An evocative and lyrical history of Cyprus and the Mediterranean. Think of a place where you can stand at the intersection of Christian and Arab cultures, at the crossroads of the British, Ottoman, Byzantine, Roman and Egyptian empires; a place marked by the struggle between fascism and communism and where the capital city is divided in half as a result of bloody conflict; where the ancient olive trees of Homer's time exist alongside the undersea cables which link up the world's internet. In Cypria, named after a lost Cypriot epic which was the prequel to The Odyssey, British Cypriot writer Alex Christofi writes a deeply personal, lyrical history of the island of Cyprus, from the era of goddesses and mythical beasts to the present day. This sprawling, evocative and poetic book begins with the legend of the cyclops and the storytelling at the heart of the Mediterranean culture. Christofi travels to salt lakes, crusader castles, mosques and the eerie town deserted at the start of the 1974 war. He retells the particularly bloody history of Cyprus during the twentieth century and considers his own identity as traveler and returner, as Odysseus was. Written in sensitive, witty and beautifully rendered prose, with a novelist's flair and eye for detail, Cypria combines the political, cultural and geographical history of Cyprus with reflections on time, place and belonging.

In Classical times, the story of the Trojan War was told in a series of eight epic poems known as the Epic Cycle, of which only the Iliad and Odyssey by Homer survive to the present day. The first poem in the sequence was the Cypria, which described the early years of the war from Eris' casting of the golden apple at the wedding of Peleus and Thetis, to Paris' abduction of Helen, the sacrifice of Iphigenia, Odysseus' treacherous murder of Palamedes, and finally, the enslavement of Briseis and Chryseis, which sowed the seeds of the conflict between Achilles and Agamemnon in the Iliad. The Cypria is now lost, but the myths it once contained are known from a number of later writings. In an ambitious exercise in literary back-breeding, editor D. M. Smith attempts to reconstruct the lost prequel to Homer's Iliad from the available material. Included are excerpts from Ovid's Metamorphoses, Apollodorus' Bibliotheca, Euripides' Iphigenia at Aulis and Colluthus' The Rape of Helen, as well as lesser known documents such as Dictys Cretensis Ephemeris Belli Trojani, and the Excidium Troiae - a medieval summary of a lost Roman account of the Trojan War, discovered among the papers of an 18th century clergyman in the 1930s. This eclectic melange of Greek and Latin texts has been carefully edited and arranged in accordance with the known chronology of the Cypria, thus allowing readers to trace the story of this vanished epic as a continuous narrative for the first time in over a thousand yea

The Cypria, so named because its poet supposedly came from the island of Cyprus, was an early Greek epic that is known to us primarily through quotations and references to passages by later authors, as well as through a prose summary of its plot and contents. Malcolm Davies uses linguistic evidence from the available verbatim fragments, along with other considerations, to suggest that the Cypria was written after Homer and was intended as a sort of prequel to the plot of the Iliad. In light of this evidence, it is noteworthy that many of the incidents described in the Cypria seem markedly un-Homeric; to give just one example, the Judgment of Paris, a popular subject in later Greek literature and art, most likely received its first detailed treatment in the Cypria, whereas the Iliad mentions it only fleetingly. Here Davies collects and translates the extant fragments of the Cypria and provides a commentary that anchors it in the Homeric context as well as in the broader world of ancient Greek art and literature.

Vols. 1-8, 1880-87, plates published separately and numbered I-LXXXIII.

The poems of the Epic Cycle are assumed to be the reworking of myths and narratives which had their roots in an oral tradition predating that of many of the myths and narratives which took their present form in the Iliad and the Odyssey. The remains of these texts allow us to investigate diachronic aspects of epic diction as well as the extent of variation within it on the part of individual authors - two of the most important questions in modern research on archaic epic. They also help to illuminate the early history of Greek mythology. Access to the poems, however, has been thwarted by their current fragmentary state. This volume provides the scholarly community and graduate students with a thorough critical foundation for reading and interpreting them.