This new translation of Pindar's songs for victorious athletes marries philological rigour with poetic sensibility in order to represent the beauty of his language for a modern audience as closely as possible. Pindar's poetry is synonymous with difficulty for scholars and students of classical studies. His syntax stretches the limits of ancient Greek, while his allusions to mythology and other poetic texts assume an audience that knows more than we now possibly can, given the fragmentary nature of textual and material culture records for ancient Greece. It includes an authoritative introduction, both to the poet and his art and to ancient athletics, alongside brief orientations to the historical context and mythological content of each victory song. The inclusion of a glossary supplies additional mythological and historical information necessary to understanding Pindar's poetry for those coming to the works for the first time. His is the largest body of textual remains that exists for ancient Greece between Homer (conventionally dated to 750 BCE) and the Classical Period (480–323 BCE), and constitutes a rich resource for politics, history, religion, and social practices.

When Patti Miller arrives in Paris to write for a year, the world glows "as if the light that comes after the sun has gone down has spilled gold on everything." But wasn't that just romantic illusion? Miller grew up on Wiradjuri land in country Australia where her heart and soul belonged. Mother of grown-up boys with lives of their own, what did she think she would find in Paris that she couldn't find at home? She turns to French writers, Montaigne, Rousseau, de Beauvoir, and other memoirists, each one intent on knowing the self through gazing into the looking glass of the great world. They accompany her as she wanders the streets of Paris, they even have coffee together, and they talk about love, suffering, desire, motherhood, truth-telling, memory, the writing journey, and how to know who we are in the family and in the cultures that shape us. This story, of a year spent writing and reading in Paris, explores truth and illusion, self-knowledge and identity—and evokes the beauty, the contradictions and the daily life of contemporary Paris.

Sappho, a towering figure in Western culture, is an exemplary case in the history of classical receptions. There are three prominent reasons for this. Firstly, Sappho is associated with some of the earliest poetry in the classical tradition, which makes her reception history one of the longest we know of. Furthermore, Sappho's poetry promotes ideologically challenging concepts such as female authority and homoeroticism, which have prompted very conspicuous interpretative strategies to deal with issues of gender and sexuality, revealing the values of the societies that have received her works through time. Finally, Sappho's legacy has been very well explored from the perspective of reception studies: important investigations have been made into responses both to her as poet-figure and to her poetry from her earliest reception through to our own time. However, one of the few eras in Sappho's longstanding reception history that has not been systematically explored before this volume is the Roman period. The omission is a paradox. Receptions of Sappho can be traced in more than eighteen Roman poets, among them many of the most central authors in the history of Latin literature. Surely, few other Greek poets can rival the impact of Sappho at Rome. This important fact calls out for a systematic approach to Sappho's Roman reception, which is the aim of Roman Receptions of Sappho that focuses on the poetry of the central period of Roman literary history, from the time of Lucretius to that of Martial.

Reprint of the original, first published in 1875.