Illustrated with visual artifacts of the period. With the long-awaited publication of this book, we have for the first time in any modern literary form one of the most vital and important of ancient myths: that of Inanna, the world's first goddess of recorded history and the beloved deity of the ancient Sumerians.The stories and hymns of Inanna (known to the Semites as Ishtar) are inscribed on clay tablets which date back to 2,000 B.C. Over the past forty years, these cuneiform tablets have gradually been restored and deciphered by a small group of international scholars. In this groundbreaking book, Samuel Noah Kramer, the preeminent living expert on Sumer, and Diane Wolkstein, a gifted storyteller and folklorist, have retranslated, ordered, and combined the fragmented pieces of the Cycle of Inanna into a unified whole that presents for the first time an authentic portrait of the goddess from her adolescence to her completed womanhood and godship. We see Inanna in all her aspects: as girl, lover, wife, seeker, decision maker, ruler; we witness the Queen of Heaven and Earth as the voluptuous center and source of all fertile power and the unequaled goddess of love.Illustrated throughout with cylinder seals and other artifacts of the period, the beautifully rendered images guide the reader through Inanna's realm on a journey parallel to the one evoked by the text. And the carefully wrought commentaries providing an historical overview, textual interpretations, and aannotations on the art at once explicate and amplify the power, wonder, and mystery embedded in these ancient tales.Inanna--the world's first love story, two thousand years older than the Bible--is tender, erotic, frightening, and compassionate. It is a compelling myth that is timely in its rediscovery."A great masterpiece of universal literature."--Mircea Eliade

    At stake was freedom, democracy, and the fate of Thebes, at this time the leading power of the Greek world. The tale begins in 379 BC, with a group of Theban patriots sneaking into occupied Thebes. Disguised in women’s clothing, they cut down the agents of Sparta, the state that had cowed much of Greece with its military might. To counter the Spartans, this group of patriots would form the Sacred Band, a corps whose history plays out against a backdrop of Theban democracy, of desperate power struggles between leading city-states, and the new prominence of eros, sexual love, in Greek public life. After four decades without a defeat, the Sacred Band was annihilated by the forces of Philip II of Macedon and his son Alexander in the Battle of Chaeronea—extinguishing Greek liberty for two thousand years. Buried on the battlefield where they fell, they were rediscovered in 1880—some skeletons still in pairs, with arms linked together. From violent combat in city streets to massive clashes on open ground, from ruthless tyrants to bold women who held their era in thrall, The Sacred Band recounts “in fluent, accessible prose” (The Wall Street Journal) the twists and turns of a crucial historical moment: the end of the treasured freedom of ancient Greece.

    These “pagans” were actually pious Greeks, Romans, Syrians, and Gauls who observed the traditions of their ancestors. To these devout polytheists, Christians who worshipped only one deity were immoral atheists who believed that a splash of water on the deathbed could erase a lifetime of sin.Religious scholar James J. O’Donnell takes us on a lively tour of the Ancient Roman world through the fourth century CE, when Romans of every nationality, social class, and religious preference found their world suddenly constrained by rulers who preferred a strange new god. Some joined this new cult, while others denied its power, erroneously believing it was little more than a passing fad.In Pagans, O’Donnell brings to life various pagan rites and essential features of Roman religion and life, offers fresh portraits of iconic historical figures, including Constantine, Julian, and Augustine, and explores important themes—Rome versus the east, civilization versus barbarism, plurality versus unity, rich versus poor, and tradition versus innovation—in this startling account.

    It was ruled for all that time by a succession of able kings, but broke down twice, before eventually succumbing to dynastic rivalries, and simultaneous external invasions and internal grasps for independence. The first king, Seleukos I, established a pattern of rule which was unusually friendly towards his subjects, and his policies promoted the steady growth of wealth and population in many areas which had been depopulated when he took them over. In particular the dynasty was active in founding cities from Asia Minor to Central Asia. Its work set the social and economic scene of the Middle East for many centuries to come. Yet these kings had to be warriors too as they defended their realm from jealous neighbors. John D Grainger's trilogy charts the rise and fall of this superpower of the ancient world.In the first volume, John D Grainger relates the remarkable twists of fortune and daring that saw Seleukos, an officer in an elite guard unit, emerge from the wars of the diadochi (Alexander's successors) in control of the largest and richest part of the empire of the late Alexander the Great. After his conquests and eventual murder, we then see how his successors continued his policies, including the repeated wars with the Ptolemaic rules of Egypt over control of Syria. The volume ends with the deep internal crisis and the wars of the brothers, which left only a single member of the dynasty alive in 223 BC.

    It was the marvel of its age?legendary for its vast palaces, safe harbors, and magnificent lighthouse. But it was most famous for the astonishing intellectual fluorescence it fostered and the library it produced. If the European Renaissance was the ?rebirth? of Western culture, then Alexandria, Egypt, was its birthplace. It was here mankind first discovered that the earth was not flat, originated atomic theory, invented geometry, systematized grammar, translated the Old Testament into Greek, built the steam engine, and passed their discoveries on to future generations via the written word. Julius Caesar, Anthony and Cleopatra, Jewish scholars, Greek philosophers, and devout early Christians all play a part in the rise and fall of the city that stood ?at the conjunction of the whole world.? Compulsively readable and sparkling with fresh insights into science, philosophy, culture, and invention, this is an irresistible, eye-opening delight.

    But the works of numerous other great and prolific poets–Alkaios, Meleager, and Simonides, to name a few–are rarely translated into English , and are largely unknown to modern readers. In Pure Pagan, award-winning translator Burton Raffel brings these and many other wise and witty ancient Greek writers to an English-speaking audience for the first time, in full poetic flower. Their humorous and philosophical ruminations create a vivid portrait of everyday life in ancient Greece –and they are phenomenally lovely as well.In short, sharp bursts of song, these two-thousand-year-old poems speak about the timeless matters of everyday life:Wine (Wine is the medicine / To call for, the best medicine / To drink deep, deep)History (Not us: no. / It began with our fathers, / I’ve heard). Movers and shakers (If a man shakes loose stones / To make a wall with / Stones may fall on his head / Instead)Old age (Old age is a debt we like to be owed / Not one we like to collect)Frankness (Speak / As you please / And hear what can never / Please). There are also wonderful epigrams (Take what you have while you have it: you’ll lose it soon enough. / A single summer turns a kid into a shaggy goat) and epitaphs (Here I lie, beneath this stone, the famous woman who untied her belt for only one man).The entrancing beauty, humor, and piercing clarity of these poems will draw readers into the Greeks’ journeys to foreign lands, their bacchanalian parties and ferocious battles, as well as into the more intimate settings of their kitchens and bedrooms. The poetry of Pure Pagan reveals the ancient Greeks’ dreams, their sense of humor, sorrows, triumphs, and their most deeply held values, fleshing out our understanding of and appreciation for this fascinating civilization and its artistic legacy.

    It is a collection of religious and philosophic texts gathered and translated into Coptic by fourth-century Gnostic Christians and translated into English by dozens of highly reputable experts. First published in 1978, this is the revised 1988 edition supported by illuminating introductions to each document. The library itself is a diverse collection of texts that the Gnostics considered to be related to their heretical philosophy in some way. There are 45 separate titles, including a Coptic translation from the Greek of two well-known works: the Gospel of Thomas, attributed to Jesus' brother Judas, and Plato's Republic. The word gnosis is defined as "the immediate knowledge of spiritual truth." This doomed radical sect believed in being here now--withdrawing from the contamination of society and materiality--and that heaven is an internal state, not some place above the clouds. That this collection has resurfaced at this historical juncture is more than likely no coincidence.--P. Randall Cohan

    He led his army across thousands of miles, overthrowing the greatest empires of his time and building a new one in their place. He claimed to be the son of a god, but he was actually the son of Philip II of Macedon.Philip inherited a minor kingdom that was on the verge of dismemberment, but despite his youth and inexperience, he made Macedonia dominant throughout Greece. It was Philip who created the armies that Alexander led into war against Persia. In Philip and Alexander, classical historian Adrian Goldsworthy shows that without the work and influence of his father, Alexander could not have achieved so much. This is the groundbreaking biography of two men who together conquered the world.

    So appealing were these spirit-maidens that they also took up residence in nineteenth-century Romantic literature.Archaeologist and linguist by profession, folk dancer by avocation, Elizabeth Wayland Barber has sleuthed through ethnographic lore and archaeological reports of east and southeast Europe, translating enchanting folktales about these “dancing goddesses” as well as eyewitness accounts of traditional rituals — texts that offer new perspectives on dance in agrarian society. She then traces these goddesses and their dances back through the Romans and Greeks to the first farmers of Europe. Along the way, she locates the origins of many customs, including coloring Easter eggs and throwing rice at the bride. The result is a detective story like no other and a joyful reminder of the human need to dance.

    A survey of the myths, legends and religious beliefs of the ancient Anglo-Saxons.

    It engineered a civilization, empowered the world's first democracy, and led a band of ordinary citizens on a voyage of discovery that altered the course of history. With Lords of the Sea, renowned archaeologist John R. Hale presents, for the first time, the definitive history of the epic battles, the fearsome ships, and the men – from extraordinary leaders to seductive rogues – that established Athens's supremacy. With a scholar's insight and a storyteller's flair, Hale takes us on an unforgettable voyage with these heroes, their turbulent careers, and far-flung expeditions, bringing back to light a forgotten maritime empire and its majestic legacy.

    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.

    Later generations further developed these initial insights, but we have never grown beyond them. Rabbinic Judaism, Christianity, and Islam, for example, were all secondary flowerings of the original Israelite vision. Now, in The Great Transformation, Karen Armstrong reveals how the sages of this pivotal "Axial Age" can speak clearly and helpfully to the violence and desperation that we experience in our own times. Armstrong traces the development of the Axial Age chronologically, examining the contributions of such figures as the Buddha, Socrates, Confucius, Jeremiah, Ezekiel, the mystics of the Upanishads, Mencius, and Euripides. All of the Axial Age faiths began in principled and visceral recoil from the unprecedented violence of their time. Despite some differences of emphasis, there was a remarkable consensus in their call for an abandonment of selfishness and a spirituality of compassion. With regard to dealing with fear, despair, hatred, rage, and violence, the Axial sages gave their people and give us, Armstrong says, two important pieces of advice: first there must be personal responsibility and self-criticism, and it must be followed by practical, effective action. In her introduction and concluding chapter, Armstrong urges us to consider how these spiritualities challenge the way we are religious today. In our various institutions, we sometimes seem to be attempting to create exactly the kind of religion that Axial sages and prophets had hoped to eliminate. We often equate faith with doctrinal conformity, but the traditions of the Axial Age were not about dogma. All insisted on the primacy of compassion even in the midst of suffering. In each Axial Age case, a disciplined revulsion from violence and hatred proved to be the major catalyst of spiritual change.

    With magisterial learning and the elan of a born storyteller, Pagels turns Satan's story into an audacious exploration of Christianity's shadow side, in which the gospel of love gives way to irrational hatreds that continue to haunt Christians and non-Christians alike.

    Much of what we know about the beliefs of the Sadducees and Pharisees comes from Josephus. Without Josephus, we would know very little about the Essenes, the ancient Jewish group most frequently associated with the Dead Sea Scrolls.Features include:The War of the Jews—an account of the Jewish revolt against Rome up to the destruction of the temple in JerusalemThe Antiquities of the Jews—a history of the Jews from Creation to the Roman occupation of PalestineThe Life of Flavius Josephus—the autobiography of Josephus, who fought against Rome and later served the empireAgainst Apion—a defense of the origin of Judaism in the face of Greco-Roman slandersDiscourse to the Greeks Concerning Hades—a text Whiston attributed to JosephusIndex of parallels between Josephus’s Antiquities and the Old Testament including the Apocrypha