Sophocles' immortal Oedipus plays personify both the cosmic and the all-too-human forces that wreak emotional and physical mayhem upon the lives of a stricken royal family. The three plays have continued to strike a chord with audiences throughout every era of history - yet their effectiveness today depends not only upon enduring themes but upon translations that will resonate, intellectually and emotionally, with a contemporary readership. Aristotle praised Oedipus the King as the finest single example of Greek tragedy; now, award-winning translator Robert Bagg presents the entire "Oedipus Cycle" in a vivid, dynamic, and eminently readable new translation that revitalizes the ancient classics for a new generation of readers.

Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides' "Medea", "The Children of Heracles", "Andromache", and "Iphigenia among the Taurians", fragments of lost plays by Aeschylus, and the surviving portion of Sophocles' satyr-drama "The Trackers". New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

Against Those in the Disciplines (Pros Mathematikous, also known by the abbreviated title M 1-6) deals with six specialized fields of study: grammar, rhetoric, geometry, arithmetic, astrology, and music. In sceptical fashion, it questions the credentials of those who claim to have expert knowledge in these fields. It is the least well known of Sextus Empiricus' works, mainly because its subject-matter is not directly philosophical; some of its arguments require knowledge of these fields as they existed in the ancient world, which philosophers (Sextus' main readership) tend not to have. But it is a good specimen of Sextus' usual sceptical method of inducing suspension of judgement about the topics under consideration, and it contains much that is of philosophical interest. This volume aims to bring this work to a wider philosophical audience and to make the technicalities of the fields discussed understandable to non-specialists. It contains a translation of the work into clear modern English, accompanied by extensive explanatory notes. For ease of comprehension, the text is broken down into named sections and subsections, and these are also listed separately before the translation (the Outline of Argument). An introduction discusses the place of Against Those in the Disciplines in the totality of Sextus' work, and examines certain features that are distinctive to it. Other aids to the reader are a list of persons referred to in the work, with brief information about each; an English-Greek and Greek-English glossary of key terms; and a list of passages in other works of Sextus that are parallel to passages in this work.

Not much can be known about the life of Maximianus, who has been called "the last of the Roman poets," beyond what can be inferred from his poetry. He was most likely a native of Tuscany, probably lived until the middle of the sixth century, and, at an advanced age, went as a diplomat to the emperor's court at Constantinople. A. M. Juster has translated the complete elegies of Maximianus faithfully but not literally, resulting in texts that work beautifully as poetry in English. Replicating the feel of the original Latin verse, he alternates iambic hexameter and pentameter in couplets and imitates Maximianus's pronounced internal rhyme, alliteration, and assonance. The first elegy is the longest and establishes the voice of the speaker: a querulous old man, full of the indignities of aging, which he contrasts with the vigor and prestige he enjoyed in his youth. The second elegy similarly focuses on the contrast between past happiness and present misery but, this time, for the specific experience of a long-term relationship. The third through fifth elegies depict episodes from the poet's amatory career at different stages of his life, from inexperienced youth to impotent old man. The last poem concludes with a desire for the release of death and, together with the first, form a coherent frame for the collection. This comprehensive volume includes an introduction by renowned classicist Michael Roberts, a translation of the elegies with the Latin text on facing pages, the first English translation of an additional six poems attributed to Maximianus, an appendix of Latin and Middle English imitative verse that illustrates Maximianus's long reception in the Middle Ages, several related texts, and the first commentary in English on the poems since 1900. The imminence of death and the sadness of growing old that form the principal themes of the elegies signal not only the end of pagan culture and its joy in living but also the turn from a classical to a medieval sensibility in Late Antiquity.

The era of Old Comedy (c. 485 c. 380 BCE), when theatrical comedy was created and established, is best known through the extant plays of Aristophanes, but there were many other poets whose comedies survive only in fragments. This new Loeb edition, the most extensive selection of the fragments available in English, presents the work of fifty-six poets, including Cratinus and Eupolis, the other members (along with Aristophanes) of the canonical Old Comic triad.

For each poet and play there is an introduction, brief notes, and select bibliography. Also included is a selection of ancient testimonia to Old Comedy, nearly one hundred unattributed fragments (both book and papyri), and descriptions of twenty-five vase-paintings illustrating Old Comic scenes. The texts are based on the monumental edition of Kassel and Austin, updated to reflect the latest scholarship.

This volume provides readers with a new translation and up to date historical and rhetorical commentary on the only extant speech of the Athenian leader Lycurgus (390s/380s-324 BCE), one of Athens' most influential statesman and orators. His prosecutorial speech, Against Leocrates, delivered in 330 BCE, indicted his compatriot for treason, claiming that he fled Athens after the battle of Chaeronea when the city was under threat of attack by Philip II of Macedonia, though this attack never materialized. Although Leocrates was acquitted after the evenly split jury ultimately came down in favour of the defence, the speech is much more than a condemnation of an alleged misconduct: it provides valuable information on the historical and political events around Chaeronea and offers Lycurgus' vision of what Athens could and should do in those circumstances, in light of models which he fashioned from Athenian and other Greek mythical and historical pasts. Not only his legal and rhetorical strategies and the merits of the case are examined here, but also what the speech tells us about his and his contemporaries' perceptions of patriotism, their religious beliefs, views of desirable citizenship, and the tensions between the individual and the state. A detailed introduction complements the new English translation of the speech with an authoritative account of its history and manuscript tradition, as well as an overview of the trial's procedure, Lycurgus' motives for initiating it, and Leocrates' defence. It also provides a survey of Athenian democracy and judicial system in the late fourth century BCE which will be invaluable for readers new to the text, covering Lycurgus' career, his ideology and program for Athens, and what these meant to individual Athenians and democracy, while the in-depth commentary analysing the historical, legal, and rhetorical facets of this multi-layered and unique oration will be of use to both students and advanced scholars of ancient Greek history and rhetoric.

This Norton Critical Edition includes: - Sheila Murnaghan's new translation of the great Greek tragedy of betrayal, revenge, and murder, set in Corinth in the fifth-century B.C.E. - A full introduction and explanatory annotations by Sheila Murnaghan. - Ancient perspectives on the unforgettable plot from Xenophon, Apollonius of Rhodes, and Seneca. - Seminal essays on Medea by P. E. Easterling, Helene P. Foley, and Edith Hall. - A Selected Bibliography. About the Series Read by more than 12 million students over fifty-five years, Norton Critical Editions set the standard for apparatus that is right for undergraduate readers. The three-part format--annotated text, contexts, and criticism--helps students to better understand, analyze, and appreciate the literature, while opening a wide range of teaching possibilities for instructors. Whether in print or in digital format, Norton Critical Editions provide all the resources students need.

Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides' "Medea", "The Children of Heracles", "Andromache", and "Iphigenia among the Taurians", fragments of lost plays by Aeschylus, and the surviving portion of Sophocles' satyr-drama "The Trackers". New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

This interdisciplinary and archival study explores the reception of ancient Rome in the artistic, literary, and philosophical works of David Jones (1895-1974)-the Anglo-Welsh, Roman Catholic, First World War veteran. For Jones, the twentieth century was a period of crisis, an age of conflict, disillusionment and cultural decay, all of which he saw as evidence of the decline of Western civilisation. Across his lifetime, Jones would create a dynamic vision of ancient Rome in an attempt both to understand and to challenge this situation. His reimagining of Rome was not founded on a classical education. Instead, it was fashioned from his lived experience, extensive reading, and-most importantly-his engagement with four areas of contemporary discourse that were themselves built upon intricate and conflicting representations of Rome: British political rhetoric, cyclical history, the Catholic cultural revival, and the Welsh nationalist movement. Tracing Jones's developing approach to Rome across these contexts can provide a way into his art and thought. Whether in his poetic fragments, watercolours, essays, letters, marginalia or unique painted inscriptions, Jones strove to question, complicate and remake Rome's relationship with modernity. In this way, Rome appears in Jones's works both as a symbol of transhistorical imperialism, totalitarianism, and the mechanisation of life, and simultaneously as the cultural and religious progenitor of the West, and in particular, of Wales, with which artists must creatively reconnect if decline was to be avoided.

The ancient Greek hymnic tradition translated beautifully and accessibly. The hymn-as poetry, as craft, as a tool for worship and philosophy-was a vital art form throughout antiquity. Although the Homeric Hymns have long been popular, other equally important collections have not been readily accessible to students eager to learn about ancient poetry. In reading hymns, we also gain valuable insight into life in the classical world. In this collection, early Homeric Hymns of uncertain authorship appear along with the carefully wrought hymns of the great Hellenistic poet and courtier Callimachus; the mystical writings attributed to the legendary poet Orpheus, written as Christianity was taking over the ancient world; and finally, the hymns of Proclus, the last great pagan philosopher of antiquity, from the fifth century AD, whose intellectual influence throughout western culture has been profound. Greek Poems to the Gods distills over a thousand years of the ancient Greek hymnic tradition into a single volume. Acclaimed translator Barry B. Powell brings these fabulous texts to life in English, hewing closely to the poetic beauty of the original Greek. His superb introductions and notes give readers essential context, making the hymns as accessible to a beginner approaching them for the first time as to an advanced student continuing to explore their secrets. Brilliant illustrations from ancient art enliven and enrichen the experience of reading these poems.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

'Fitzgerald has solved virtually every problem that has plagued translators of Homer.' Atlantic Monthly The Iliad is the story of a few days' fighting in the tenth year of the legendary war between the Greeks and the Trojans, which broke out when Paris, son of King Priam of Troy, abducted the fabulously beautiful Helen, wife of King Menelaus of Sparta. After a quarrel between the Greek commander, Agamemnon, and the greatest of the Greek warriors, Achilles, the gods become more closely involved in the action. Their intervention leads to the tragic death of Hector, the Trojan leader, and to the final defeat of the Trojans. But the Iliad is much more than a series of battle scenes. It is a work of extraordinary pathos and profundity that concerns itself with issues as fundamental as the meaning of life and death. Even the heroic ethic itself - with its emphasis on pride, honour, prowess in battle, and submission to the inexorable will of the gods - is not left unquestioned. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's 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.

The texts presented here were discovered by a German expedition to Ashur, capital of the Assyrians, more than half a century ago. They have remained in Istanbul, largely uncatalogued and unedited, until this publication, the first in a series to be prepared under the auspices of the Royal Inscriptions of Mesopotamia Project. The inscriptions speak of the building by the kings of palaces and temples in various parts of Assyria, of the god who were invoked to bless the enterprises, and at times of military campaigns and victories. Transliterations, commentaries, notes, and hand-copies for the indiviaul texts are provided along with the requisite indexes to make the volume a basic research tool for assyriologists.

Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides' "Medea", "The Children of Heracles", "Andromache", and "Iphigenia among the Taurians", fragments of lost plays by Aeschylus, and the surviving portion of Sophocles' satyr-drama "The Trackers". New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

The Saturnalia, Macrobius's encyclopedic celebration of Roman culture written in the early fifth century CE, has been prized since the Renaissance as a treasure trove of otherwise unattested lore. Cast in the form of a dialogue, the Saturnalia treats subjects as diverse as the divinity of the Sun and the quirks of human digestion while showcasing Virgil as the master of all human knowledge from diction and rhetoric to philosophy and religion. The new Latin text is based on a refined understanding of the medieval tradition and improves on Willis's standard edition in nearly 300 places. The accompanying translation-only the second in English and the only one now in print-offers a clear and sprightly rendition of Macrobius's ornate Latin and is supplemented by ample annotation. A full introduction places the work in its cultural context and analyzes its construction, while indexes of names, subjects, and ancient works cited in both text and notes make the work more readily accessible than ever before.

Ammianus Marcellinus' Res Gestae holds a prominent position in modern studies of the emperor Julian as the fullest extant narrative of the reign of the last 'pagan' emperor. Ammianus' Julian: Narrative and Genre in the Res Gestae offers a major reinterpretation of the work, which is one of the main narrative sources for the political history of the later Roman Empire, and argues for a re-examination of Ammianus' agenda and methods in narrating the reign of Julian. Building on recent developments in the application of literary approaches and critical theories to historical texts, Ammianus' presentation of Julian is evaluated by considering the Res Gestae within three interrelated contexts: as a work of Latin historiography, which consciously sets itself within a classical and classicizing generic tradition; in a more immediate literary and political context, as the final contribution by a member of an 'eyewitness' generation to a quarter century of intense debate over Julian's legacy by several authors who had lived through his reign and had been in varying degrees of proximity to Julian himself; and as a narrative text, in which narratorial authority is closely associated with the persona of the narrator, both as an external narrating agent and an occasional participant in the events he relates. This is complemented by a literary survey and a re-analysis of Ammianus' depiction of several key moments in Julian's reign, such as his appointment as Caesar, the battle of Strasbourg in 357AD, his acclamation as Augustus, and the disastrous invasion of Persia in 363AD. It suggests that the Res Gestae presents a Latin-speaking, western audience with an idiosyncratic and 'Romanized' depiction of the philhellene emperor and that, consciously exploiting his position as a Greek writing in Latin and as a contemporary of Julian, Ammianus wished his work to be considered a culminating and definitive account of the man and his life.