Probably composed between 1372 and 1389, the poem survives in three distinct versions. It is known to modern readers largely through the middle of the three, the so-called B-text. Now, George Economou's verse translation of the poet's third version makes available for the first time in modern English the final revision of a work that many have regarded as the greatest Christian poem in our language.Langland's remarkable powers of invention and his passionate involvement with the spiritual, social, and political crises of his time lay claim to our attention, and demand serious comparison with Dante's Divine Comedy. Economou's translation preserves the intensity of the poet's verse and the narrative energy of his alliterative long line, the immediacy of the original's story of the quest for salvation, and the individuality of its language and wordplay.

    Popular in the Renaissance, these stories have been less familiar in later centuries. Translations of the Greek stories were not readily available in English before B.P. Reardon’s excellent volume. Nine complete stories are included here as well as ten others, encompassing the whole range of classical themes: ideal romance, travel adventure, historical fiction, and comic parody. A new foreword by J.R. Morgan examines the enormous impact this groundbreaking collection has had on our understanding of classical thought and our concept of the novel.

    All necessary corrections have been made, and the book retains the form which has long made it the most complete and valuable work of its kind. In this descriptive grammar the author offers a treatment of Greek syntax which is exceptionally rich as well subtle and varied.

    AD 55-138) captures the splendour, the squalor, and the sheer energy of everyday Roman life. In The Sixteen Satires he evokes a fascinating world of whores, fortune-tellers, boozy politicians, slick lawyers, shameless sycophants, ageing flirts and downtrodden teachers. A member of the traditional land-owning class that was rapidly seeing power slip into the hands of outsiders, Juvenal also creates savage portraits of decadent aristocrats - male and female - seeking excitement among the lower orders of actors and gladiators, and of the jumped-up sons of newly-rich former slaves. Constantly comparing the corruption of his own generation with its stern and upright forebears, Juvenal's powers of irony and invective make his work a stunningly satirical and bitter denunciation of the degeneracy of Roman society

    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.

    . . . Her head inclined forward without moving, for she was looking fixedly at a young man who lay at her feet. The man was disfigured with wounds, but seemed to rouse himself a little as from a deep sleep, almost of death itself. Pain had clenched his eyes, but the sight of the maiden drew them toward her. He collected his breath, heaved a deep sigh, and murmured faintly. "My sweet," said he, "are you truly safe, or are you too a casualty of the war?"The Romance novel didn't begin with Kathleen Woodiwiss or even with the Bronte sisters. By the time Heliodorus wrote his "Aethiopica"--or "Ethiopian Romance"--in the third century, the genre was already impressively developed. Heliodorus launches his tale of love and the quirks of fate with a bizarre scene of blood, bodies, and booty on an Egyptian beach viewed through the eyes of a band of mystified pirates. The central love-struck characters are Charicles, the beautiful daughter of the Ethiopian queen, and Theagenes, a Thessalian aristocrat. The story unfolds with all the twists and devices any writer would employ today, with the added attractions of dreams, oracles, and exotic locales in the ancient Mediterranean and Africa.Hadas's was the first modern English-language translation of this story, which was first translated into English in 1587 and was a favorite among the Elizabethans. His version of this earliest extant Greek novel remains accessible and appealing." -- back cover.The novel is thought to have originally been written in the 2nd or 3rd century A.D. Nothing is known about the author, Heliodorus.

    These marvelously constructed poems, with their unswerving clarity of vision and extraordinary range of tone and emotion, have deeply affected the poetry of Shakespeare, Ben Jonson, Herbert, Marvell, Dryden, Pope, Samuel Johnson, Wordsworth, Frost, Auden, Larkin, and many others, in English and in other languages. David Carne-Ross has said of this translation that "Ferry has found an English into which Horace's lyrics will pass with no apparent strain". Grateful readers will appreciate the lucidity and inventiveness of these elegant and judicious versions.

    

    And join Odysseus on his journey through murky waters, facing obstacles like the terrifying Scylla and whirring Charybdis, the beautiful enchantress Circe, and the land of the raging Cyclôpes. Using narrative threads from The Iliad and The Odyssey, Padraic Colum weaves a stunning adventure with all the drama and power that Homer intended.

    Beginning with the creation of Earth out of Chaos, Vernant continues with the castration of Uranus, the war between the Titans and the Olympian gods, the wily ruses of Prometheus and Zeus, and the creation of Pandora, the first woman. His narrative takes readers from the Trojan War to the voyage of Odysseus, from the story of Dionysus to the terrible destiny of Oedipus to Perseus's confrontation with the Gorgons.Jean-Pierre Vernant has devoted himself to the study of Greek mythology. In recounting these tales, he unravels for us their multiple meanings and brings to life the beloved figures of legend whose narratives lie at the origin of our civilization. With remarkable psychological acuity, Vernant presents a picture of the world as the Greeks understood it. The relationship between the human and the divine -- realms that have always been intimately connected -- and their place within a world of potent natural forces are evoked effortlessly in a narrative that retains the magical quality of myth and reads with the compelling momentum of a good novel.

    It offers fascinating descriptions of the geography, climate and peoples of the country, and a succinct account of the early stages of the Roman occupation, nearly fatally undermined by Boudicca's revolt in AD 61 but consolidated by campaigns that took Agricola as far as Anglesey and northern Scotland. The warlike German tribes are the focus of Tacitus' attention in the Germania, which, like the Agricola, often compares the behaviour of 'barbarian' peoples favourably with the decadence and corruption of Imperial Rome.

    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).

    He set himself the task of continuing the histories of Tacitus from A.D. 96 down to his own day. The first thirteen of his thirty-one books are lost; the remainder describe a period of only twenty-five years (A.D. 354-378) and the reigns of the emperors Constantis, Julian, Jovian, Valentinian and Valens, for which he is a prime authority. He was a pagan and an admirer of the apostate Julian, to whose career about half the surviving books are devoted. Nevertheless, his treatment of Christianity is free from prejudice and his impartiality and good judgement have been generally acknowledged.

    In fact, Shakespeare's Comedy of Errors and Moliere's the Miser are two subsequent classics directly based on Plautine originals. Plautus himself borrowed from the Greeks, but his jokes, rapid dialogue, bawdy humor, and irreverent characterizations are the original work of an undisputed genius. The comedies printed here show him at his best, and Professor Segal's translations keep their fast, rollicking pace intact, making these the most readable and actable versions available. This volume includes, The Braggart Soldier, e Brothers Menaechmus, The Haunted House, and The Pot of Gold.

    His Epigrams can be affectionate or cruel, elegiac or playful; they target every element of Roman society, from slaves to schoolmasters to, above all, the aristocratic elite. With wit and wisdom, Martial evokes not “the grandeur that was Rome,” but rather the timeless themes of urban life and society.