But while this epic struggle forms the core of his work, Herodotus' natural curiosity frequently gives rise to colorful digressions - a description of the natural wonders of Egypt; an account of European lake-dwellers; and far-fetched accounts of dog-headed men and gold-digging ants. With its kaleidoscopic blend of fact and legend, the "Histories" offers a compelling Greek view of the world of the fifth century BC.

    Taken in by a goatherd and a shepherd respectively, and raised near the town of Mytilene, they grow to maturity unaware of one another's existence - until the mischievous god of love, Eros, creates in them a sudden overpowering desire for one another. A masterpiece among early Greek romances, attracting both high praise and moral disapproval, this work has proved an enduringly fertile source of inspiration for musicians, writers and artists from Henry Fielding to Jean-Baptiste-Camille Corot and Maurice Ravel. Longus transforms familiar themes from the romance genre - including pirates, dreams, and the supernatural - into a virtuoso love story that is rich in insight, humorous and ironical in its treatment of human sexual experience.

    Thucydides himself (c.460-400 BC) was an Athenian and achieved the rank of general in the earlier stages of the war. He applied thereafter a passion for accuracy and a contempt for myth and romance in compiling this factual record of a disastrous conflict.

    Apollodorus' Library has been used as a source book by classicists from the time of its compilation in the 1st-2nd century AD to the present, influencing writers from antiquity to Robert Graves. It provides a complete history of Greek myth, telling the story of each of the great families of heroic mythology, and the various adventures associated with the main heroes and heroines, from Jason and Perseus to Heracles and Helen of Troy. As a primary source for Greek myth, as a reference work, and as an indication of how the Greeks themselves viewed their mythical traditions, the Library is indispensable to anyone who has an interest in classical mythology. Robin Hard's accessible and fluent translation is supplemented by comprehensive notes, a map and full genealogical tables. The introduction gives a detailed account of the Library's sources and situates it within the fascinating narrative traditions of Greek mythology.

    Pindar's Epinician Odes - choral songs extolling victories in the Games at Olympia, Delphi, Nemea and Korinth - cover the whole spectrum of the Greek moral order, from earthly competition to fate and mythology. But in C. M. Bowra's clear translation his one central image stands out - the successful athlete transformed and transfigured by the power of the gods.

    In Sophocles' Oedipus Rex the king sets out to uncover the cause of the plague that has struck his city, only to disover the devastating truth about his relationship with his mother and his father.Medea is the terrible story of a woman's bloody revenge on her adulterous husband through the murder of her own children.

    He is also a satirical and epigrammatic writer who savagely consoles with laughter. Carmina captures in English both the mordant, scathing wit and also the concise tenderness, the famous love for reluctant Lesbia who is made present in these new versions. A range of English metres and rhymes evoke the epigrammatic power of the many modes and moods of this most engaging, erotic and influential of the Latin poets. He left a mark on Horace, Virgil, Ovid and on the lyric and epigrammatic traditions of all the languages of Europe. Of Len Krisak's Horace translations, Frederic Raphael said, ‘[He] enables us both to enjoy a fresh voice and to hear (and see), very distinctly, what lies behind and within his unintimidated rescripts’. Again in Carmina he works his precise magic.

    Until the twentieth century he was known to us only by short quotations in ancient authors. Since 1907 papyri found in the sand of Egypt have brought to light more and more fragments and in 1958 the papyrus text of a complete play was published, The Bad-Tempered Man (Dyskolos). His romantic comedies deal with the lives of ordinary Athenian families. This new verse translation is accurate and highly readable, providing a consecutive text by using surviving words in the damaged papyri.

    During the War of the Seven Against Thebes, Antigone, the daughter of Oedipus, learns that her brothers have killed each other, having been forced onto opposing sides of the battle. When Creon, king of Thebes, grants burial of one but not the "treacherous" other, Antigone defies his order, believing it her duty to bury all of her close kin. Enraged, Creon condemns her to death, and his soldiers wall her up in a tomb. While Creon eventually agrees to Antigone's release, it is too late: She takes her own life, initiating a tragic repetition of events in her family's history.In this outstanding new translation, commissioned by Ireland's renowned Abbey Theatre to commemorate its centenary, Seamus Heaney exposes the darkness and the humanity in Sophocles' masterpiece, and inks it with his own modern and masterly touch.

    [captures] the relentless urgency of Lucretius' didacticism, his passionate conviction and proselytizing fervour.' --The Classical Review

    Bad news is, Hermia's father wants Demetrius for a son-in-law. On the outside is Helena, whose unreturned love burns hot for Demetrius. Hermia and Lysander plan to flee from the city under cover of darkness but are pursued by an enraged Demetrius (who is himself pursued by an enraptured Helena). In the forest, unbeknownst to the mortals, Oberon and Titania (King and Queen of the faeries) are having a spat over a servant boy. The plot twists up when Oberon's head mischief-maker, Puck, runs loose with a flower which causes people to fall in love with the first thing they see upon waking. Throw in a group of labourers preparing a play for the Duke's wedding (one of whom is given a donkey's head and Titania for a lover by Puck) and the complications become fantastically funny.

    With stage performance specifically in mind, Ah1 renders Seneca's dramatic force in a modern idiom and style that move easily between formality and colloquialism as the text demands, and he strives to reproduce the richness of the original Latin, to retain the poetic form, images, wordplays, enigmas, paradoxes, and dark humor of Seneca's tragedies.Here is a moving and accomplished translation of this complex play dealing the the violent passions stirred by innocence and beauty and the terrible power of ideology, hatred, and misunderstanding.

    In English translations that achieve a lively readability without sacrificing the dramatic and comic impact of the original Latin, this volume presents all six comedies: The Girl from Andros (Andria), The Self-Tormentor (Heautontimorumenos), The Eunuch (Eunouchus), Phormios, The Brothers (Adelphoe), and Her Husband's Mother (Hecyra).

    Symbolist poets and writers — Stéphane Mallarmé and Maurice Maeterlinck among them — defended the play's literary brilliance. Beyond its notoriety, the drama's haunting poetic imagery, biblical cadences, and febrile atmosphere have earned it a reputation as a masterpiece of the Aesthetic movement of fin de siècle England.Written originally in French in 1892, this sinister tale of a woman scorned and her vengeance was translated into English by Lord Alfred Douglas. The play inspired some of Aubrey Beardsley's finest illustrations, and an abridged version served as the text for Strauss' renowned opera of the same name. This volume reprints the complete text of the first English edition, published in 1894, and also includes "A Note on Salomé" by Robert Ross, Wilde's lifelong friend and literary executor. Students, lovers of literature and drama, and admirers of Oscar Wilde and his remarkable literary gifts will rejoice in this inexpensive edition.

    late 7th and early 6th centuries B.C.E.), whose work is said to have filled nine papyrus rolls in the great library at Alexandria some 500 years after her death. The surviving texts consist of a lamentably small and fragmented body of lyric poetry--among them, poems of invocation, desire, spite, celebration, resignation, and remembrance--that nevertheless enables us to hear the living voice of the poet Plato called the tenth Muse.Stanley Lombardo's translations give us a virtuoso embodiment of Sappho's voice, whose telltale charm, authority, immediacy, directness, intensity, and sudden changes of tone are among the hallmarks of his masterly translation.Pamela Gordon introduces us to the world of Sappho, discusses questions surrounding the transmission of her manuscripts, offers advice on reading these texts, and concludes with an enlightening discussion of same-sex desire in Sappho.