After the murder of her daughter Iphegenia by her husband Agamemnon, Klytaimestra exacts a mother’s revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra’s actions, Apollo calls on her son, Orestes, to avenge his father’s death with the help of his sister Elektra. In the end, Orestes, driven mad by the Furies for his bloody betrayal of family, and Elektra are condemned to death by the people of Argos, and must justify their actions—signaling a call to change in society, a shift from the capricious governing of the gods to the rule of manmade law.Carson’s accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. In addition to its accessibility, the wit and dazzling morbidity of her prose sheds new light on the saga for scholars. Anne Carson’s Oresteia is a watershed translation, a death-dance of vengeance and passion not to be missed.

    Pindar's Epinician Odes - choral songs extolling victories in the Games at Olympia, Delphi, Nemea and Korinth - cover the whole spectrum of the Greek moral order, from earthly competition to fate and mythology. But in C. M. Bowra's clear translation his one central image stands out - the successful athlete transformed and transfigured by the power of the gods.

    late 7th and early 6th centuries B.C.E.), whose work is said to have filled nine papyrus rolls in the great library at Alexandria some 500 years after her death. The surviving texts consist of a lamentably small and fragmented body of lyric poetry--among them, poems of invocation, desire, spite, celebration, resignation, and remembrance--that nevertheless enables us to hear the living voice of the poet Plato called the tenth Muse.Stanley Lombardo's translations give us a virtuoso embodiment of Sappho's voice, whose telltale charm, authority, immediacy, directness, intensity, and sudden changes of tone are among the hallmarks of his masterly translation.Pamela Gordon introduces us to the world of Sappho, discusses questions surrounding the transmission of her manuscripts, offers advice on reading these texts, and concludes with an enlightening discussion of same-sex desire in Sappho.

    The only surviving Greek epic to bridge the gap between Homer and late antiquity, this epic poem is the crowning literary achievement of the Ptolemaic court at Alexandria, written by Appolonius of Rhodes in the third century BC. Appollonius explores many of the fundamental aspects of life in a highly original way: love, deceit, heroism, human ignorance of the divine, and the limits of science, and offers a gripping and sometimes disturbing tale in the process. This major new prose translation combines readability with accuracy and an attention to detail that will appeal to general readers and classicists alike.

    Over the years these authoritative, critically acclaimed editions have been the preferred choice of more than three million readers for personal libraries and individual study as well as for classroom use.

    The constellations we recognize today were first mapped by the ancient Greeks, who arranged the stars into patterns for that purpose. In the third century BC Eratosthenes compiled a handbook of astral mythology in which the constellations were associated with figures from legend, and myths were provided to explain how each person, creature, or object came to be placed in the sky. Thus we can see Heracles killing the Dragon, and Perseus slaying the sea-monster to save Andromeda; Orion chasesthe seven maidens transformed by Zeus into the Pleiades, and Aries, the golden ram, is identified flying up to the heavens. This translation brings together the later summaries from Eratosthenes lost handbook with a guide to astronomy compiled by Hyginus, librarian to Augustus. Together with Aratuss astronomical poem the Phaenomena, these texts provide a complete collection of Greek astral myths; imaginative and picturesque, they also offer an intriguing insight into ancient science and culture.ABOUT THE SERIES: For over 100 years Oxford Worlds Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxfords commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

    Surviving Lives contain 23 pairs, each with a Greek & a Roman Life, & 4 unpaired Lives. As explained in the opening of his Life of Alexander, he wasn't concerned with history so much as the influence of character on life & destiny. Whereas sometimes he barely touched on great events, he devoted much space to anecdote & incidental triviality, this often telling more about his subjects than their famous accomplishments. He sought to provide rounded portraits, likening his craft to painting. Indeed, he went to great (often tenuous) length to draw parallels between physical appearance & character. He's amongst the earliest moral philosophers. Some of the Lives, like those of Heracles, Philip II of Macedon & Scipio Africanus, are lost. Many remaining Lives are truncated, contain lacunae or have been tampered with. Extant are those on Solon, Themistocles, Aristides, Pericles, Alcibiades, Nicias, Demosthenes, Pelopidas, Philopoemen, Timoleon, Dion of Syracuse, Alexander the Great, Pyrrhus of Epirus, Romulus, Numa Pompilius, Coriolanus, Theseus, Aemilius Paullus, Tiberius Gracchus, Gaius Gracchus, Gaius Marius, Sulla, Sertorius, Lucullus, Pompey, Julius Caesar, Cicero, Cato the Younger, Mark Antony & Marcus Junius Brutus.

    P. Cavafy (1863 - 1933) lived in relative obscurity in Alexandria, and a collected edition of his poems was not published until after his death. Now, however, he is regarded as the most important figure in twentieth-century Greek poetry, and his poems are considered among the most powerful in modern European literature.Here is an extensively revised edition of the acclaimed translations of Edmund Keeley and Philip Sherrard, which capture Cavafy's mixture of formal and idiomatic use of language and preserve the immediacy of his frank treatment of homosexual themes, his brilliant re-creation of history, and his astute political ironies. The resetting of the entire edition has permitted the translators to review each poem and to make alterations where appropriate. George Savidis has revised the notes according to his latest edition of the Greek text.About the first edition: The best [English version] we are likely to see for some time.--James Merrill, The New York Review of Books [Keeley and Sherrard] have managed the miracle of capturing this elusive, inimitable, unforgettable voice. It is the most haunting voice I know in modern poetry.--Walter Kaiser, The New Republic ?

    Discourses and Selected Writings is a transcribed collection of informal lectures given by the philosopher around AD 108. A gateway into the life and mind of a great intellectual, it is also an important example of the usage of Koine or ?common? Greek, an ancestor to Standard Modern Greek.

    He saw that Mediterranean history, under Rome's influence, was becoming an organic whole, so he starts his work in 264 B.C. with the beginning of Rome's clash with African Carthage, the rival imperialist power, andends with the final destruction of Carthage in 146 B.C.

    For a full appreciation of literature or visual art, knowledge of the Greek myths is crucial. In this much-loved collection, poet and scholar Robert Graves retells the immortal stories of the Greek myths. Demeter mourning her daughter Persephone, Icarus flying too close to the sun, Theseus and the Minotaur … all are captured here with the author’s characteristic erudition and flair.The Greek Myths is the culmination of years of research and careful observation, however what makes this collection extraordinary is the imaginative and poetic style of the retelling. Drawing on his experience as a novelist and poet, Graves tells the fantastic stories of Ancient Greece in a style that is both absorbing and easy for the general reader to understand. Each story is accompanied by Graves’ interpretation of the origins and deeper meaning of the story, giving a reader an unparalleled insight into the customs and development of the Greek world.

    And since we will never be able to master it, we will have to learn to live with it-just as we have learned to live with storms.* * *July 14, 1099. Jerusalem awaits the invasion of the crusaders who have surrounded the city's gates. There, inside the ancient city's walls, men and women of every age and every faith have gathered to hear the wise words of a mysterious man known only as the Copt. He has summoned the townspeople to address their fears with truth:"Tomorrow, harmony will become discord. Joy will be replaced by grief. Peace will give way to war.... None of us can know what tomorrow will hold, because each day has its good and its bad moments. So, when you ask your questions, forget about the troops outside and the fear inside. Our task is not to leave a record of what happened on this date for those who will inherit the Earth; history will take care of that. Therefore, we will speak about our daily lives, about the difficulties we have had to face."The people begin with questions about defeat, struggle, and the nature of their enemies; they contemplate the will to change and the virtues of loyalty and solitude; and they ultimately turn to questions of beauty, love, wisdom, sex, elegance, and what the future holds. "What is success?" poses the Copt. "It is being able to go to bed each night with your soul at peace."* * *Now, these many centuries later, the wise man's answers are a record of the human values that have endured throughout time. And, in Paulo Coelho's hands, The Manuscript Found in Accra reveals that who we are, what we fear, and what we hope for the future come from the knowledge and belief that can be found within us, and not from the adversity that surrounds us.

    As Aeneas journeys closer to his goal, he must first prove his worth and attain the maturity necessary for such an illustrious task. He battles raging storms in the Mediterranean, encounters the fearsome Cyclopes, falls in love with Dido, Queen of Carthage, travels into the Underworld and wages war in Italy.

    The bewitched Lucius passes from owner to owner - encountering a desperate gang of robbers and being forced to perform lewd 'human' tricks on stage - until the Goddess Isis finally breaks the spell and initiates Lucius into her cult. It has long been disputed whether Apuleius meant this last-minute conversion seriously or as a final comic surprise and the challenge of interpretation continues to keep readers fascinated. Apuleius' enchanting story has inspired generations of writers such as Boccaccio, Shakespeare, Cervantes and Keats with its dazzling combination of allegory, satire, bawdiness and sheer exuberance, and The Golden Ass remains the most continuously and accessibly amusing book to have survived from Classical antiquity.

    The story tells of Gilgamesh’s adventures with the wild man Enkidu, and of his arduous journey to the ends of the earth in quest of the Babylonian Noah and the secret of immortality. Alongside its themes of family, friendship and the duties of kings, the Epic of Gilgamesh is, above all, about mankind’s eternal struggle with the fear of death.The Babylonian version has been known for over a century, but linguists are still deciphering new fragments in Akkadian and Sumerian.