How important is a guest who visits one's home? What could be more important than achieving knowledge through meditation? These tales taken from the Mahabharata tell of age old values that emphasize the divine status of a guest and the importance of dharma or duty above all else and teaching these lessons are simple creatures like a mongoose, a crane and a pigeon.

    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.

    In The Location of Culture, he uses concepts such as mimicry, interstice, hybridity, and liminality to argue that cultural production is always most productive where it is most ambivalent. Speaking in a voice that combines intellectual ease with the belief that theory itself can contribute to practical political change, Bhabha has become one of the leading post-colonial theorists of this era.

    "A perfect work like no other. (Calasso) has re-created . . . the morning of our world."--Gore Vidal. 15 engravings.

    Here also are riveting you-are-there accounts of the milestone battles that defined the Hellenic world: Thermopylae, Marathon, and Salamis among them. An unparalleled storyteller, Everitt combines erudite, thoughtful historical analysis with stirring narrative set pieces that capture the colorful, dramatic, and exciting world of ancient Greece.Although the history of Athens is less well known than that of other world empires, the city-state's allure would inspire Alexander the Great, the Romans, and even America's own Founding Fathers. It's fair to say that the Athenians made possible the world in which we live today. In this peerless new work, Anthony Everitt breathes vivid life into this most ancient story.Praise for The Rise of Athens"[An] invaluable history of a foundational civilization . . . combining impressive scholarship with involving narration."--Booklist"Compelling . . . a comprehensive and entertaining account of one of the most transformative societies in Western history . . . Everitt recounts the high points of Greek history with flair and aplomb." --Shelf Awareness "Highly readable . . . Everitt keeps the action moving."--Kirkus ReviewsPraise for Anthony Everitt's The Rise of Rome"Rome's history abounds with remarkable figures. . . . Everitt writes for the informed and the uninformed general reader alike, in a brisk, conversational style, with a modern attitude of skepticism and realism."--The Dallas Morning News"[A] lively and readable account . . . Roman history has an uncanny ability to resonate with contemporary events."--Maclean's"Elegant, swift and faultless as an introduction to his subject." --The Spectator "An engrossing history of a relentlessly pugnacious city's 500-year rise to empire." --Kirkus Reviews "Fascinating history and a great read."--Chicago Sun-Times

    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.

    These plays have attracted focus and reflection from Aristotle, Freud, Nietzsche, and others who Professor Vandiver observes early in the course: "It is a notable paradox that Greek tragedy, a dramatic form that flourished for less than a full century, a dramatic form that began in a particular religious festival of a particular god some 2,500 years ago, remains vibrant, alive, and productive today. "It seems that there is something about tragedy that lifts it out of its particular circumstances and beyond its particular gods, social issues, and political concerns to give a kind of universality that is, in the last analysis, very surprising." The great tragedies shed light on the extraordinary time, place, and people that produced them. And they may help us-as perhaps they helped their original audiences-to grasp a fuller sense of both the terror and wonder that life presents. A Rounded View of a Grand Art Form Professor Vandiver has designed these lectures to give you a full overview of Greek tragedy, both in its original setting and as a lasting contribution to the artistic exploration of the human condition. There are three main points to the course: First: The Plays in Their Context. You learn to see Greek tragedy as a genre in its cultural context. Why did this powerful art form flower in the Athens of Pericles and the Peloponnesian War? What is tragedy's deeper historical background? Did it grow out of rituals honoring the god Dionysus, as is so often said? What role did it play in Athenian civic and religious life? How was it related to earlier performance traditions such as bardic recitation? How did Aeschylus, Sophocles, and Euripides each make unique contributions to tragedy's expressive power? Second: The Plays on the Stage. Too often, the surviving tragedies are seen purely as texts to be read, rather than as scripts to be played. Hence the second aim of Dr. Vandiver's course is to teach what scholarship can reveal about the performance of tragedy, including its physical and ritual settings, actors and acting methods, conventions of staging and stagecraft, and even how productions were financed. Third: The Plays in Rich Detail. Third, you explore with Professor Vandiver a broad group of tragedies in close detail. In particular, you will ask how individual tragedies use traditional myths (often tales from the Trojan War), and what Aeschylus, Sophocles, or Euripides intended to accomplish by changing or adding to the basic story. You examine what certain tragedies imply about the world of 5th-century Athens, and the importance, in turn, of the cultural background for explaining those tragedies. Surveying Key Scholars and Critics While Professor Vandiver frequently refers to modern critical approaches and theories to help illuminate the tragedies, she has chosen not to adopt any one theory as a framework for the lectures. Accordingly, you will find that she carefully and fairly discusses a number of views of tragedy, including those of Aristotle, Nietzsche, Freud, the Cambridge Ritualists, and even Aristophanes, who included the tragic stage in his wide-ranging satires of Athenian institutions, mores, and personalities. Three for the Ages Perhaps one of the most intriguing opportunities this course offers, even if you are a seasoned lover of literature and the classics, is the chance to compare and contrast the works of Aeschylus, Sophocles, and Euripides. Aeschylus (525-455 B.C.) Lectures 5 through 9 focus on Aeschylus, the eldest of the three. The plays and themes discussed include The Oresteia (a trilogy about the accursed House of Atreus in the aftermath of the Trojan War, it includes Agamemnon, Libation Bearers, and Eumenides), as well as the earlier plays Persians, Suppliant Maidens, and Seven Against Thebes. Sophocles (496-406 B.C.) Lectures 11 through 14 and 22 are devoted to Sophocles. He is well known for creating heroes such as Oedipus, Ajax, and Philoctetes, who are characterized by intense isolation. In his Poetics, Aristotle credits Sophocles with introducing the third actor (not counting the chorus) and the use of scenery. Euripides (484-406 B.C.) Lectures 15 through 21 concentrate on Euripides. The most overtly political and least traditional of the three, he wrote plays featuring an especially vivid array of strong, disturbing female characters, including Medea and Phaedra. Two other plays with female protagonists, Hecuba and Trojan Women, paint harrowing portraits of the horrors of war and were written while Athens was locked in a deadly struggle with Sparta and her allies. The course moves toward a finish by examining the revivals of Aeschylus, Sophocles, and Euripides put on in the Hellenistic theater, and then briefly discusses Roman adaptations and later "revivals" of Greek tragedy, from the Renaissance to modern times. It closes with Professor Vandiver's reflections on how the characteristic themes and tone of the Athenian tragic stage continue to inspire audiences and artists in a variety of media today.

    Full color.

    Accessible introduction to Greek religion. Focuses on Athens in the classical period. Includes detailed discussion of Greek gods and heroes, myth and cult. Includes vivid descriptions of Greek religion as it was practiced. Ancient texts are presented in boxes to promote thought and discussion. Abundant illustrations help readers visualize the rich and varied religious life of ancient Greece.

    Even today, the war inspires countless articles and books, extensive archaeological excavations, movies, television documentaries, even souvenirs and collectibles. Butwhile the ancients themselves believed that the Trojan War took place, scholars of the modern era have sometimes derided it as a piece of fiction.Combining archaeological data and textual analysis of ancient documents, this Very Short Introduction considers whether or not the war actually took place and whether archaeologists have really discovered the site of ancient Troy. To answer these questions, archaeologist and ancient historian EricH. Cline examines various written sources, including the works of Homer, the Epic Cycle (fragments from other, now-lost Greek epics), classical plays, and Virgil's Aeneid. Throughout, the author tests the literary claims against the best modern archaeological evidence, showing for instance thatHomer, who lived in the Iron Age, for the most part depicted Bronze Age warfare with accuracy. Cline also tells the engaging story of the archaeologists--Heinrich Schliemann and his successors Wilhelm Dörpfeld, Carl Blegen, and Manfred Korfmann--who found the long-vanished site of Troy throughexcavations at Hisarlik, Turkey.Drawing on evidence found at Hisarlik and elsewhere, Cline concludes that a war or wars in the vicinity of Troy probably did take place during the Late Bronze Age, forming the nucleus of a story that was handed down orally for centuries until put into final form by Homer. But Cline suggests that, even allowing that a Trojan War took place, it probably was not fought because of Helen's abduction, though such an incident may have provided the justification for a war actually fought for more compelling economic and political motives.About the Series: Oxford's Very Short Introductions series offers concise and original introductions to a wide range of subjects--from Islam to Sociology, Politics to Classics, Literary Theory to History, and Archaeology to the Bible. Not simply a textbook of definitions, each volume in this series provides trenchantand provocative--yet always balanced and complete--discussions of the central issues in a given discipline or field. Every Very Short Introduction gives a readable evolution of the subject in question, demonstrating how the subject has developed and how it has influenced society. Eventually, theseries will encompass every major academic discipline, offering all students an accessible and abundant reference library. Whatever the area of study that one deems important or appealing, whatever the topic that fascinates the general reader, the Very Short Introductions series has a handy andaffordable guide that will likely prove indispensable.

    Fustel de Coulanges' 1864 masterpiece, La Cité antique, drew upon physical evidence as well as ancient documents rather than the usual post-Classical histories. The result is a fresh, accurate, and detailed portrait of the religious, family, and civic life of Periclean Athens and Rome during the time of Cicero.This fascinating sociological account reveals the significance of kinship and the cult of the family hearth and ancestors to ancient Hellenic and Latin urban culture. It chronicles the rise of family-centered pagan belief systems, tracing their gradual decline to the spread of Christianity. Fustel cites ancient Indian and Hebrew texts as well as Greek and Roman sources. The ingenuity of his interpretations, along with his striking prose style, offer readers a vital and enduring historic survey.

    The acclaimed author of Pagan Holiday brings attitude, erudition, and humor to the fascinating story of the original Olympic festival, tracking the event day by day to re-create the experience in all its compelling spectacle.Using firsthand reports and little-known sources—including an actual Handbook for a Sports Coach used by the Greeks—The Naked Olympics creates a vivid picture of an extravaganza performed before as many as forty thousand people, featuring contests as timeless as the javelin throw and as exotic as the chariot race.Peeling away the layers of myth, Perrottet lays bare the ancient sporting experience—including the round-the-clock bacchanal inside the tents of the Olympic Village, the all-male nude workouts under the statue of Eros, and history’s first corruption scandals involving athletes. Featuring sometimes scandalous cameos by sports enthusiasts Plato, Socrates, and Herodotus, The Naked Olympics offers essential insight into today’s Games and an unforgettable guide to the world’s first and most influential athletic festival."Just in time for the modern Olympic games to return to Greece this summer for the first time in more than a century, Tony Perrottet offers up a diverting primer on the Olympics of the ancient kind….Well researched; his sources are as solid as sources come. It's also well writen….Perhaps no book of the season will show us so briefly and entertainingly just how complete is our inheritance from the Greeks, vulgarity and all."--The Washington Post

    The complete translation, from the Greek of A. O. Prickard's Oxford text, features an introduction by Grube, establishing the historical and critical context of the work, and a biographical index.

    Is his father Philip, King of Macedonia, or Nectanebo, the mysterious sorcerer who seduced the queen by trickery? One thing is certain: the boy is destined to conquer the known world. He grows up to fulfil this prophecy, building a mighty empire that spans from Greece and Italy to Africa and Asia. Begun soon after the real Alexander's death and expanded in the centuries that followed, The Greek Alexander Myth depicts the life and adventures of one of history's greatest heroes - taming the horse Bucephalus, meeting the Amazons and his quest to defeat the King of Persia. Including such elements of fantasy as Alexander's ascent to heaven borne by eagles, this literary masterpiece brilliantly evokes a lost age of heroism.

    Beginning with the premise that the attack must be taken seriously, Eric Havelock shows that Plato's hostility is explained by the continued domination of the poetic tradition in contemporary Greek thought.The reason for the dominance of this tradition was technological. In a nonliterate culture, stored experience necessary to cultural stability had to be preserved as poetry in order to be memorized. Plato attacks poets, particularly Homer, as the sole source of Greek moral and technical instruction--Mr. Havelock shows how the Iliad acted as an oral encyclopedia. Under the label of mimesis, Plato condemns the poetic process of emotional identification and the necessity of presenting content as a series of specific images in a continued narrative.The second part of the book discusses the Platonic Forms as an aspect of an increasingly rational culture. Literate Greece demanded, instead of poetic discourse, a vocabulary and a sentence structure both abstract and explicit in which experience could be described normatively and analytically: in short a language of ethics and science.