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.

    We meet the Greek gods on Olympus and Norse gods in Valhalla. We follow the drama of the Trojan War and the wanderings of Odysseus. We hear the tales of Jason and the Golden Fleece, Cupid and Psyche, and mighty King Midas. We discover the origins of the names of the constellations. And we recognize reference points for countless works of art, literature, and cultural inquiry--from Freud's Oedipus complex to Wagner's Ring Cycle of operas to Eugene O'Neill's Mourning Becomes Electra. Praised throughout the world for its authority and lucidity, Mythology is Edith Hamilton's masterpiece--the standard by which all other books on mythology are measured.

    300-250 B.C.) Erinna (4th century B.C.?)From the Greek anthologyAnonymousPlatoAnyte (early 4th century B.C.?) Antipater of Sidon (2nd century B.C.)Diotimos NikarchosAsclepiades of Samos (c.320-?B.C.)Leonidas of Tarentum (1st half of 3rd century B.C.)Alexander AetolusDioskorides Meleager (c.100 B.C.)Glaukos Anonymous PhilodemosKrinagorasAutomedonAnonymousEruciusAntipater of Salonica (1st century B.C.-1st Century A.D.?)Marcus Argentarius (1st century B.C.-1st century A.D.?)Pompeius Lucilius NikarchosPaulus Silentiarius (6th century A.D.)Lucretius (98-c.55 B.C.) Catullus (c.84-c.54 B.C.) Horace (65-8 B.C.) Virgil (70-19 B.C.) Livy (59 B.C.-A.D.17)Propertius (c.50 B.C.-after 16 B.C.)Ovid (43 B.C.-A.D. 17) Tacitus (A.D. 56/7after 117) Petronius Arbiter (?-A.D. 65)Juvenal (55?-138?)Marcus Aurelius (121-180; Emperor, 161-180)Aurelius Augustinus (St Augustine (354-530)For futher readingPermissionsIndex

    The Knight of the Cart is the first telling of the adulterous relationship between Lancelot and Arthur's Queen Guinevere, and in The Knight with the Lion Yvain neglects his bride in his quest for greater glory. Erec and Enide explores a knight's conflict between love and honour, Cligés exalts the possibility of pure love outside marriage, while the haunting The Story of the Grail chronicles the legendary quest. Rich in symbolism, these evocative tales combine closely observed detail with fantastic adventure to create a compelling world that profoundly influenced Malory, and are the basis of the Arthurian legends we know today.Alternate cover for this edition.

    These vignettes of country life, which center on competitions of song and love are the foundational poems of the western pastoral tradition. They were the principal model for Virgil in the Eclogues and their influence can be seen in the work of Petrarch and Milton. Although it is the pastoral poems for which he is chiefly famous, Theocritus also wrote hymns to the gods, brilliant mime depictions of everyday life, short narrative epics, epigrams, and encomia of the powerful. The great variety of his poems illustrates the rich and flourishing poetic culture of what was a golden age of Greek poetry. Based on the original Greek text, this accurate and fluent translation is the only edition of the complete Idylls currently in print. It includes an accessible introduction by Richard Hunter that describes what is known of Theocritus, the poetic tradition and Theocritus' innovations and what exactly is meant by bucolic poetry.

            The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and Legends of Charlemagne or Romance of the Middle Ages (1863). For the Greek myths, Bulfinch drew on Ovid and Virgil, and for the sagas of the north, from Mallet's Northern Antiquities. He provides lively versions of the myths of Zeus and Hera, Venus and Adonis, Daphne and Apollo, and their cohorts on Mount Olympus; the love story of Pygmalion and Galatea; the legends of the Trojan War and the epic wanderings of Ulysses and Aeneas; the joys of Valhalla and the furies of Thor; and the tales of Beowulf and Robin Hood. The tales are eminently readable. As Bulfinch wrote, "Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. . . . Our book is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement."Thomas Bulfinch, in his day job, was a clerk in the Merchant's Bank of Boston, an undemanding position that afforded him ample leisure time in which to pursue his other interests. In addition to serving as secretary of the Boston Society of Natural History, he thoroughly researched the myths and legends and copiously cross-referenced them with literature and art. As such, the myths are an indispensable guide to the cultural values of the nineteenth century; however, it is the vigor of the stories themselves that returns generation after generation to Bulfinch.

    His feeling for the telling noun and verb, the simple yet poignant epithet, and the dramatic turn of syntax is marked. He has completely freed the poems from sentimentality, and the thrilling ancient names—Anacreon, Alcaeus, Simonides, Sappho—acquire fresh brilliance and vitality under his hand."—Louise Bogan, The New Yorker"The significant quality of Mr. Lattimore's versions is that they are pure. The lenses he provides are as clear as our language is capable of making them."—Moses Hadas, N.Y. Herald TribuneContents: ArchílochusCallínusSemónides of AmórgosHippónaxTyrtaéusMimnérmusSolonPhocýlidesXenóphanesTheógnisEarly Metrical InscriptionsTerpánderAlcmanStesíchorusíbycusSapphoAlcaéusAnácreonAnonymous Drinking SongsHýbriasPraxíllaAnonymous LyricsCorínnaSimónides of CeosPindarBacchýlides

    Plautus's broad humor, reflecting Roman manners and contemporary life, is revealed in these five plays: The Pot of Gold (Aulularia), The Prisoners (Captivi), The Brothers Menaechmus (Menaechmi), The Swaggering Soldier (Miles Gloriosus), and Pseudolus.

    

    Criticism is divided into four sections and represents the best criticism and interpretation of Donne s writing: Donne and Metaphysical Poetry includes seven seventeenth-century views by contemporaries of Donne such as Ben Jonson, Thomas Carew, and John Dryden, among others; Satires, Elegies, and Verse Letters includes seven selections that offer social and literary context for and insights into Donne s frequently overlooked early poems; Songs and Sonnets features six analyses of Donne s love poetry; and Holy Sonnets/Divine Poems explores Donne s struggles as a Christian through four authoritative essays. A Chronology of Donne s life and work, a Selected Bibliography, and an Index of Titles and First Lines are also included.

    "Never before, in the entire history of the American theater, has so much of the truth of black people's lives been seen on the stage," observed James Baldwin shortly before A Raisin in the Sun opened on Broadway in 1959.Indeed Lorraine Hansberry's award-winning drama about the hopes and aspirations of a struggling, working-class family living on the South Side of Chicago connected profoundly with the psyche of black America--and changed American theater forever.  The play's title comes from a line in Langston Hughes's poem "Harlem," which warns that a dream deferred might "dry up/like a raisin in the sun.""The events of every passing year add resonance to A Raisin in the Sun," said The New York Times.  "It is as if history is conspiring to make the play a classic."  This Modern Library edition presents the fully restored, uncut version of Hansberry's landmark work with an introduction by Robert Nemiroff.

    Maria was young and innocent and had never known love—until Tony. And he, who had been seeking something beyond the savagery of the streets, discovered it with her. But Maria’s brother was leader of the Sharks and Tony had once led the rival Jets. Now both gangs were claiming the same turf. Tony promised Maria that he would stay out of it. Would he be able to keep his word? Or would their newfound love be destroyed by sudden death?

    Here Petronius brilliantly brings to life the courtesans, legacy-hunters, pompous professors and dissolute priestesses of the age and, above all, Trimalchio, the archetypal self-made millionaire whose pretentious vulgarity on an insanely grand scale makes him one of the great comic characters in literature. Seneca's The Apocolocyntosis, a malicious skit on the deification of Claudius the Clod', was designed by the author to ingratiate himself with Nero, who was Claudius' successor. Together, the two provide a powerful insight into a darkly fascinating period of Roman history.For this edition Professor Sullivan has updated his translation & his literary & historical introductions in the light of the latest research. He's included all Petronius' surviving verse.Petroneus:Introduction --The authorship and date of The Satyricon --The extent of the work and the plot --The literary qualities of the Satyricon --On the text and translation --The Satyricon --Puteoli --Dinner with Trimalchio --Eumolpus --The road to Croton --Croton --The fragments and the poems --List of characters --Notes on the Satyricon --Notes on the fragments and poems --Seneca:Introduction --The authorship and date of the Apocolocyntosis --The place of the work in Seneca's writings --The literary qualities of the Apocolocyntosis --On the text and translation --The Apocolocyntosis of the divine Claudius --Notes on the Apocolocyntosis

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    a visionary work that bridges the history and culture of two worlds."--Frank Rich, New York TimesBased on a true story that stunned the world, and inspired by Giacomo Puccini's opera Madama Butterfly, M. Butterfly was an immediate sensation when it premiered in 1988. It opens in the cramped prison cell where diplomat Rene Gallimard is being held captive by the French government--and by his own illusions. He recalls a time when Song Liling, the beautiful Chinese diva, touched him with a love as vivid, as seductive--and as elusive--as a butterfly.How could he have known that his true love was, in fact, a spy for the Chinese government--and a man disguised as a woman? The diplomat relives the twenty-year affair from the temptation to the seduction, from its consummation to the scandal that ultimately consumed them both.M. Butterfly is one of the most compelling, explosive, and slyly humorous dramas ever to light the Broadway stage, a work of unrivaled brilliance, illuminating the conflict between men and women, the differences between East and West, racial stereotypes--and the shadows we cast around our most cherished illusions.The original cast included John Lithgow as Gallimard and BD Wong as Song Liling. During the show's 777-performance run, David Dukes, Anthony Hopkins, Tony Randall, and John Rubinstein were also cast as Gallimard. Hwang adapted the play for a 1993 film directed by David Cronenberg, starring Jeremy Irons and John Lone.TEXT OF THE BROADWAY REVIVAL