Sculptured figural motifs were an important component of many buildings in the Hellenistic world, and their frequent relegation to subsidiary status has, until now, left our knowledge of both Hellenistic architecture and sculpture incomplete. In Hellenistic Architectural Sculpture, Pamela A. Webb examines the full range of figural embellishment - from simple to complex, on large monuments as well as on more obscure ones, and in the major population centers as well as the smaller cities, sanctuaries, and isolated areas throughout western Anatolia and the Aegean islands. In this book, the first to focus specifically on the figural adornment of Hellenistic architecture, Webb provides extensive information about the chronology and interpretation of figural motifs adorning religious, civic, commercial, commemorative, and domestic constructions. She finds that figural sculptures adorn structures at every level from the ground to the roof, and display a wide variety of motifs on such architectural elements as columns, walls, entablatures, pediments, and cornices. 142 illustrations of Hellenistic monuments - temples, altars, cult buildings, heroa, theaters, bouleuteria, stoas, gymnasia, and houses - and their sculptured adornment complement the author's descriptions and analyses. The book features an extensive bibliography, citing resources from the early nineteenth century to the most recent publications.

This anthology offers modern readers modern, new translations of the lyric poetry transcribed or written by medieval Irish monks. Irish poets were the first Europeans to write in the vernacular, though few people now read this poetry in its original. Well known for her translations of the poetry of classical Greece, ancient Egypt, and medieval Portugal, Barbara Hughes Fowler once again makes the poetry of another era accessible to a new generation.

The 35 lyrics in this collection were composed between 800 and 1200 A.D., all of them anonymously, although some are attributed to legendary or historical figures who had died centuries before. Irish monks wrote them in the margins of the manuscripts they were copying, or they interpolated poems they either knew or composed into the pagan tales they were recording.

Many of these poems are about what the Irish called Tir na n'Og, the Land of the Young. This was not a place you went after death if you behaved yourself in life. It was where imaginative Irish longed to go -- a paradise of lovely women, bountiful food and drink, and endless treasures of silver, gold, and jewels. The monks who composed or recorded such lyrics preserved their Celtic heritage while making concessions to Christianity, as in these stanzas from "Fair Lady, Will You Go With Me?"

The earth is watered by sweet streams.

We drink the best of mead and wine.

Perfect are the people there.

Conception has no guilt or sin.

We see every one about, and no one sees us, because the darkness caused by Adam's sin prevents them from counting us.

Lyric poems, rooted so firmly in the expression of human emotion, travel well from an ancient culture to a modern one in thehands of a fine translator. Rendered into language and form intended for a general readership, these lyrics help to preserve an ancient and rich culture.

Best remembered for his unfinished epic, the Aeneid , the poet Vergil was celebrated in his time both for the perfection of his art and for the centrality of his ideas to Roman culture. The Eclogues , his earliest confirmed work, were composed in part out of political considerations: when the Roman authorities threatened to seize his family's land, Vergil's appeal in the form of Eclogue IX won a stay. Eclogue I appears to be a thank-you for that favor. Barbara Hughes Fowler provides scholars and students with a new American verse translation of Vergil's Eclogues . An accomplished translator, Fowler renders the poet's words into an English that is contemporary while remaining close to the spirit of the original. In an introduction to the text, she compares the treatment of the pastoral form by Vergil and Theocritus, illuminating the ways in which Vergil borrowed from and built upon the earlier poet's work, and thereby moved the genre in a new direction. |A variety of important but lesser-known dimensions of the Chancellorsville campaign are explored in this collection of eight original essays. Departing from the traditional focus on generalship and tactics, the contributors address the campaign's broad context and implications and revisit specific battlefield episodes that have in the past been poorly understood. Contributors include Keith S. Bohannon, Gary W. Gallagher, A. Wilson Greene, John J. Hennessy, Robert K. Krick, James Marten, Carol Reardon, and James I. Robertson Jr.

Portugal enjoyed one of the richest and most sophisticated cultures of the Middle Ages, in part because of its vibrant secular literature. One popular literary genre of the twelfth and thirteenth centuries was the cantigas de amigo , love songs in which male poets wrote from a female perspective. More than five hundred of these mysterious poems depicting a young girl's love for an absent lover survive today. Until now, however, they have remained inaccessible except to a small circle of scholars. In her translation of nearly one hundred representative examples of the cantigas de amigo , Barbara Hughes Fowler recovers the beauty of these poems for the modern reader. Her accurate and elegant renderings capture the charming spontaneity of the lyrics and show them to be a uniquely appealing form of medieval literature. (excerpt of one of the poems) Lovely mother, I saw my friend but did not speak with him and so I lost him, but now I'm dying of love for him. I did not speak because of my disdain; I'm dying, mother, for love of him. |Since its original publication in 1975, this book has become important teaching tool and research volume. Billings brings together more than 200 period documents, on topics including the settlement of Jamestown, the evolution of government and the structure of society, forced labor, the economy, Indian-Anglo relations, and Bacon's Rebellion. This new edition includes approximately 30 additional documents. Freshly rethought chapter introductions and suggested readings incorporate the vast scholarship of the past 30 years. Also includes new illustrations of 17th-century artifacts and buildings as well as a full index.

Ancient Egypt is often thought of as a gloomy society obsessed with death. But a collection of papyri, dating to the latter half of the New Kingdom (ca. 1305-1080 B.C.), presents us with delicate love lyrics that dispel any such illusion. These vibrant love poems, purported to be by boys and girls perhaps as young as thirteen or fourteen years of age, are remarkable for their innocent sensuousness. Combining her notable skills as a translator and a poet, Barbara Fowler provides the first accurate translation of these love lyrics into modern English-language poetry. Her renderings are both elegant and correct. They preserve the charm of a long-lost civilization, while making it possible for readers to appreciate one aspect of that culture in our time and through our language.
Originally published in 1994.
A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

The main aim of this book is to bring Hellenistic poetry to life for the contemporary reader. The selection of poems reflects the wide range of poetic genres, styles, themes and moods of the period. It includes the author's translation of the complete ""Argonautica"" of Apollonius of Rhodes, and eight of Theocritus' ""Idylls"". There are translations of four hymns of Callimachus, as well as poems by Aratus, Bion, Herodas, Moschus, Pseudo-Moschus and a selection from the ""Greek Anthology"". This book may serve as a companion to ""The Hellenistic Aesthetic"" by the same author.

This anthology offers modern readers modern, new translations of the lyric poetry transcribed or written by medieval Irish monks. Irish poets were the first Europeans to write in the vernacular, though few people now read this poetry in its original. Well known for her translations of the poetry of classical Greece, ancient Egypt, and medieval Portugal, Barbara Hughes Fowler once again makes the poetry of another era accessible to a new generation.

The 35 lyrics in this collection were composed between 800 and 1200 A.D., all of them anonymously, although some are attributed to legendary or historical figures who had died centuries before. Irish monks wrote them in the margins of the manuscripts they were copying, or they interpolated poems they either knew or composed into the pagan tales they were recording.

Many of these poems are about what the Irish called Tir na n'Og, the Land of the Young. This was not a place you went after death if you behaved yourself in life. It was where imaginative Irish longed to go -- a paradise of lovely women, bountiful food and drink, and endless treasures of silver, gold, and jewels. The monks who composed or recorded such lyrics preserved their Celtic heritage while making concessions to Christianity, as in these stanzas from "Fair Lady, Will You Go With Me?"

The earth is watered by sweet streams.

We drink the best of mead and wine.

Perfect are the people there.

Conception has no guilt or sin.

We see every one about, and no one sees us, because the darkness caused by Adam's sin prevents them from counting us.

Lyric poems, rooted so firmly in the expression of human emotion, travel well from an ancient culture to a modern one in thehands of a fine translator. Rendered into language and form intended for a general readership, these lyrics help to preserve an ancient and rich culture.

"Fowler's . . . own insights are apparent throughout, and they seem to distill the personal appreciation and understanding of a scholar who has devoted much of her career to both contemplating and enjoying Hellenistic poetry. . . . [This book] would make an excellent background text for courses in later Greek and Roman art, and it can be read with profit by anyone interested in exploring the character of Hellenistic culture."-J. J. Pollitt, American Journal of Archaeology "Outstanding is the range of examples discussed both in poetry and art. Theocritus, Callimachus, Appolonius, the epigrammatists, and others-that is, the major figures of the time-are considered at length and in several different contexts. Passages are quoted in the original Greek, translated, and analyzed. Fowler's sensitivity to poetic forms, evident in her other published writings, is again evident here. In addition, however, the philosophical context is not overlooked. . . . Also highly commendable are the liberal references to works of art. Sculpture in the round and in relief, portraits, terracotta figurines, original paintings (grave stelai) and Campanian murals, mosaics, gold and silver vessels, and jewelry are introduced at various points. Every work of art discussed is illustrated in astonishingly clear photographs, which are interspersed in the body of the text."-Christine Mitchell Havelock "The Hellenistic Aesthetic provides classicists with their first thorough discussion of the aesthetic unity found in Hellenistic art and literature. . . . Fowler examines parallels both in subject matter and in artistic approach among a diverse group of literary genres and artistic forms. In twelve chapters, The Hellenistic Aesthetic surveys Alexandrian epigrams, pastorals, epics, sculptural groups, mosaics, paintings, and jewelry to supply a convincing, and frequently unexpected, picture of a unified aesthetic vision."-Jeffrey Buller, Classical Outlook