts to sections throughout the book, vividly describing women's sentiments and circumstances through readings on love, bereavement, and friendship, as well as property rights, breast cancer, female circumcision, and women's roles in ancient religions, including Christianity and pagan cults.

    Their work is rarely treated -- and still more rarely translated -- in its original form as poetry. The complete extant fragments of Parmenides and Empedocles are collected here for the first time in a translation responsive to the original verse texts.Parmenides' philosophical fragments are here given as the poetic remains of the thinker from Elea in Southern Italy whom Socrates wondered at and Plato held in awe. What emerges from the poetry is at once an uncompromising vision of absolute Being and a compassionate understanding of the human cosmos.The poetry of Empedocles --reincarnationist, naturalist, cosmologist, religous leader, physiologist, and metaphysician -- is presented here in the personal idiom of the fifth-century Sicilian who has been called the last of the Greek shamans. "Lombardo's translations of hard Greek into sound and lucid English is an enviable example of the translator's art. He translates well because he writes well; he writes well because he knows the tone, texture, and weight of words, how to keep English idiomatic and natural, how to build a phrase and sentence." --Guy Davenport

    In so doing, he explores what in tragedy is able to reach beyond the social, ritual, and historical context from which tragedy itself rises. Charles Segal's reading of Euripides' Bacchae builds gradually from concrete details of cult, setting, and imagery to the work's implications for the nature of myth, language, and theater. This volume presents the argument that the Dionysiac poetics of the play characterize a world view and an art form that can admit logical contradictions and hold them in suspension.