It is New Year at Camelot and a mysterious green knight appears at King Arthur's court. Challenging the knights of the Round Table to a Christmas game, he offers his splendid axe as a prize to whoever is brave enough to behead him with just one strike. The condition is that his challenger must seek him out in a year and a day to have the deed returned. Sir Gawain accepts and decapitates the stranger, only to see him pick up his head, walk out of the hall and ride away on his horse. Now Gawain must complete his part of the bargain, search for his foe and confront what seems his doom... Michael Smith's translation of this magnificent Arthurian romance draws on his intimate experience of the North West of England and his knowledge of mediaeval history, culture and architecture. He takes us back to the original poetic form of the manuscript and brings it alive for a modern audience, while revealing the poem's historic and literary context. The book is beautifully illustrated throughout with detailed recreations of the illuminated lettering in the original manuscript and the author's own linocut prints, each meticulously researched for contemporary accuracy. This is an exciting new edition that will appeal both to students of the Gawain-poet and the general reader alike.

Cicero's Brutus and Orator constitute his final major statements on the history of Roman oratory and the nature of the ideal orator. In the Brutus he traces the development of political and judicial speech over the span of 150 years, from the early second century to 46 BCE, when both of these treatises were written. In an immensely detailed account of some 200 speakers from the past he dispenses an expert's praise and criticism, provides an unparalleled resource for the study of Roman rhetoric, and engages delicately with the fraught political circumstances of the day, when the dominance of Julius Caesar was assured and the future of Rome's political institutions was thrown into question. The Orator written several months later, describes the form of oratory that Cicero most admired, even though he insists that neither he nor any other orator has been able to achieve it. At the same time, he defends his views against critics - the so-called Atticists - who found Cicero's style overwrought. In this volume, the first English translation of both works in more than eighty years, Robert Kaster provides faithful and eminently readable renderings, along with a detailed introduction that places the works in their historical and cultural context and explains the key stylistic concepts and terminology that Cicero uses in his analyses. Extensive notes accompany the translations, helping readers at every step contend with unfamiliar names, terms, and concepts from Roman culture and history.

This book addresses a rich corpus of contemporary narratives by authors who have come to Italy as migrants. It traces the figurative commonalities that emerge across these diverse texts, which together suggest the shape and substance of what might be termed 'migrant imaginaries'. Examining five central figures and concepts - identity, memory, home, place and space, and literature - across a range of novels and stories by writers of African and Middle Eastern origin, the study elucidates the affective and expressive processes that inflect migrant story-telling. Drawing on the work of cultural theorists such as Sara Ahmed and Michel de Certeau, as well as on recent work in postcolonial literary studies, memory studies, human geography and feminist theory, the book probes the varied works of Shirin Ramzanali Fazel, Amara Lakhous, Mohsen Melliti, Younis Tawfik and many others. Each chapter posits alternative interpretations of the ways in which the interior experience of encounters across territories, cultures and languages is figured in this literature. In doing so, the book moves towards a wider apprehension of recent Italian migration narratives as suggestions of what a new notion of contemporary 'Italian' literature might look like, figured at once within and beyond the boundaries of a national literature, a national language and a national cultural imaginary.

The third book of Lucretius' great poem on the workings of the universe is devoted entirely to expounding the implications of Epicurus' dictum that death does not matter, 'is nothing to us'. The soul is not immortal: it no more exists after the dissolution of the body than it had done before its birth. Only if this fact is accepted can men rid themselves of irrational fears and achieve the state of ataraxia, freedom from mental disturbance, on which the Epicurean definition of pleasure was based. To present this case Lucretius deploys the full range of poetic and rhetorical registers, soberly prohibitive, artfully decorative or passionately emotive as best suits his argument, reinforcing it with vivid and compelling imagery. This new edition has been completely revised, with a considerably enlarged Commentary and a new supplementary introduction taking account of the great amount of new scholarship of the last forty years.

'Drawn on by his eagerness for the open sky, he left his guide and soared upwards...' Ovid tells the tales of Theseus and the Minotaur, Daedalus and Icarus, the Calydonian Boar-Hunt, and many other famous myths. Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th-century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions. Ovid (c.43 BCE-17 CE). Ovid's other works available in Penguin Classics are The Erotic Poems, Fasti, Heroides and Metamorphoses.

Pliny the Younger's nine-book Epistles is a masterpiece of Roman prose. Often mined as a historical and pedagogical sourcebook, this collection of 'private' letters is now finding recognition as a rich and rewarding work in its own right. The second book is a typically varied yet taut suite of miniatures, including among its twenty letters the trial of Marius Priscus and Pliny's famous portrait of his Laurentine villa. This edition, the first to address a complete book of Epistles in over a century, presents a Latin text together with an introduction and commentary intended for students, teachers and scholars. With clear linguistic explanations and full literary analysis, it invites readers to a fresh appreciation of Pliny's lettered art.

This new comparative reading of Euripides' Bacchae and Aristophanes' Frogs sets the two plays squarely in their contemporary social and political context and explores their impact on the audiences of the time. Both were composed during a crucial period of Athenian political life following the oligarchic seizure of power in 411 BC and the restoration of democracy in 410 BC, and were in all likelihood produced nearly simultaneously a few months before the rise of the Thirty Tyrants and the ensuing civil war. They also demonstrate significant similarities that are particularly notable among extant Attic theatre productions, including the role of the god Dionysos as protagonist and architect of religious and political action, and the presence of Demetrian and Dionysiac mystic choruses as proponents of the appeasement of civil discord as the cure for Athens' ills. Focusing on the mystic, civic and political content of both Bacchae and Frogs, this volume offers not only a new reading of the plays, but also an interdisciplinary perspective on the special characteristics of mystery cults in Athens in their political context and the nature of theatrical audiences and their reaction to mystic themes. Its illumination of the function of each play at a pivotal moment in fifth-century Athenian politics will be of value to scholars and students of ancient Greek drama, religion and history.

Compiled by a team of experts in the field, this volume brings to view an array of Latin texts produced in British universities from c.1500 to 1700. It includes a comprehensive introduction to the production of Neo-Latin and Neo-Greek in the early modern university, the precise circumstances and broader environments that gave rise to it, plus an associated bibliography. 12 high-quality sections, each prefaced by its own short introduction, set forth the Latin (and occasionally Greek) texts and accompanying English translations and notes. Each section provides focused orientation and is arranged in such a way as to ensure the volume's accessibility to scholars and students at all levels of familiarity with Neo-Latin. Passages are taken from documents that were composed in seats of learning across the British Isles, in Oxford, Cambridge, Dublin, Edinburgh and St Andrews, and adduce a wide range of material from orations and disputational theses to collections of occasional verse, correspondence, notebooks and university drama. This anthology as a whole conveys a sense of the extent of Latin's role in the academy and the span of remits in which it was deployed. Far from simply offering a snapshot of discrete projects, the contributions collectively offer insights into the broader culture of the early modern university over an extended period. They engage with the administrative operations of institutions, pedagogical processes and academic approaches, but also high-level disputes and the universities' relationship with the worlds of politics, new science and intellectual developments elsewhere in Europe.

David Balme's major critical edition of Aristotle's largest and perhaps least studied treatise is based on a collation of the 26 known extant manuscripts and a study of the early Latin translations. Begun in 1975, with his work towards the Loeb editio minor of books VII-X, this edition of all ten books, including a very full apparatus criticus, was largely complete by 1989 when Professor Balme died, but it needed extensive work to put it in publishable form. This work has been carried out by Allan Gotthelf, Balme's friend and associate. Volume I of the edition contains the complete text of the Historia Animalium, the critical apparatus, and Balme's introduction to the manuscripts, expanded and updated with the assistance of Friederike Berger, and in consultation with the editors of forthcoming editions of the extant medieval translations. A substantial index to the text has been provided by Liliane Bodson in collaboration with Professor Gotthelf.

The Aeneid of Virgil (19 BC) is an epic poem by Roman poet Virgil. Virgil's legendary epic is the story of the hero Aeneas, a castaway from Troy whose adventures across the Mediterranean led him to Italy, where he discovered what would later become the city of Rome. Presented here in an accessible prose translation, The Aeneid of Virgil is a treasure of classical literature and a story of romance, war, and adventure to rival the best of Homer. Fleeing the destruction of Troy by Greek forces, Aeneas brings his son Ascanius and father Anchises on a voyage across the sea. Landing in Carthage, Aeneas, his family, and his crew are rescued by Dido, Queen of Tyre. There, Aeneas, despite mourning the loss of his beloved wife Creusa, falls in love with Dido, who offers him refuge and her devoted love. Knowing that he is destined to found a city in Italy, however, Aeneas abandons the queen, leading her to commit suicide. Now determined to fulfill his destiny at any cost, Aeneas sails to Sicily, journeys to the underworld, and eventually arrives in the region of Latium, where he is swept up in conflict with Turnus, the Rutulian king. Flawed and feared, Aeneas exemplifies the imperfect hero compelled by fate and the gods, yet ultimately driven through a will to survive and provide for his fledgling people. Faithfully but concisely translated into accessible English prose, The Aeneid of Virgil is best read aloud with friends and family, and iconic masterpiece of ancient Rome still relevant for our modern world. With a beautifully designed cover and professionally typeset manuscript, this edition of The Aeneid of Virgil is a classic work of Roman literature reimagined for modern readers.

One of the most important philosophical works of all time, in a new Penguin Classics translation by Adam Beresford 'Right and wrong is a human thing' What does it mean to be a good person? Aristotle's famous series of lectures on ethical topics ranges over fundamental questions about good and bad character; pleasure and self-control; moral wisdom and the foundations of right and wrong; friendship and love in all their forms - all set against a rich and humane conception of what makes for a flourishing life. Adam Beresford's freshly researched translation presents many of Aristotle's key terms and idioms in standard English for the first time, and faithfully preserves the unvarnished style of the original.

A thrilling retelling of the Star Wars saga in the style of classic epic poetry "I look not to myself but to the Force, In which all things arise and fall away." Journey to a galaxy far, far away like never before-through lyrical verse and meter. Like the tales of Odysseus and Beowulf, the adventures of Luke Skywalker, Han Solo, Princess Leia, Jyn Erso, Obi-Wan Kenobi, Darth Vader, and the Emperor are fraught with legendary battles, iconic heroes, fearsome warriors, sleek ships, and dangerous monsters. Beginning with Rogue One's rebel heist on Scarif to secure the plans to the Death Star and continuing through the climax of Return of the Jedi, author Jack Mitchell uses the ancient literary form of epic poetry to put a new spin on the Star Wars saga. Punctuated with stunning illustrations inspired by the terracotta art of Greek antiquity, The Odyssey of Star Wars: An Epic Poem presents the greatest myth of the 20th century as it would have been told nearly 3,000 years ago.

Trapp offers a new annotated translation of the philosophical orations of Maximus of Tyre. These orations cover a range of topics from Platonic theology to the proper attitude to pleasure. They open a window onto the second century's world of the Second Sophistic and Christian apologists, as well as on to that of the Florentine Platonists of the later fifteenth century who read, studied, and imitated the orations.

Plato’s Timaeus is unique in Greek Antiquity for presenting the creation of the world as the work of a divine demiurge. The maker bestows order on sensible things and imitates the world of the intellect by using the Forms as models. While the creation-myth of the Timaeus seems unparalleled, this book argues that it is not the first of Plato’s dialogues to use artistic language to articulate the relationship of the objects of the material world to the world of the intellect. The book adopts an interpretative angle that is sensitive to the visual and art-historical developments of Classical Athens to argue that sculpture, revolutionized by the advent of the lost-wax technique for the production of bronze statues, lies at the heart of Plato’s conception of the relation of the human soul and body to the Forms. It shows that, despite the severe criticism of mimēsis in the Republic, Plato’s use of artistic language rests on a positive model of mimēsis. Plato was in fact engaged in a constructive dialogue with material culture and he found in the technical processes and the cultural semantics of sculpture and of the art of weaving a valuable way to conceptualise and communicate complex ideas about humans’ relation to the Forms.

It is a little-known secret that Arabic literature has a long tradition of erotic writing. Behind that secret lies another - that many of the writers are women. We Wrote in Symbols celebrates the works of 75 of these female writers of Arab heritage who articulate love and lust with artistry and skill. Here, a wedding night takes an unexpected turn beneath a canopy of stars; a woman on the run meets her match in a flirtatious encounter at Dubai Airport; and a carnal awakening occurs in a Palestinian refugee camp. From a masked rendezvous in a circus, to meetings in underground bars and unmade beds, there is no such thing as a typical sexual encounter, as this electrifying anthology shows. Powerfully conveying the complexities and intrigues of desire, We Wrote in Symbols invites you to share these characters' wildest fantasies and most intimate moments.

The hatching of the Cosmic Egg, the swallowing of Phanes by Zeus, and the murder of Dionysus by the Titans were just a few of the many stories that appeared in ancient Greek epic poems that were thought to have been written by the legendary singer Orpheus. Most of this poetry is now lost, surviving only in the form of brief quotations by Greek philosophers. Orphic Tradition and the Birth of the Gods brings together the scattered fragments of four Orphic theogonies: the Derveni, Eudemian, Hieronyman, and Rhapsodic theogonies. Typically, theogonies are thought to be poetic accounts of the creation of the universe and the births of the gods, leading to the creation of humans and the establishment of the present state of the cosmos. The most famous example is Hesiod's Theogony, which unlike the Orphic theogonies has survived. But did Orphic theogonies look anything like Hesiod's Theogony? Meisner applies a new theoretical model for studying Orphic theogonies and suggests certain features that characterize them as different from Hesiod: the blending of Near Eastern narrative elements that are missing in Hesiod; the probability that these were short hymns, more like the Homeric Hymns than Hesiod; and the continuous discourse between myth and philosophy that can be seen in Orphic poems and the philosophers who quote them. Most importantly, this book argues that the Orphic myths of Phanes emerging from the Cosmic Egg and Zeus swallowing Phanes are at least as important as the well-known myth of Dionysus being dismembered by the Titans, long thought to have been the central myth of Orphism. As this book amply demonstrates, Orphic literature was a diverse and ever-changing tradition by which authors were able to think about the most current philosophical ideas through the medium of the most traditional poetic forms.