Pythagoras and Heraclitus developed theories of the universe and mankind's place in it which were taken seriously by all later Greek thinkers. None of their works remains, however, except in later paraphrases that all too often are misrepresentations. Pythagoras had followers who attributed their own ideas to their master; Heraclitus wrote in a prose style so ambiguous that he came to be known as the Shadow, so that even the most earnest attempts to paraphrase his views had to smooth out his intentional rough edges. Nonetheless, enough remains to allow the authors of this volume, edited by David Sider and Dirk Obbink (Oxford), to offer new ways of viewing their views and the way others perceived them. The contributors are Gabor Betegh (Budapest), Roman Dilcher (Heidelberg), Aryeh Finkelberg (Tel Aviv), Daniel Graham (Brigham Young University), Herbert Granger (Wayne State University), Carl Huffman (DePauw), Enrique Hulsz Piccone (Mexico City), Anthony Long (Berkeley), Richard McKirahan (Pomona), Catherine Rowett (East Anglia), David Sider (New York), and Leonid Zhmud (St. Petersberg).

This is a complete edition, with prolegomena, translation, and commentary of the first, "philosophical" part of Philodemus' De Pietate, preserved in papyri. Introducing a new method for reconstructing the fragmented papyrus rolls recovered from Herculaneum, this is the first edition based on the papyri themselves (where they still exist), rather than on faulty reproductions, and the first edition to bring together fragments hitherto thought to be from different rolls. It will also be the first translation of the work into any language. An innovative format presents on facing pages the technical details of the papyrus, and a conventional, continuous text with interpretive notes. The work itself comprises a polemical treatise on the gods, mythography, and religion, presenting a defence of Epicurus's view of religion as an outgrowth of cultural history, and a philosophical rationale for participation in traditional cult practices in order to further social cohesion.

This is a collection of essays by leading American and European scholars. Its purpose is to remedy the tendency among scholars working in Greek Religion to ignore the evidence for what have traditionally been called "magical" practices in ancient Greece. Because this neglect seems to arrive from adherence to a preconceived notion about a clear dichotomy between magical and religious ritual, the editors focus on the relationship between these two areas.

This is the editio princeps, based on new papyrus discoveries, of a Greek poem on astrology by an author whose notorious collaborations with Simon Magus is novelistically recounted in the Clementina. A versified handbook of horoscopes and introduction to the sciences, it is the only Greek astrological poem to have been written in elegiac couplets, and ist a new accession to the corpus of didactic poetry in the tradition of Aratus' Phaenomena, Manilius' Astronomica, and Ovid's Fasti. The edition offers a collection and complete re-edition of the remains of the poem's original four books: published and unpublished papyri, plus fragments and testimonia preserved in the secondary tradition.

Designed to offer a critical survey of trends and developments in recent scholarship on Philodemus of Gadara (c.110-40 BC) and Hellenistic literary theory, the essays in this volume treat the papyrus texts of Philodemus' treatises on poetry and the related subjects of rhetoric and music, establishing links with his Roman contemporaries Lucretius, Catullus, Horace, and Virgil. The volume contains a complete translation of Philodemus' On Poems Book 5. The essays evaluate Philodemus' formalism, which denied the moral utility of poetry as it sought to demonstrate the convergence of the Epicurean and the traditionally poetic. The distinguished contributors are D. Obbink, D. Clay, E. Asmis, D. Sider, M. Wigodsky, R. Janko, J. Porter, D. Blank, D. Armstrong, and S. Oberhelman.

The Getty Hexameters looks in detail at a series of forty-four magical verses inscribed on a recently discovered lead tablet from Sicily in the fifth century BC, which is now in the Getty Museum, Los Angeles.
Divided into two sections, the volume consists of a general introduction to the new inscriptions, together with a critical text and English translation, photographs, and drawings. The second section contains a collection of eleven interpretative essays which treat various aspects of the text, including religious and civic context, date and poetic language, transmission, and connections to ancient magic and ritual practice.
The volume is the first complete critical edition of the Greek text to appear in print and contains important scholarship for the field of classics from an acclaimed list of contributors.

This volume originated in a conference of the same title, held in Oxford in September 2006, to celebrate the 70th birthday of Peter Parsons, Regius Professor of Greek at Oxford from 1989 to 2003. The contributors, who are former pupils, colleagues or collaborators with Peter Parsons, share a deep admiration for him and his work. Peter Parsons has, throughout his career, been engaged in research on newly discovered papyrus texts, and such texts play an important part in this volume's discussions. He has also constantly sought to use these texts to illuminate the literary and cultural history of antiquity. The essays in this volume are suitably diverse, reflecting the broad interests of the honorand: they straddle prose and verse, literary and subliterary texts, addressing both theoretical issues and specific practical problems of interpretation which contribute to the difficulties faced in giving form and meaning to the diverse and fragmentary evidence of ancient literary history - to give some kind of partial unity to 'culture in pieces'.
Broader topics considered include the methodology of editing fragments, the problems of identifying authorship (New Comedy being treated as a test case), the ambiguities of texts which may or may not be read as ironic, and the development of the Greek novel. Among major authors treated are Pindar, Euripides, Menander, Callimachus, and Ovid. The volume also includes an introduction outlining Peter Parsons's career and achievements, and a bibliography of his publications.

The literary genres given shape by the writers of classical antiquity are central to our own thinking about the various forms literature takes. Examining those genres, the essays collected here focus on the concept and role of the author and the emergence of authorship out of performance in Greece and Rome.

In a fruitful variety of ways the contributors to this volume address the questions: what generic rules were recognized and observed by the Greeks and Romans over the centuries; what competing schemes were there for classifying genres and accounting for literary change; and what role did authors play in maintaining and developing generic contexts? Their essays look at tragedy, epigram, hymns, rhapsodic poetry, history, comedy, bucolic poetry, prophecy, Augustan poetry, commentaries, didactic poetry, and works that "mix genres."

The contributors bring to this analysis a wide range of expertise; they are, in addition to the editors, Glenn W. Most, Joseph Day, Ian Rutherford, Deborah Boedeker, Eric Csapo, Marco Fantuzzi, Stephanie West, Alessandro Barchiesi, Ineke Sluiter, Don Fowler, and Stephen Hinds. The essays are drawn from a colloquium at Harvard's Center for Hellenic Studies.

The world has long wished for more of Sappho's poetry, which exists mostly in tantalizing fragments. So the apparent recovery in 2004 of a virtually intact poem by Sappho, only the fourth to have survived almost complete, has generated unprecedented excitement and discussion among scholarly and lay audiences alike. This volume is the first collection of essays in English devoted to discussion of the newly recovered Sappho poem and two other incomplete texts on the same papyri. Containing eleven new essays by leading scholars, it addresses a wide range of textual and philological issues connected with the find. Using different approaches, the contributions demonstrate how the "New Sappho" can be appreciated as a complete, gracefully spare poetic statement regarding the painful inevitability of death and aging.