Even in antiquity, they were said to be cruel, oversexed, mad or just plain silly. Yet for all their foibles & flaws, they proved to be survivors, far outlasting classical Greece itself. In Egypt, the Olympians claimed to have given birth to pharaohs; in Rome, they led respectable citizens into orgiastic rituals of drink & sex. Under Christianity & Islam they survived as demons, allegories & planets. In the Renaissance, they reemerged as ambassadors of a new, secular belief in humanity. Their geographic range, too, has been astounding. In their exile, the gods of Olympus have traveled east to the walls of cave temples in China, west to colonize the Americas. They snuck into Italian cathedrals, haunted Nietzsche & visited Borges' restless dreams. In an original history, Graziosi offers the 1st account to trace the wanderings of these protean deities thru the millennia. Drawing on a wide range of literary & archeological sources, The Gods of Olympus opens a window on the ancient world & its lasting influence.Preface: Simonides Was WiseIntroduction: A Family PortraitPart I. Birth: Archaic Greece Part II. Dialogue: Classical AthensPart III. Travel: Hellenistic EgyptPart IV. Translation: the Roman EmpirePart V. Disguise: Christianity &IslamPart VI. Born again: the RenaissanceEpilogue: A Marble HeadAppendix: The Twelve GodsList of IllustrationsNotes & Further ReadingAcknowledgmentsIndex

    Martin tells the remarkable and dramatic story of how a tiny, poor, and threatened settlement grew to become, during its height, the dominant power in the Mediterranean world for five hundred years. Encompassing the period from Rome's founding in the eighth century B.C. through Justinian's rule in the sixth century A.D., he offers a distinctive perspective on the Romans and their civilization by employing fundamental Roman values as a lens through which to view both their rise and spectacular fall.Interweaving social, political, religious, and cultural history, Martin interprets the successes and failures of the Romans in war, political organization, quest for personal status, and in the integration of religious beliefs and practices with government. He focuses on the central role of social and moral values in determining individual conduct as well as decisions of state, from monarchy to republic to empire. Striving to reconstruct ancient history from the ground up, he includes frequent references to ancient texts and authors, encouraging readers to return to the primary sources. Comprehensive, concise, and accessible, this masterful account provides a unique window into Rome and its changing fortune.

    Indeed, Hannibal referred to Pyrrhus as his teacher, although the two never met, since he learnt so much of the art of war from his writings. Pyrrhus was born into the royal house of Epirus, northwest Greece, and was a second-cousin of Alexander the Great. His mother was forced to flee into exile to protect his life when he was a mere infant, yet he prospered in troubled times and went from a refugee to become king. Always an adventurer with an eye for the main chance, he was deeply involved in the cut-and-thrust campaigning, coups and subterfuges of the Successor kingdoms. At various times he was king of Epirus (twice), Macedon (twice) and Sicily, as well as overlord of much of southern Italy. In 281 BC he was invited by the southern Italian states to defend them against the aggressive expansion of the burgeoning Roman republic. His early victories over the Roman armies at Heraclea and Asculum (assisted by his use of elephants) were won at such a high price in casualties that they gave us the expression 'Pyrrhic victory'. These battles were the first clashes between the hitherto-dominant Hellenistic way of warfare (as developed by Alexander) and the Roman legions, and so full of tactical interest. He failed in Italy and Sicily but when on to further military adventures in Greece, eventually being killed in action while storming the city of Argos.

    The 70 mysteries are divided into six sections: Myths and legends; Mysteries of the Stone Age; Ancient civilizations; Tombs and lost treasures; Ancient and undeciphered scripts; The fall of civilizations. They include the quest for the Ark of the Covenant, the Turin Shroud, the origin of humans and language, the Mother Goddess cult, the Iceman, the nationality of ancient Egyptians and the Olmecs, Rome's lost legions, Easter Island, Christ's tomb, the origins of the alphabet, runes, the fall of the Minoans and asteroid impacts. The sheer quantity of mysteries discussed means that some questions are inevitably left unanswered but the volume succeeds in its aim to inform the general reader whilst encouraging further research.

    Will our world ever become a ruin for future archaeologists to dig up and explore? The questions themselves are both philosophical and like something out of The Twilight Zone.Combining his trademark mix of storytelling, history and weirdness Dan Carlin connects the past and future in fascinating and colorful ways. At the same time the questions he asks us to consider involve the most important issue imaginable: human survival. From the collapse of the Bronze Age to the challenges of the nuclear era the issue has hung over humanity like a persistent Sword of Damocles.Inspired by his podcast, The End is Always Near challenges the way we look at the past and ourselves. In this absorbing compendium, Carlin embarks on a whole new set of stories and major cliffhangers that will keep readers enthralled. Idiosyncratic and erudite, offbeat yet profound, The End is Always Near examines issues that are rarely presented, and makes the past immediately relevant to our very turbulent present.

    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