His great book, On Nature, the world's first coherent philosophical treatise and touchstone for Plato, Aristotle, and Marcus Aurelius, has long been lost to history-but its surviving fragments have for thousands of years tantalized our greatest thinkers, from Montaigne to Nietzsche, Heidegger to Jung. Now, acclaimed poet Brooks Haxton presents a powerful free-verse translation of all 130 surviving fragments of the teachings of Heraclitus, with the ancient Greek originals beautifully reproduced en face.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    Alice Oswald has won several literary awards.

    "Encyclopaedic knowledge has never, before or since, gone hand in hand with a logic so masculine or with speculation so profound," says H. W. C. Davis in his introduction. Students, teachers, and scholars will welcome this inexpensive new edition of the Benjamin Jowett translation, as will all readers interested in Greek thought, political theory, and depictions of the ideal state.

            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.

    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 is also a satirical and epigrammatic writer who savagely consoles with laughter. Carmina captures in English both the mordant, scathing wit and also the concise tenderness, the famous love for reluctant Lesbia who is made present in these new versions. A range of English metres and rhymes evoke the epigrammatic power of the many modes and moods of this most engaging, erotic and influential of the Latin poets. He left a mark on Horace, Virgil, Ovid and on the lyric and epigrammatic traditions of all the languages of Europe. Of Len Krisak's Horace translations, Frederic Raphael said, ‘[He] enables us both to enjoy a fresh voice and to hear (and see), very distinctly, what lies behind and within his unintimidated rescripts’. Again in Carmina he works his precise magic.

    Whether it's Ikaros flying too close to the sun, Prometheus stealing fire from the gods or the tragedy of Oedipus, their characters have inspired art, literature, plays and films, and constellations named after them fill the night sky. But how much do you really know about them?From the clash of the Titans to the fall of Troy, here are the greatest legends of all time, brilliantly retold by classical scholar Jenny March. All the heroes, monsters, villains, gods and goddesses of classical civilization are included; the epic journeys of Odysseus and Aeneas; the founding of Athens and Rome; the quests of Jason seeking the Golden Fleece and Theseus slaying the minotaur. Giving the origins, development and interpretation of each myth, this is the essential guide to the stories that have shaped our world.

    [captures] the relentless urgency of Lucretius' didacticism, his passionate conviction and proselytizing fervour.' --The Classical Review

    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.

    The popularity of the book is so great that it has run into forty two impressions ever since it was originally published in the year 1951

    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

    The Metamorphoses of Ovid stands with the works of Homer, Virgil, Dante, and Milton as a classic of world poetry; Hughes translated twenty-four of its stories with great power and directness. The result is the liveliest twentieth-century version of the classic, at once a delight for the Latinist and an appealing introduction to Ovid for the general reader.

    In his introductory essay, John Cooper explains the presentation of these works, discusses questions concerning the chronology of their composition, comments on the dialogue form in which Plato wrote, and offers guidance on approaching the reading and study of Plato's works.Also included are concise introductions by Cooper and Hutchinson to each translation, meticulous annotation designed to serve both scholar and general reader, and a comprehensive index. This handsome volume offers fine paper and a high-quality Smyth-sewn cloth binding in a sturdy, elegant edition.

    Long celebrated as a pathbreaking achievement in the social history of the ancient world, M.I. Finley's brilliant study remains, as classicist Bernard Knox notes in his introduction to this new edition, "as indispensable to the professional as it is accessible to the general reader"--a fundamental companion for students of Homer and Homeric Greece.

    For the events between 133 and 70 BC he is the only surviving continuous narrative source. The subsequent books vividly describe Catiline's conspiracy, the rise and fall of the First Triumvirate, and Caesar's crossing of the Rubicon, defeat of Pompey and untimely death. The climax comes with the birth of the Second Triumvirate out of anarchy, the terrible purges of Proscriptions which followed, and the titanic struggle for world mastery which was only to end with Augustus's defeat of Antony and Cleopatra. If Appian's Roman History as a whole reveals how an empire was born of the struggle against a series of external enemies, these five books concentrate on an even greater ordeal. Despite the rhetorical flourishes, John Carter suggests in his Introduction, the impressive 'overall conception of the decline of the Roman state into violence, with its sombre highlights and the leitmotif of fate, is neither trivial nor inaccurate'.