Can love truly conquer all, even for a soul-hardened immortal gladiator? For eons he's been alone... Jacobus "Jace" Leonius has been running from his past, since he long ago shattered the chains binding him as a gladiator. Regret for the innocents slaughtered beneath his hand forced him to the edges of humanity. Now, he collects the lost, those needing a place to belong, at his night club. When he's forced on a mission with his brother's warriors, Jace comes face-to-face with the one person able to soothe his bleak loneliness. But protecting her from the assassins after them might be easier than keeping her safe from the deadlier beast locked within his soul. A mortal running for her life... Thrown into a bloodthirsty world of magic and mayhem she never believed existed, Skylar Scott must fight for the right to survive. With the gods and their monsters eager to steal her coming powers, Skye must do the hardest thing she's ever done--trust another not just with her own life, but with those she holds most dear. The only man who can keep her safe is the same one threatening to destroy the walls around her closely guarded heart. For behind his roughness, Jace matches her in the most intriguing ways, and he calls to her on levels she can't deny. They must fight together or lose it all... When the odds are stacked against them, can Jace and Skye overcome their fears to claim a love that's destined by the Fates themselves?

In AD 8 Ovid's brilliant career was abruptly ruined when the Emperor Augustus banished him, for reasons never satisfactorily explained, to Tomis (Constanta) on the Black Sea. The five books of Tristia (Sorrows) express his reaction to this savage and, as he clearly regarded it, unjust sentence. Though their ostensible theme is the misery and loneliness of exile, their real message, if they are read with the care they deserve, is one of affirmation. With a wit and irony that borders on defiance, Ovid repeatedly asserts the injustice of his sentence and of the preeminence of the eternal values of poetry over the ephemeral dictates of an earthly power. In technical skill and inventiveness these elegies rank with the Art of Love or the Fasti. For this new translation Alan Melville has reproduced, in rhyming stanzas, the virtuosity, wit, and elegance of the original.

Gibbon offers an explanation for why the Roman Empire fell, a task made difficult by a lack of comprehensive written sources, though he was not the only historian to tackle the subject. Most of his ideas are directly taken from what few relevant records were available: those of the Roman moralists of the 4th and 5th centuries.

Drawing from a rich corpus of art works, including sarcophagi, tomb paintings, and floor mosaics, Patrick R. Crowley investigates how something as insubstantial as a ghost could be made visible through the material grit of stone and paint. In this fresh and wide-ranging study, he uses the figure of the ghost to offer a new understanding of the status of the image in Roman art and visual culture. Tracing the shifting practices and debates in antiquity about the nature of vision and representation, Crowley shows how images of ghosts make visible structures of beholding and strategies of depiction. Yet the figure of the ghost simultaneously contributes to a broader conceptual history that accounts for how modalities of belief emerged and developed in antiquity. Neither illustrations of ancient beliefs in ghosts nor depictions of afterlife, these images show us something about the visual event of seeing itself. The Phantom Image offers essential insight into ancient art, visual culture, and the history of the image.

Rufus of Ephesus' treatise On Melancholy represents perhaps the most influential medical monograph from the late first century AD, since his notion of melancholy links two diverse aspects: black bile as a cause for madness and depression and as a sign of intellectual genius. Rufus combines concepts of melancholy developed in the Aristotelian philosophy with concepts of famous physicians such as Hippocrates and Diocles. His ideas strongly influenced subsequent generations of physicians, and especially Galen, and dominated discourses on the topic during the Middle Ages and the Renaissance. Moreover, the reception of Rufus' concepts was not limited to the Western world; in medieval Muslim culture, in particular, his work enjoyed great fame and favor, and many intellectuals read it eagerly.In this volume, the Greek, Latin and Arabic fragments of this work, lost in the original, have been collected for the first time. Arabic sources in particular yield hitherto unknown fragments, thus allowing for new interpretations of this work. The English introduction, translation and commentary reconstruct the main arguments of this important treatise, enabling the interested scholar to obtain easy access to it. Leading scholars contributed interpretative essays which investigate Rufus and his ideas about melancholy in antiquity, the Middle Ages, the Renaissance and the early modern period from different vantage points, including history, philosophy, literature, art history and psychiatry.