Robert Graves's classic retelling of the Greek Myths is definitive, comprehensive and unparalleled - and available now in the Penguin Classics Deluxe series, featuring a new introduction from Rick Riordan (bestselling author of the Percy Jackson and Olympian series). Including many of the greatest stories ever told - the labours of Hercules, the voyage of the Argonauts, Theseus and the minotaur, Midas and his golden touch, the Trojan War and Odysseus's journey home - Robert Graves's superb and comprehensive retelling of the Greek myths for a modern audience has been regarded for over fifty years as the definitive version. With a novelist's skill and a poet's eye, Graves draws on the entire canon of ancient literature, bringing together all the elements of every myth into one epic and unforgettable story. Ideal for the first time reader, it can be read as a single, continuous narrative, while full commentaries, with cross-references, interpretations, variants and explanations, as well as a comprehensive index of names, make it equally valuable as a work of scholarly reference for anyone seeking an authoritative and detailed account of the gods, heroes and extraordinary events that provide the bedrock of Western literature. The result is a classic among classics, a treasure trove of extraordinary tales and a masterful work of literature in its own right. Robert Graves (1895-1985) was a novelist, poet, historian, critic and translator, author of some 140 books, and one of the greatest figures of 20th century British literature. Alongside The Greek Myths, his most famous works include the historical novels I, Claudius and Claudius the God and his First World War memoir Goodbye to All That.

Divination and Human Nature casts a new perspective on the rich tradition of ancient divination-the reading of divine signs in oracles, omens, and dreams. Popular attitudes during classical antiquity saw these readings as signs from the gods while modern scholars have treated such beliefs as primitive superstitions. In this book, Peter Struck reveals instead that such phenomena provoked an entirely different accounting from the ancient philosophers. These philosophers produced subtle studies into what was an odd but observable fact-that humans could sometimes have uncanny insights-and their work signifies an early chapter in the cognitive history of intuition. Examining the writings of Plato, Aristotle, the Stoics, and the Neoplatonists, Struck demonstrates that they all observed how, setting aside the charlatans and swindlers, some people had premonitions defying the typical bounds of rationality. Given the wide differences among these ancient thinkers, Struck notes that they converged on seeing this surplus insight as an artifact of human nature, projections produced under specific conditions by our physiology. For the philosophers, such unexplained insights invited a speculative search for an alternative and more naturalistic system of cognition. Recovering a lost piece of an ancient tradition, Divination and Human Nature illustrates how philosophers of the classical era interpreted the phenomena of divination as a practice closer to intuition and instinct than magic.

Jill Dudley writes about the clash of St. Paul's concept of love with the sexual pleasures which the pagans enjoyed at the great temple of Aphrodite on Acrocorinth. She describes how the Apostle spent his time at nearby Old Corinth observing, preaching and converting, and why he wrote his Letters to the Corinthians. It is as it says on the back cover of the booklet: All you need to know about the sacred site, its myths, legends and its gods.

Everybody has heard of Helen of Troy, and knows that she was the most beautiful woman in the world. Most people know that she was married bur ran off with somebody which caused the Trojan War. But who, in fact, was she? Whose daughter was she, and who was she married to? What exactly happened to cause her to act as she did, and how does her story end? The answers to all these questions are here in this Put it in Your Pocket booklet

The Wooden Horse is legendary, but what exactly was it? Why did the Greek warriors construct such a thing in the first place? And what was it that made the Trojans believe the Greeks had sailed away and the ten-year Trojan War was over? All these questions are answered in this fifth booklet of the Put it in Your Pocket Series.

Jill Dudley writes about the abduction of the goddess Demeter's daughter Persephone (otherwise known as Kore) by Hades, god of the underworld. She describes how Demeter came to Eleusis in search of her daughter, and why she chose it as the site for her Eleusian Mysteries, outlining some of the ancient rituals which took place there. It is as it says on the back cover: All you need to know about this sacred site, its myths, legends and its gods.

Most people have heard of the Judgement of Paris, but who was Paris? Why was there a judgement, and what or who was he judging? The answers to these questions are to be found in this Put it in Your Pocket booklet.

In this volume, first published in 2006, Sandra Blakely considers technological myths and rituals associated with ancient Greek daimones, who made metal; and African rituals in which iron plays a central role. Noting the rich semantic web of associations that has connected metallurgy to magic, birth, kingship, autochthony, and territorial possession in both Greek and African cultures, Blakely examines them together in order to cast light on the Greek demons, which are only fragmentarily preserved and which have often been equated to general types of smithing gods. Her comparison demonstrates that these demons are more sophisticated and ritually useful than has been previously acknowledged. This book provides new insights into the position of technology in Greek myth. Providing a new methodology for the study of Greek religion, which uses comparative cultural material in a thoughtful and careful way, it helps close the fifty-year gap between the social sciences and Classical philology in the theoretical understanding and study of technological systems.

The mythologies of the world are collective cultural dreams, and as such should be analyzed first from cultural perspectives. How do myths of the ancient Egyptians or Greeks, for instance, reflect the realities of the Egyptian and Greek cultures? When compared, however, mythologies reveal certain universal themes or motifs that point to larger trans-cultural issues such as the place of the human species in creation or the nature of deity as a concept. World Mythology: A Very Short Introduction is organized around the universal motifs. Creation, the Flood, the Hero Quest, the Trickster/Culture Hero, the Pantheons, the High God, the Great Goddess. Veteran mythology scholar David Leeming examines examples of each motif from a variety of cultures-Greek, Egyptian, Norse, American Indian, African, Polynesian, Jewish, Christian, Hindu-treating them as reflections of the cultures that "dreamed" them. He compares and analyzes them, exposing their universal significance and creating a "world mythology."

I choose to take back my life. My life. Medea is a wife and a mother. For the sake of her husband, Jason, she's left her home and borne two sons in exile. But when he abandons his family for a new life, Medea faces banishment and separation from her children. Cornered, she begs for one day's grace. It's time enough. She exacts an appalling revenge and destroys everything she holds dear. Ben Power's version of Euripides' tragedy Medea premiered at the National Theatre, London, in July 2014.

Kate Tempest is one of the most exciting and innovative performers to have emerged in spoken-word poetry in many years; her dramatic poem Brand New Ancients won the prestigious Ted Hughes Prize for innovation in poetry. Tempest's wholly unique blend of street poetry, rap and storytelling - combined with the spellbinding delivery of an open-air revivalist - has won her legions of followers all over the UK. Her remarkable stage presence is wholly audible in this poem, a spoken story written to be told with live music. Brand New Ancients is the tale of two families and their intertwining lives, set against the background of the city and braided with classical myth. Here, Tempest shows how the old myths still live on in our everyday acts of violence, bravery, sacrifice and love - and that our lives make tales no less dramatic and powerful than those of the old gods.

It is unknown, of course, who wrote the Iliad and the Odyssey, since, in general, no reliable contemporary description of how these two epics came into being is to be found. Such sources as there are - first and foremost, the two poems themselves - must be interpreted in a comparative framework built on experience from societies in the modern world that are in some respects similar to archaic Greece in order to reach a coherent picture of the process. The oral-formulaic theory, formed by Milman Parry (1902-1935) and Albert B. Lord (1912-1991), not only revolutionized Homeric studies, but also had an impact on anthropology and folklore. This led to an increased interest in oral epic traditions, and fieldworkers changed their methods towards a focus on composition in performance. The individual singer and his handling of the tradition gained importance. When possible, more than one performance of the "same" song was recorded - by the same singer on different occasions or by different singers - and interaction with the audience was documented. Traditions of the oral epic still exist in many parts of the world, and, during recent decades, quite a few of them have been documented and analyzed by innovative fieldworkers, leading to an overwhelming expansion of accessible knowledge of how oral epic works. Writing Homer explores what this means to the Parry-Lord-theory in general and the 'Homeric Question' in particular. The relationship between the Iliad, the Odyssey, and the Homeric Hymns, with the tradition of which they are part, can now be described with much more precision than before. It turns out that there is nothing unusual in very long oral epics; what is unusual is that such poems are recorded in writing. The process by which this must have taken place is discussed in detail. Old problems, such as the fact that neither illustrations of Trojan stories nor early 'quotations' agree with the written poems, can be solved. Writing Homer achieves a deeper understanding of the methods at work in the oral epic for building a likely social context of the Iliad and the Odyssey, and especially for speculating on the circumstances of the writing of the two great poems. Long oral narratives are flexible, and accordingly, the dictation to scribes that must be at the origin of the texts, which have been preserved in writing to this day, was a process of the utmost importance as was the composition in performance of the Iliad and the Odyssey. Writing Homer is directed at classical scholars, but will also be of interest to a much broader readership: folklorists, anthropologists, and whoever enjoys reading Homer in Greek, as well as in translation.

'Reading this book is like sitting in the pub listening to a good friend tell you stories. It does what only the best retellings can and makes you see the myth anew' Daisy Johnson That was the start of it. A terrible business altogether. Oh, it was all kept off the news, for the sake of the talks and the ceasefire. But them that were around that part of the country remember every bit. Wait now till you hear the rest. Northern Ireland, 1996. After twenty-five years of conflict, the IRA and the British have agreed an uneasy ceasefire, as a first step towards lasting peace. But if decades of savage violence are leading only to smiles and handshakes, those on the ground in the border country will start to question what exactly they have been fighting for. When an IRA man's wife turns informer, he and his brother gather their old comrades for an assault on the local army base. But the squad's feared sniper suddenly refuses to fight, and the SAS are sent in to crush this rogue terror cell before it can wreck the fragile truce, and drag the whole region back to the darkest days of the Troubles. Inspired by the oldest war story of them all, this powerful new Irish novel explores the brutal glory of armed conflict, and the bitter tragedy of those on both sides who offer their lives to defend the honour of their country.

From the Archaic to the Roman imperial period, an impressive number of gods and goddesses are attested in the Greek world under the titles of Soter and Soteira ('Saviour'). Overseeing the protection of individuals and cities, these gods had the power to grant an essential blessing - soteria ('deliverance', 'preservation', 'safety'). This book investigates what it meant to be 'saved' and the underlying concept of soteria in ancient Greece. It challenges the prevailing assumption that soteria was a predominantly Christian concern, and demonstrates instead its centrality and significance in the relationship between the Greeks and their gods. This book focuses on the power of 'saviour' gods in the life of the Greeks, how worshippers searched for soteria as they confronted the unknown and unknowable, and what this can reveal about the religious beliefs, hopes, and anxieties of the Greeks. It goes beyond religious vocabulary and cult epithets to investigate worshippers' thought world and lived experience, the different choices individuals made among the plurality of gods in the Greek pantheon, the multiple levels on which divine 'saviours' operated, and the values attached to the Greek notion of soteria. Building on existing paradigms in the study of Greek polytheism, and combining close analysis of epigraphic, literary and material evidence, this book argues that soteria for the Greeks entailed a very different experience from the Christian, eschatological notion of 'salvation', and that what was offered was 'salvation' on earth.

A modern retelling of Sophocles' classic play, Antigone, by bestselling writer and poet Hollie McNish As the daughter of Oedipus, Antigone was dealt a cruel hand at birth - even within the bounds of Grecian tragedy. When her brothers are slain fighting for the throne of Thebes, Antigone finds herself pitted against her uncle, the newly crowned King Creon. In defiance of the king, Antigone buries her brother's body, a choice she may pay for dearly. In this new adaptation, we see Sophocles' play reignited by bestselling poet and writer Hollie McNish. Hollie's considered retelling brings Sophocles' original text to a modern-day audience, illuminating the remarkable resemblances between ancient Greek thought and the society we grapple with today. '[Hollie McNish] writes with honesty, conviction, humour and love . . . She's always been one of my favourites' Kae Tempest

A scholarly account of the views on the nature of God held by Greek philosophers up to the time of Socrates. Originally published in 1937. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Studies on the Derveni Papyrus, volume II brings together two new editions of the first fragmentarily extant columns of the Derveni Papyrus and seven scholarly articles devoted to their interpretation. The Derveni Papyrus is by far the most important textual discovery of the 20th century regarding early Greek philosophy, religion, exegetical theory and practice, linguistic ideas, and a host of other areas and issues. But the editorial and interpretative history of this extraordinary document has been very checkered. While the interpretation of the better preserved later columns is still highly controversial in many regards, at least the text of those columns has by and large found a scholarly consensus; but the editorial and interpretative situation with the worse preserved first columns is quite different. This volume offers not one but two editions of the first columns, by Richard Janko and by Valeria Piano, given that it is not currently possible to agree upon a single edition; and it explains clearly and in detail the papyrological problems and doubts that lead to these two editions, making it possible for readers (even non-papyrologists) to form their own informed judgment about the most likely readings to be adopted. Furthermore, it contains a number of articles by leading scholars on the Derveni Papyrus, above all offering original solutions to the question of the relation between the earlier and the later columns, but also providing analysis and interpretation of other, related problems.

Arete and the Odyssey's Poetics of Interrogation explores how the enigmatic Phaeacian queen, Arete, is at the heart of an epic-scale "poetics of interrogation" used throughout the Odyssey to negotiate Odysseus' kleos, or epic renown. Arete's interrogation of Odysseus has been especially problematic in scholarship, but diachronic and synchronic analysis of similar interrogations across Indo-European, Orphic, and Greek epigrammatic corpora show that the "stranger's interrogation" is a formula that demands performance and negotiation of status. Within the Odyssey, this interrogation is part of an intraformular network used to generate kleos, and the queen's question initiates the longest and most complex negotiation of Odysseus' status in epic and memory. Arete's role as interrogator not only explains her strange authority and resonance with both Penelope and comparative afterlife figures, but it also establishes a gendered, agonistic tension between she and her husband, Alkinoos, that influences the structure, genre, and narratology of performances across the Phaeacian episode. This book reinterprets the Odyssey's central episode and challenges several assumptions about Nausikaa and Alkinoos' famed hospitality, even demonstrating how the Apologue is organized as a response to competing inquiries into Odysseus' fundamental status in tradition. The Odyssey ultimately navigates away from Odysseus' public reputation and roots his status in private memories, and Arete's carefully arranged interventions signal the larger process by which the Odyssey immortalizes Odysseus in poetry as a nostos hero. The queen and her question invite new applications of oral poetics that shed light on the structure, composition, and reperformance of the Odyssey.

Greek myth comes to us through many different channels. Our best source for the ways that local communities told and used these stories is a travel guide from the second century AD, the Periegesis of Pausanias. Pausanias gives us the clearest glimpse of ancient Greek myth as a living, local tradition. He shows us that the physical landscape was nothing without the stories of heroes and gods that made sense of it, and reveals what was at stake in claims to possess the past. He also demonstrates how myths guided curious travellers to particular places, the kinds of responses they provoked, and the ways they could be tested or disputed. The Periegesis attests to a form of cultural tourism we would still recognise: it is animated by the desire to see for oneself distant places previously only read about. It shows us how travellers might map the literary landscapes that they imagined on to the reality, and how locals might package their cities to meet the demands of travellers' expectations. In Pausanias in the World of Greek Myth, Greta Hawes uses Pausanias's text to illuminate the spatial dynamics of myth. She reveals the significance of local stories in an Empire connected by a shared literary repertoire, and the unifying power of a tradition made up paradoxically of narratives that took diverse, conflicting forms on the ground. We learn how storytelling and the physical infrastructures of the Greek mainland were intricately interwoven such that the decline or flourishing of the latter affected the archive of myth that Pausanias transmits.

This volume offers a strikingly innovative account of Propertius' relationship with Virgil, positing a keen rivalry between two of the greatest poets of Latin literature, contemporaries within the circle of Maecenas. It begins by examining all of the references to Greek mythology in Propertius' first book; these passages emerge as strongly intertextual in nature, providing a way for the poet to situate himself with respect to his predecessors, both Greek and Roman. More specifically, myth is also the medium of a sustained polemic with Virgil's Eclogues, published only a few years earlier. Virgil's response can be traced in the Georgics, and subsequently, in his second and third books, Propertius continued to use mythology and its relationship to contemporary events as a vehicle for literary polemic. This volume argues that their competition can be seen as exemplifying a revised model for how the poets within Maecenas' circle interacted and engaged with each other's work - a model based on rivalry rather than ideological adhesion or subversion - while also painting a revealing picture of how Virgil was viewed by a contemporary in the days before his death had canonized his work as an instant classic. In particular, its novel interpretation offers us a new understanding of Propertius, one of the foundational figures in Western love poetry, and how his frequent references to other poets, especially Gallus and Ennius, take on new meanings when interpreted as responses to Virgil's changing career.

This volume brings together studies on Greek animal sacrifice by foremost experts in Greek language, literature and material culture. Readers will benefit from the synthesis of new evidence and approaches with a re-evaluation of twentieth-century theories on sacrifice. The chapters range across the whole of antiquity and go beyond the Greek world to consider possible influences in Hittite Anatolia and Egypt, while an introduction to the burgeoning science of osteo-archaeology is provided. The twentieth-century emphasis on sacrifice as part of the Classical Greek polis system is challenged through consideration of various ancient perspectives on sacrifice as distinct from specific political or even Greek contexts. Many previously unexplored topics are covered, particularly the type of animals sacrificed and the spectrum of sacrificial ritual, from libations to lasting memorials of the ritual in art.

The twin deities known by the ancient Greeks as the Dioskouroi, and by the Romans as the Gemini, were popular figures in the classical world. They were especially connected with youth, low status and service, and were embraced by the common people in a way that eluded those gods associated with regal magnificence or the ruling classes. Despite their popularity, no dedicated study has been published on the horse gods for over a hundred years. Henry John Walker here addresses this neglect. His comparative study traces the origins, meanings and applications of the twin divinities to social and ritual settings in Greece, Vedic India (where the brothers named Castor and Pollux were revered as Indo-European gods called the Asvins), Etruria and classical Rome. In the Bronze and Early Iron Ages of Vedic India, the young horse gods are seen to have markedly similar characteristics to their Greco-Roman counterparts. Quick to come to the rescue of those in trouble, the Asvins are ready to assist the old, the weak and the humble. Charting the parallels and correspondences between these ancient myths, Walker uncovers not a single, universal coda but rather a great variety of loosely related beliefs and practices relating to the sibling deities. He demonstrates, for example, that, just as the Dioskouroi were regarded as being halfway between gods and men, so young Spartans - undergoing a fierce and uncompromising military training - saw themselves as standing midway between animal and human. Such diverse and creative interpretations of the myth seem to have played a central role in the culture and society of antiquity.

'Fans of Anne Carson, rejoice!... Carson's depth of knowledge about Greek mythology coupled with her poetic sensibility and illustrations is sure to breathe new life into this oft-told story.' Lit Hub H of H Playbook is an explosion of thought, in drawings and language, about a Greek tragedy called Herakles by the 5th-century BC poet Euripides. In myth Herakles is an embodiment of manly violence who returns home after years of making war on enemies and monsters (his famous "Labours of Herakles") to find he cannot adapt himself to a life of peacetime domesticity. He goes berserk and murders his whole family. Suicide is his next idea. Amazingly, this does not happen. Due to the intervention of his friend Theseus, Herakles comes to believe he is not, after all, indelibly stained by his own crimes, nor is his life without value. It remains for the reader to judge this redemptive outcome. "I think there is no such thing as an innocent landscape," said Anselm Kiefer, painter of forests grown tall on bones.

Kurt Weitzmann demonstrates that the postulated miniatures of the handbook that goes under the name of Apollodorus migrated into other texts, of which the commentary of Pseudo-Nonnus--attached to several homilies of Gregory of Nazianzus--and the Cynegetka of Pseudo-Oppian are the most important.

Originally published in 1984.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The heroines of Greek tragedy presented in the plays by Aeschylus, Sophocles and Euripides have long captivated audiences and critics. In this volume each of the eleven chapters discusses one of the heroines: Clytemnestra, Hecuba, Medea, Iphigenia, Alcestis, Antigone Electra, Deianeira, Phaedra, Creusa and Helen. The book focuses on characterisation and the motivations of the women, as well as on those of the male playwrights, and offers multiple viewpoints and critiques that enable readers to understand the context of each play and form their own views. Four core themes bridge the depictions of the heroines: the socio-political dynamic of ancient Greek expectations of women and their roles in society, the conflict of masculinity versus femininity, the alternation of defiance and submission, and the interplay between deceit and rhetoric. Each chapter offers clear descriptions of plot and mythical background, and builds on the text of the plays to enable reflections on language and performance. All technical terms are explained and key topics or references are pulled out into box features that provide further background information. Discussion points at the ends of chapters enable readers to explore various topics more deeply.