In dramatic and narrative power, Virgil's Aeneid is the equal of its great Homeric predecessors, The Iliad and The Odyssey. It surpasses them, however, in the intense sympathy it displays for its human actors-a sympathy that makes events such as Aeneas's escape from Troy and search for a new homeland, the passion and the death of Dido, the defeat of Turnus, and the founding of Rome among the most memorable in literature.
This celebrated translation by Robert Fitzgerald does full justice to the speed, clarity, and stately grandeur of the Roman Empire's most magnificent literary work of art.
Aeneas flees the ashes of Troy to found the city of Rome and change forever the course of the Western world--as literature as well. Virgil's Aeneid is as eternal as Rome itself, a sweeping epic of arms and heroism--the searching portrait of a man caught between love and duty, human feeling and the force of fate--that has influenced writers for over 2,000 years. Filled with drama, passion, and the universal pathos that only a masterpiece can express. The Aeneid is a book for all the time and all people.
The myth of fire stolen from the gods appears in many pre-industrial societies. In Greek culture Prometheus the fire-stealer figures prominently in the poems of Hesiod, but in Prometheus Bound Hesiod's morality tale has been transformed into a drama of tragic tone and proportions. In the introduction, Mark Griffith examines how the dramatist has achieved this transformation, looking at the play from all angles - plot and characters, dramatic technique, style and metre. He includes a short section on the production of the play and on the questions of authenticity and date. The commentary guides the reader through problems of language, metre and content. An important feature of this volume is the appendix, which gathers together the existing fragments of the other two plays in the supposed Prometheus trilogy, quoting them in full in the original language and in translation, with short accompanying commentary. This is suitable for undergraduates and students in the upper forms of schools. It also deserves the serious attention of scholars. The introduction requires no knowledge of Greek and will interest students of drama and literature in other cultures too.
A collection of eight plays along with accompanying critical essays. Includes: "The Oresteia" - Aeschylus; "Prometheus Bound" - Aeschylus; "Oedipus the King" - Sophocles; "Antigone" - Sophocles; "Medea" - Euripides; "The Bakkhai" - Euripides; "Oedipus" - Seneca; "Medea" - Seneca.
In nine paperback volumes, the Grene and Lattimore editions offer the most comprehensive selection of the Greek tragedies available in English. Over the years these authoritative, critically acclaimed editions have been the preferred choice of over three million readers for personal libraries and individual study as well as for classroom use.
Ovid (Publius Ovidius Naso, 43 BCE-17 CE), born at Sulmo, studied rhetoric and law at Rome. Later he did considerable public service there, and otherwise devoted himself to poetry and to society. Famous at first, he offended the emperor Augustus by his Ars Amatoria, and was banished because of this work and some other reason unknown to us, and dwelt in the cold and primitive town of Tomis on the Black Sea. He continued writing poetry, a kindly man, leading a temperate life. He died in exile.
Ovid's main surviving works are the Metamorphoses, a source of inspiration to artists and poets including Chaucer and Shakespeare; the Fasti, a poetic treatment of the Roman year of which Ovid finished only half; the Amores, love poems; the Ars Amatoria, not moral but clever and in parts beautiful; Heroides, fictitious love letters by legendary women to absent husbands; and the dismal works written in exile: the Tristia, appeals to persons including his wife and also the emperor; and similar Epistulae ex Ponto. Poetry came naturally to Ovid, who at his best is lively, graphic and lucid.
The Loeb Classical Library edition of Ovid is in six volumes.
Whether his target is the war between the sexes or his fellow playwright Euripides, Aristophanes is the most important Greek comic dramatist--and one of the greatest comic playwrights of all time. His writing--at once bawdy and delicate--brilliantly fuses serious political satire with pyrotechnical bombast, establishing the tradition of comedy as high art. His messages are as timely and relevant today as they were in ancient Greece, and his plays still provoke laughter--and thought.This volume features four celebrated masterpieces: Lysistrata, The Frogs, The Birds, and The Clouds, translated by three of the most distinguished translators and classicists of our time.
David Grene, one of the best known translators of the Greek classics, splendidly captures the peculiar quality of Herodotus, the father of history.Here is the historian, investigating and judging what he has seen, heard, and read, and seeking out the true causes and consequences of the great deeds of the past. In his History, the war between the Greeks and Persians, the origins of their enmity, and all the more general features of the civilizations of the world of his day are seen as a unity and expressed as the vision of one man who as a child lived through the last of the great acts in this universal drama. In Grene's remarkable translation and commentary, we see the historian as a storyteller, combining through his own narration the skeletal historical facts and the imaginative reality toward which his story reaches. Herodotus emerges in all his charm and complexity as a writer and the first historian in the Western tradition, perhaps unique in the way he has seen the interrelation of fact and fantasy. Reading Herodotus in English has never been so much fun. . . . Herodotus crowds his fresco-like pages with all shades of humanity. Whether Herodotus's view is 'tragic, ' mythical, or merely common sense, it provided him with a moral salt with which the diversity of mankind could be savored. And savor it we do in David Grene's translation.--Thomas D'Evelyn, Christian Science Monitor Grene's work is a monument to what translation intends, and to what it is hungry to accomplish. . . . Herodotus gives more sheer pleasure than almost any other writer.--Peter Levi, New York Times Book Review