For despite their rustic setting and the beauty of their phrasing, the poems in Virgil's first collection are also grounded in reality. Shepherds are overwhelmed by the torments of poetic love - but they must also endure such real-life events as the tragic consequences of Julius Caesar's murder in 44 bc and a civil war. In giving unforgettable expression to the disasters of the day through poetry, the Eclogues paved the way for the Georgics and the Aeneid, the two greatest works of Latin literature, and are also a major masterpiece in their own right.

    This new poetic translation seeks to capture the nuances of meaning and the whole spirit of this poetry. It is not merely a selection but covers all the surviving poems and intelligible fragments, apart from the works of Pindar and Bacchylides, and includes a number of pieces not previously translated. The introduction gives a brief account of the poets, and explanatory notes on the texts can be found at the end.

    Included in this selection are the biographies of Themistocles, a brilliant but heavy-handed naval commander, Aristides 'the Just' and Pericles, who was responsible for the buildings on the Acropolis. Plutarch's real interest in these men is not in the greatness of their victories or achievements but in their moral strengths, and for him responsibility for the eventual fall of Athens lay with the weakness and ambition of its great men.Varying in historical accuracy, these accounts are nevertheless rich in anecdote, and Plutarch's skill as a social historian and his fascination with personal idiosyncracies make them of timeless interest.

    Based on Norwegian folklore and Ibsen’s own imaginative inventions, the play relates the roguish life of the world-wandering Peer, who finds wealth and fame — but never happiness — although he is redeemed by love in the end. As the play opens the young farmer attends a wedding and meets Solveig, the woman who is eventually to be his salvation. However, the rascally Peer then kidnaps the bride and later abandons her in the wilderness. This dismal performance is followed by a string of adventures (many of which do not reflect well on Peer) in many lands. After these soul-chilling exploits, an old and embittered Peer returns to Norway, eventually finding solace in the arms of the faithful Solveig. Like other early Ibsen plays, such as Brand (1865) and Emperor and Galilean (1873), the work is imbued with poetic mysticism and romanticism, and in Peer we find a rebellious central character in search of an ultimate truth that always seems just out of reach. In this sense Peer can be seen as an alter ego of Ibsen himself, whose lifelong search for artistic and moral certainties resulted in the great later plays (Hedda Gabler, The Wild Duck, An Enemy of the People, etc.) upon which his reputation chiefly rests. This rich, poetic version of Peer Gynt is considered the standard translation.

    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

    In the victories of Tamburlaine, Faustus's encounters with the demonic, the irreverence of Barabas in THE JEW OF MALTA, and the humiliation of Edward II in his fall from power and influence, Marlowe explores the shifting balance between power and helplessness, the sacred and its desecration.

    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

            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.

    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

    His fame was such that many Greek medical writings became attributed to him. What they have in common is not dogma but, rather, constructive debate between one another. They also share a concern with meticulous observation and an insistence on physical, not supernatural, causation of illness. The writers were the pioneers of rational medicine; their ideas, dominant for centuries, still reveal to us the ideal of ethical practice, as well as the origins not just of Western medicine but of scientific method.This excellent selection of Hippocratic treatises shows the range of writing and thought. Some are technical works on embryology, surgery or anatomy; others are addressed to a lay audience; all are informed with the spirit of inquiry. G.E.R. Lloyd's authoritative introduction puts them into their contemporary context and assesses their later influence.

    Some of the major tales in the 'Fall of Troy' are: how the Amazonian Queen, Penthesileia, died for Troy; the death of Memnon; how Apollo slayed Achilles; and the death of Paris.

    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.

    Inspired by the Prometheus Bound of Aeschylus, Shelley's play serves as a sort of sequel, matching its Greek predecessor in stature and pure poetic power. It depicts its philanthropist hero's ultimate triumph over the superstition and bigotry of the gods. As Shelley himself stated in his Defence of Poetry, Prometheus Unbound awakens and enlarges the mind.

    Xenophon's portrait is the only one other than Plato's to survive, and while it offers a very personal interpretation of Socratic thought, it also reveals much about the man and his philosophical views. In 'Socrates' Defence' Xenophon defends his mentor against charges of arrogance made at his trial, while the 'Memoirs of Socrates' also starts with an impassioned plea for the rehabilitation of a wronged reputation. Along with 'The Estate-Manager', a practical economic treatise, and 'The Dinner-Party', a sparkling exploration of love, Xenophon's dialogues offer fascinating insights into the Socratic world and into the intellectual atmosphere and daily life of ancient Greece.

    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.