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    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).

    We may thrill to the exploits of Alexander the Great, Hannibal or Caesar, and historical novelists may beguile us with their imaginative reconstructions of this life or that, but the only voice from the Greco-Roman world that still seems to have contemporary relevance is that of the man who ruled the Roman Empire from 161 to 180 A.D. His book of reflections, Meditations, continues to sell in large numbers in numerous editions. Though a persecutor of Christians, Marcus holds out the prospect of spirituality for atheists, happiness without God, joy without heaven and morality without religion. He truly was a man for all seasons, and those seasons include the twenty-first century.His reign foreshadowed the eventual decline and fall of the Roman Empire, and his life itself represents the fulfillment of Plato’s famous dictum that mankind will prosper only when philosophers are rulers and rulers philosophers. Marcus Aurelius by acclaimed historian Frank McLynn, promises to be the definitive biography of this monumental historical figure — now known very widely through the Oscar-winning film Gladiator.

    Evert Haan, grown wealthy on black-market trading, sent to Holland for Annabet. When she arrived racked by rheumatic fever, he ordered her killed. But Annabet lived to recover her health and beauty and to find a dangerous love with an Englishman.

    From that exhilarating portrait, he takes us back more than two thousand years to the city's foundation, one mired in mythologies and superstitions that would inform Rome's development for centuries.From the beginning, Rome was a hotbed of power, overweening ambition, desire, political genius, and corruption. Hughes details the turbulent years that saw the formation of empire and the establishment of the sociopolitical system, along the way providing colorful portraits of all the major figures, both political (Julius Caesar, Marcus Aurelius, Nero, Caligula) and cultural (Cicero, Martial, Virgil), to name just a few. For almost a thousand years, Rome would remain the most politically important, richest, and largest city in the Western world.From the formation of empire, Hughes moves on to the rise of early Christianity, his own antipathy toward religion providing rich and lively context for the brutality of the early Church, and eventually the Crusades. The brutality had the desired effect—the Church consolidated and outlasted the power of empire, and Rome would be the capital of the Papal States until its annexation into the newly united kingdom of Italy in 1870.As one would expect, Hughes lavishes plenty of critical attention on the Renaissance, providing a full survey of the architecture, painting, and sculpture that blossomed in Rome over the course of the fourteenth through the sixteenth centuries, and shedding new light on old masters in the process. Having established itself as the artistic and spiritual center of the world, Rome in the seventeenth, eighteenth, and nineteenth centuries saw artists (and, eventually, wealthy tourists) from all over Europe converging on the bustling city, even while it was caught up in the nationalistic turmoils of the Italian independence struggle and war against France.Hughes keeps the momentum going right into the twentieth century, when Rome witnessed the rise and fall of Italian Fascism and Mussolini, and took on yet another identity in the postwar years as the fashionable city of "La Dolce Vita." This is the Rome Hughes himself first encountered, and it's one he contends, perhaps controversially, has been lost in the half century since, as the cult of mass tourism has slowly ruined the dazzling city he loved so much. Equal parts idolizing, blasphemous, outraged, and awestruck, Rome is a portrait of the Eternal City as only Robert Hughes could paint it.

    The Western Roman Empire has been overrun by German tribes. Too weak to expel them, the Imperial government has been forced to grant federate status to the invaders. Aetius, the last of the great Roman generals, becomes the virtual ruler of the West over the heads of a weak and vicious emperor and his ambitious mother. In a series of brilliant campaigns, he takes on the German tribes and forces them to settle peacefully. Meanwhile, his old friend Attila, leader of the Huns, launches a devastating attack on the Eastern Empire, before turning on the West. He is confronted by Aetius, now his bitter enemy. In the epic battle that ensues, the stakes for Attila and Aetius could not be higher as the fates of empires of both Romans and Huns hang in the balance. This arresting novel deals with the rivalry between two great men whose friendship turns to enmity. Attila becomes corrupted by power, while Aetius is ennobled by it. Ross Laidlaw's masterful portrayal of these two figures is based on his extensive knowledge of the period and is written in a narrative style that vividly evokes the brutality, decadence and desperation of this fascinating time in European history.

    Here is a new Loeb Classical Library edition of the great Roman poet's Odes and Epodes, a fluid translation facing the Latin text. Horace took pride in being the first Roman to write a body of lyric poetry. For models he turned to Greek lyric, especially to the poetry of Alcaeus, Sappho, and Pindar; but his poems are set in a Roman context. His four books of odes cover a wide range of moods and topics. Some are public poems, upholding the traditional values of courage, loyalty, and piety; and there are hymns to the gods. But most of the odes are on private themes: chiding or advising friends; speaking about love and amorous situations, often amusingly. Horace's seventeen epodes, which he called iambi, were also an innovation for Roman literature. Like the odes they were inspired by a Greek model: the seventh-century imabic poetry of Archilochus. Love and political concerns are frequent themes; here the tone is generally that of satirical lampoons. In his language he is triumphantly adventurous, Quintilian said of Horace;Content:Odes* Book I* Book II* Book III* Book IVHymn for a New AgeEpodes

    In this comprehensive and engrossing treatment, published to coincide with the 2,500th anniversary of the historic Battle of Marathon, Billows captures the drama of the day and the ramifications it has had throughout Western history.

    What we know of him comes exclusively from Roman historians who had every interest in minimizing his success, exaggerating his failures, and disparaging his character. The charges leveled against Hannibal include greed, cruelty and atrocity, sexual indulgence, and even cannibalism. But even these sources were forced to grudgingly admit to Hannibal’s military genius, if only to make their eventual victory over him appear greater.Yet there is no doubt that Hannibal was the greatest Carthaginian general of the Second Punic War. When he did not defeat them outright, he fought to a standstill the best generals Rome produced, and he sustained his army in the field for sixteen long years without mutiny or desertion. Hannibal was a first-rate tactician, only a somewhat lesser strategist, and the greatest enemy Rome ever faced. When he at last met defeat at the hands of the Roman general Scipio, it was against an experienced officer who had to strengthen and reconfigure the Roman legion and invent mobile tactics in order to succeed. Even so, Scipio’s victory at Zama was against an army that was a shadow of its former self. The battle could easily have gone the other way. If it had, the history of the West would have been changed in ways that can only be imagined. Richard A. Gabriel’s brilliant new biography shows how Hannibal’s genius nearly unseated the Roman Empire.

    Designed to provide insight and an overview about each text for students and teachers, these guides endeavor to develop knowledge and understanding rather than just provide answers and summaries.

    In what is by far his most famous and influential work, Plutarch reveals the character and personality of his subjects and how they led ultimately to tragedy or victory. Richly anecdotal and full of detail, Volume I contains profiles and comparisons of Romulus and Theseus, Numa and Lycurgus, Fabius and Pericles, and many more powerful figures of ancient Greece and Rome. The present translation, originally published in 1683 in conjunction with a life of Plutarch by John Dryden, was revised in1864 by the poet and scholar Arthur Hugh Clough, whose notes and preface are also included in this edition. Publisher: Modern Library 2001 Author: Plutarch Translated by: John Dryden Volume: 1 Format: 816 pages, paperback ISBN: 9780375756764Theseus, Romulus, Lycurgus, Numa, Solon, Poplicola, Themistocles, Camillus, Pericles, Fabius, Alcibiadas, Coriolanes, Timoleon, Aemilius Paulus, Pelopidas, Marcellus, Aristides, Marcus Cato, Philopoemen, Flaminius, Pyrrhus, Caius Marius, Lysander, Sylla, Cimon, Lucullus, Nicias, Crassus

    The Twelve Caesars chronicles the public careers and private lives of the men who wielded absolute power over Rome, from the foundation of the empire under Julius Caesar and Augustus, to the decline into depravity and civil war under Nero, and the recovery that came with his successors. A masterpiece of anecdote, wry observation and detailed physical description, The Twelve Caesars presents us with a gallery of vividly drawn — and all too human — individuals.Robert Graves's celebrated translation, sensitively revised by Michael Grant, captures all the wit and immediacy of Suetonius' original.

    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.

    At a time when the world had begun to focus on angry young men, Green created a magnificently angry old one as his hero. Based on his father, the title character is a doctor and a man of principle whose life's work is about to be examined for the first time.Dr. Sam Abelman is tough and irascible, but he is dedicated healer and a good man guided by a belief in basic human decency; the right doctor for the poor and disadvantaged who fill the slums and tenements of Brooklyn. His relationship with his patients is sometimes explosive, especially as the world is changing and becoming more dangerous. Into this mix comes a hard-driving television producer, who learns about Dr. Abelman and wants to feature the doctor on his reality-based network show, Americans USA. To get Abelman to participate is not easy, and it calls for schmoozing that verges on a complete con of the principled old man. As tragedy looms, Abelman, whose difficult life is a living testament to his beliefs, becomes a true hero in the eyes of producer, for all the reasons that made him an impossible subject for the show.The Last Angry Man is dedicated to “Samuel Greenberg, M.D. 1886-1952”, the father of the author who practiced medicine in the heart of Brooklyn's cultural melting pot. Gerald Green knew his father's world, but he had left it as an adult. As he developed as a novelist, he became a writer, director and producer at NBC-TV in its early days. His behind-the-scenes knowledge of the emerging television industry was thorough and complete, and his perspective allowed him to understand the acute irony of applying media celebrity to such a man as his fictional hero, Dr. Sam Abelman.

    It was a time of assassinations and civil war, of armies so out of control that they had no qualms about occupying the city of Rome, and of ambitious men who ruthlessly seized power only to have it wrenched from their grasps. In 69 AD, Gwyn Morgan offers a fresh look at this period, based on two considerations to which insufficient attention has been paid in the past. First, that we need to unravel rather than cherry-pick between the conflicting accounts of Tacitus, Plutarch and Suetonius, our three main sources of information. And second, that the role of the armies, as distinct from that of their commanders, has too often been exaggerated. The result is a remarkably accurate and insightful narrative history, filled with colorful portraits of the leading participants and new insights into the nature of the Roman military. A strikingly vivid account of ancient Rome, 69 AD is an original and compelling account of one of the best known but perhaps least understood periods in all Roman history. It will engage and enlighten all readers with a love for the tumultuous soap opera that was Roman political life.