La Vita Nuova (1292-94) has many aspects. Dante's libello, or "little book," is most obviously a book about love. In a sequence of thirty-one poems, the author recounts his love of Beatrice from his first sight of her (when he was nine and she eight), through unrequited love and chance encounters, to his profound grief sixteen years later at her sudden and unexpected death. Linked with Dante's verse are commentaries on the individual poems-their form and meaning-as well as the events and feelings from which they originate. Through these commentaries the poet comes to see romantic love as the first step in a spiritual journey that leads to salvation and the capacity for divine love. He aims to reside with Beatrice among the stars. David Slavitt gives us a readable and appealing translation of one of the early, defining masterpieces of European literature, animating its verse and prose with a fluid, lively, and engaging idiom and rhythm. His translation makes this first major book of Dante's stand out as a powerful work of art in its own regard, independent of its "junior" status to La Commedia. In an Introduction, Seth Lerer considers Dante as a poet of civic life. "Beatrice," he reminds us, "lives as much on city streets and open congregations as she does in bedroom fantasies and dreams."

There are seven surviving tragedies by Sophocles. Three of them form the Theban Plays, which recount the story of Thebes during and after the reign of Oedipus. Here, David Slavitt translates the remaining tragedies - the "other four plays:" Ajax, Women of Trachis, Electra, and Philoctetes. Punchy and entertaining, Slavitt reads Athena's opening line in Ajax as: "I've got my eye on you, Odysseus. Always." By simplifying the Greek and making obscure designations more accessible - specifying the character Athena in place of "aegis-wearing goddess," for example - his translations are highly performable. The Other Four Plays of Sophocles will help students discover underlying thematic connections across plays as well. Praise for David R. Slavitt: "Slavitt's translation is ...lively and sometimes witty." (Times Literary Supplement, reviewing Slavitt's translation of Seneca). "The best version of Ovid's Metamorphoses available in English today...It is readable, alive, at times slangy, and actually catches Ovid's tone." (Philadelphia Inquirer, reviewing Slavitt's translation of The Metamorphoses of Ovid). "Slavitt's ability is clearly in evidence...These translations are rendered in lucid, contemporary English, bringing before us the atrocities, horrors, and grotesqueries of Imperial Rome. " (Classical Outlook, reviewing Slavitt's translation of Seneca). "Excellent translations that suit the ear and strengthen the feeble spirit of the time...One will do well to read these hymns, these poems, and find nourishment in them in Slavitt's translations." (Anglican Theological Review, reviewing Slavitt's translation of Hymns of Prudentius).

These delightful poems - by turns whimsical, beautiful, and vulgar - seem to have primarily survived because they were attributed to Virgil. But in David R. Slavitt's imaginative and appealing translations, they stand firmly on their own merits. Slavitt brings to this little-known body of verse a fresh voice, vividly capturing the tone and style of the originals while conveying a lively sense of fun.

In this highly praised new translation of Boethius s "The Consolation of Philosophy," David R. Slavitt presents a graceful, accessible, and modern version for both longtime admirers of one of the great masterpieces of philosophical literature and those encountering it for the first time. Slavitt preserves the distinction between the alternating verse and prose sections in the Latin original, allowing us to appreciate the Menippian parallels between the discourses of literary and logical inquiry. His prose translations are lively and colloquial, conveying the argumentative, occasionally bantering tone of the original, while his verse translations restore the beauty and power of Boethius s poetry. The result is a major contribution to the art of translation.

Those less familiar with "Consolation" may remember it was written under a death sentence. Boethius (c. 480 524), an Imperial official under Theodoric, Ostrogoth ruler of Rome, found himself, in a time of political paranoia, denounced, arrested, and then executed two years later without a trial. Composed while its author was imprisoned, cut off from family and friends, it remains one of Western literature s most eloquent meditations on the transitory nature of earthly belongings, and the superiority of things of the mind. In an artful combination of verse and prose, Slavitt captures the energy and passion of the original. And in an introduction intended for the general reader, Seth Lerer places Boethius s life and achievement in context.

First published in 8 A.D. when he was 52, Ovid's epic poem contains profoundly entertaining tales of Adonis, Midas, Apollo, Icarus, and many others. (Poetry)

Widely praised for his recent translations of Boethius and Ariosto, David R. Slavitt returns to Ovid, once again bringing to the contemporary ear the spirited, idiomatic, audacious charms of this master poet.

The love described here is the anguished, ruinous kind, for which Ovid was among the first to find expression. In the "Amores," he testifies to the male experience, and in the companion "Heroides" through a series of dramatic monologues addressed to absent lovers he imagines how love goes for women. You think she is ardent with you? So was she ardent with him, cries Oenone to Paris. Sappho, revisiting the forest where she lay with Phaon, sighs, The place / without your presence is just another place. / You were what made it magic. The "Remedia Amoris" sees love as a sickness, and offers curative advice: The beginning is your best chance to resist; Try to avoid onions, / imported or domestic. And arugula is bad. / Whatever may incline your body to Venus / keep away from. The voices of men and women produce a volley of extravagant laments over love s inconstancy and confusions, as though elegance and vigor of expression might compensate for heartache.

Though these love poems come to us across millennia, Slavitt s translations, introduced by Pulitzer Prize winner Michael Dirda, ensure that their sentiments have not faded with the passage of time. They delight us with their wit, even as we weep a little in recognition.

There are seven surviving tragedies by Sophocles. Three of them form the Theban Plays, which recount the story of Thebes during and after the reign of Oedipus. Here, David Slavitt translates the remaining tragedies - the "other four plays:" Ajax, Women of Trachis, Electra, and Philoctetes. Punchy and entertaining, Slavitt reads Athena's opening line in Ajax as: "I've got my eye on you, Odysseus. Always." By simplifying the Greek and making obscure designations more accessible - specifying the character Athena in place of "aegis-wearing goddess," for example - his translations are highly performable. The Other Four Plays of Sophocles will help students discover underlying thematic connections across plays as well. Praise for David R. Slavitt: "Slavitt's translation is ...lively and sometimes witty." (Times Literary Supplement, reviewing Slavitt's translation of Seneca). "The best version of Ovid's Metamorphoses available in English today...It is readable, alive, at times slangy, and actually catches Ovid's tone." (Philadelphia Inquirer, reviewing Slavitt's translation of The Metamorphoses of Ovid). "Slavitt's ability is clearly in evidence...These translations are rendered in lucid, contemporary English, bringing before us the atrocities, horrors, and grotesqueries of Imperial Rome. " (Classical Outlook, reviewing Slavitt's translation of Seneca). "Excellent translations that suit the ear and strengthen the feeble spirit of the time...One will do well to read these hymns, these poems, and find nourishment in them in Slavitt's translations." (Anglican Theological Review, reviewing Slavitt's translation of Hymns of Prudentius).

As he enters his sixth decade of publishing poetry, David R. Slavitt remains a determined wildcatter who ranges as far as he thinks necessary to drill for meaning, wherever and however he can get it. In his new collection, Slavitt traverses Africa, India, Israel, and the America in which he finds himself, complete with visits to zoos, casinos, baseball fields, and cemeteries, as he searches for clues from which he might learn at least a little. He translates verse from Yiddish and Provencal and offers commentaries on received wisdom, everyday events, and the vagaries of existence. With Opus Posthumous and Other Poems-the title is a joke, as he remains very much alive-Slavitt presents an august work possessed of a richness toward which he has worked throughout his long life. By turns wry, erudite, and dyspeptic, this new volume offers ample rewards of his maturity.

"The works of Plautus," writes Palmer Bovie, "mark the real beginning of Roman literature." In these lively new translations, which effectively communicate the vitality and verve of the originals, the plays of Plautus are accessible to a new generation.

Plays and translators:

Volume 1: "Amphitryon, " Constance Carrier. "Miles Gloriosus, " Erich Segal. "Captivi, " Richard Moore. "Casina, " Richard Beacham. "Curculio, " Henry Taylor

Volume 2: "Rudens, " Constance Carrier. "Aulularia, " Palmer Bovie. "Bacchides, " James Tatum. "Mercator, " George Garrett. "Truculentus, " James Tatum

Are there no limits to human cruelty? Is there any divine justice? Do the gods even matter if they do not occupy themselves with rewarding virtue and punishing wickedness? Seneca's plays might be dismissed as bombastic and extravagant answers to such questions--if so much of human history were not "Senecan" in its absurdity, melodrama, and terror. Here is an honest artist confronting the irrationality and cruelty of his world--the Rome of Caligula, Claudius, and Nero--and his art reflects the stress of the encounter. The surprise, perhaps, is that Seneca's world is so like our own.

John Smith is an eminent historian, secure in his well-paid position as an endowed professor at a major university. Any day he expects a favorable reply to his application for a residency at the Villa Sfrondata, a foundation-supported colony for artists and intellectuals on the banks of Italy's Lake Como, where he hopes to finish work on a study of Mussolini. John Smith - the other John Smith - is a bitter and failed novelist, an adjunct assistant professor of English at the same university. Suffering from writer's block, ignored by his daughter, hounded by his former wife's attorney for back alimony, and about to lose his job, his prospects could not be dimmer - that is, until the day the Villa Sfrondata's invitation to the eminent historian is delivered to him by mistake. Before you know it, the down-and-out-how-can-things-get-worse-what-have-I-got-to-lose John Smith is in Italy, ensconced, imposter though he is, in a room at the centuries-old villa. But what had promised to be a blissful if ill-gotten idyll quickly sours. The villa is drafty and decaying, the staff are surly and incompetent, and the other residents - among them a Nigerian economist, a Washington lawyer, a book designer, and art historian, and a feminist poet from California - are a motley and eccentric group whom Smith finds all but insufferable. He seizes every opportunity to deflate their overblown pretensions with a razor-sharp wit, which he possesses in astonishing abundance. At the same time, he must take care that some misstep does not reveal him as a fraud. His life is further complicated when one of the guests - the despised feminist poet - mysteriously disappears. After passing through what he calls "acloudy afternoon of the soul", including the very real fear that he will be implicated in the disappearance of the poet, Smith contrives in the end to amend his life and even to revive his all but abandoned literary career. This devastatingly satiric and funny book, David R. Slavitt's fiftieth, is a complicated burlesque that turns out to be a moving story of human frailty and spiritual rebirth. It is a feat of literary legerdemain that will dazzle even admirers of Slavitt's Turkish Delights, Lives of the Saints, Salazar Blinks and The Hussar.

"The works of Plautus," writes Palmer Bovie, "mark the real beginning of Roman literature." Now Bovie and David Slavitt have brought together a distinguished group of translators for the final two volumes of a four-volume set containing all twenty-one surviving comedies of one of Western literature's greatest dramatists.

Born in Sarsina, Umbria, in 254 B.C., Plautus is said to have worked in Rome as a stage carpenter and later as a miller's helper. Whether authentic or not, these few details about the playwright's life are consistent with the image of him one might infer from his plays. Plautus was not "literary" but rather an energetic and resourceful man of the world who spoke the language of the people. His dramatic works were his way of describing and portraying that world in a language the people understood.

Since Plautus's career unfolded against the background of the Second Punic War, it is not surprising that his prologues often end with a wish for the audience's "good luck against your enemies" or that the plays have their share of arrogant generals, boastful military captains, and mercenary adventurers. But other unforgettable characters are here as well -- among them Euclio, in the Aulularia, the model for Molire's miser. In these lively new translations, which effectively communicate the vitality and verve of the originals, the plays of Plautus are accessible to a new generation.

Plays and translators:

Volume 4: Persa, Palmer Bovie. Menaechmi, Palmer Bovie. Cistellaria, R. H. W. Dillard. Pseudolus, Richard Beacham. Stichus, Carol Poster. Vidularia, John Wright.

An accomplished poet and a keen observer of the human condition, David Slavitt deploys both skills to create the whimsical, insightful, and witty poems of The Octaves. In these graceful but often blunt, slyly humorous eight-line poems, Slavitt notes the passing of decades and the loss that entails, the questions that arise when studying works from ancient Greece, and the paradoxes found in philosophy, art, and even the common cold.

From the Penn Greek Drama Series, this volume offers translations by David Slavitt of the great trilogy of the House of Atreus, telling of Agamemnon's murder at the hands of his wife, Clytemnestra, and her lover, Aegisthus, and of Electra's rebelliousness and Orestes's ultimate revenge.

Praise for David R. Slavitt

"Slavitt's touch is light, and he writes beautifully.... His satire is sharp, and he can be wildly funny." -- New York Times Book Review

"One of America's most lucid and classical poets.... Slavitt's attitude is, as one would expect of a Hebrew as well as Greco-Latin classicist, sharply questioning as well as tragic. He is a poet one reads to know more." -- Booklist

"Slavitt is both smart and wise; he's as well known for his translations of the writers of antiquity as he is for his original work, both poetry and prose.... With a rich sense of humor, a bit of attitude, and a fascination with details, even minutiae, Slavitt tries his hand at new and curious measures and forms as well as seemingly free-range meditations -- or, one might say, meanderings." -- Library Journal

The bravura of David R. Slavitt's first book of poems, published more than fifty years ago, continues to reverberate through his newest collection in a voice matured and roughened by age.

Civil Wars conjures the mutterings of old men: meditations -- despondent yet playfully witty and bold -- on the meaning of life and death, the reasoning for human action or inaction, and misremembered memories. Nothing proves too lofty or too trifling for the poet's scrutiny. Slavitt's attention roves from the carnage inflicted by the Achaeans at Troy, to the performances of Borrah Minevich and the Harmonica Rascals, from meditations on Spinoza to the baseball of the New York Yankees. He considers with deliberation all of these subjects and deems them necessary to help create a spiritual connection in our lives. Slavitt encourages contemplation of the world and writing rather than acceptance of the thoughts of the critic, who "comes, austere, a man of authority, / and offers to help" but only dilutes the power of a poem. In this collection, Slavitt also includes translations of Greek, Hebrew, Proven?al, French, and Old English poems, including a little-known piece by the mathematician Pierre de Fermat and the Old English epic poem "The Battle of Maldon."

Falling from Silence is the seventy-third book by David Slavitt, the prolific poet, novelist, translator, and editor. His amazing rate of production has only amplifi�ed and reigned the power of his art. This is the work of an accomplished veteran, a craftsman who laments the limitations of what his hard-earned talent can do in the face of age and loss. He turns to religion, reads the classics, and in moments of cheer that may not be mere mania, he horses around and fools with the words that have been his toys, but nothing helps- or, more accurately, nothing helps enough. It is nevertheless true that, as he says in Pen: ""The letters/ that danced in the light like gnats will suddenly light/ on some twig of a notion a held breath can make tremble/ in an unpredictable motion- like this pen's- / that no one would think could bear the fruit of truth."" Ranging in tone from devilish and droll to dignifi�ed and desolate, the poems here examine death and aging and bespeak the reassuring connection between the generations. In ""Angel of Death,"" the speaker remarkably balances grief and joy in describing the birth of his grandson, who bears the name of the poet's father: ""I hold him in my arms, the precious, breathing / weight, and admire the tiny hands / that will bear the weight one day of my coffï�n's corner. . . . / That a Sam once more will carry me is a comfort."" Slavitt's wry wit, profound humanity, and agile intellect illuminate every page of Falling from Silence. In contrast to its title, it is, indeed, a resounding poetic triumph.