One of the Seven Wonders of the World, the lost legendary Lighthouse of Pharos has remained a source of intrigue and mystery to archeologists for centuries. Archeology student Milo Standberry has longed to delve into the mystery of the lighthouse, and he's about to get his chance. His archeology professor, Albert Palmore, believes he knows the location of the lighthouse and decides to take an expedition to Alexandria, Egypt. Along with the beautiful Tracy Peach and the Royal League of Agema, a small faction of passionate pioneers, they set out to excavate the ancient treasure. When they find nothing but dust, the team tries to keep its spirits up, but that's hard when surrounded by the hot sun and sprawling desert. But to everyone's surprise, roaming spirits of ancient times suddenly appear-and they can penetrate into the deepest corner of the human psyche to interfere . or to help. As Milo and his comrades struggle to find the meaning of life amidst the pandemonium of myth and legend, they uncover the shocking truth about Pharos and startling revelations of the history of humanity itself.

Where is the pleasure in tragedy? This question, how suffering and sorrow become the stuff of aesthetic delight, is at the center of Charles Segal's new book, which collects and expands his recent explorations of Euripides' art. Alcestis, Hippolytus, and Hecuba, the three early plays interpreted here, are linked by common themes of violence, death, lamentation and mourning, and by their implicit definitions of male and female roles. Segal shows how these plays draw on ancient traditions of poetic and ritual commemoration, particularly epic song, and at the same time refashion these traditions into new forms. In place of the epic muse of martial glory, Euripides, Segal argues, evokes a muse of sorrows who transforms the suffering of individuals into a "common grief for all the citizens," a community of shared feeling in the theater. Like his predecessors in tragedy, Euripides believes death, more than any other event, exposes the deepest truth of human nature. Segal examines the revealing final moments in Alcestis, Hippolytus, and Hecuba, and discusses the playwright's use of these deaths--especially those of women--to question traditional values and the familiar definitions of male heroism. Focusing on gender, the affective dimension of tragedy, and ritual mourning and commemoration, Segal develops and extends his earlier work on Greek drama. The result deepens our understanding of Euripides' art and of tragedy itself.

Seeking the Mothers in Ovid's "Heroides" explores Ovid's reconceptualization of the heroines' maternal experience. Rather than aligning them with the stereotypical roles of Roman women, motherhood enables the Ovidian heroines to challenge traditional norms with irreverent perspectives on gender categories and familial relationships. To confront these perspectives and overcome the dialectic between the (male) voice of the poet and the (female) voice of the heroines, Seeking the Mothers in Ovid's "Heroides" argues for a form of polyphonic "cooperation" between the two voices, thus providing new angles on ironical discourse and gender fluidity within the Heroides. By reading the Heroides both through feminist theory and against Ovid's poetic production, Simona Martorana provides a novel approach to describe how motherhood enhances the heroines' agency, drawing on works of Kristeva, Irigaray, Butler, Mulvey, Cavarero, Braidotti, and Ettinger. The application of theory is flexible throughout Seeking the Mothers in Ovid's "Heroides" and tailored to the nuances of specific passages rather than being uniformly imposed on the ancient text. Seeking the Mothers in Ovid's "Heroides" reveals how the irony, ambiguity, and polyphony intrinsic to Ovid's poetry are amplified by the heroines' poetic voices. Martorana breaks new ground by incorporating contemporary feminist theories within the analysis of the Heroides and provides an original comprehensive analysis of motherhood that encompasses other Ovidian works, Latin poetry, and classical literature more broadly.

The four tragedies collected in this volume all focus on a central character, once powerful, brought down by betrayal, jealousy, guilt and hatred. The first playwright to depict suffering without reference to the gods, Euripides made his characters speak in human terms.

In this valuable book, Hanna M. Roisman provides a uniquely comprehensive look at Euripides' Hippolytus. Roisman begins with an examination of the ancient preference for the implicit style, and suggests a possible reading of Euripides' first treatment of the myth which would account for the Athenian audience's reservations about his Hippolytus Veiled. She proceeds to analyze significant scenes in the play, including Hippolytus' prayer to Artemis, Phaedra's delirium, Phaedra's "confession" speech, and the interactions between Theseus and Hippolytus. Concluding with a discussion of the meaning of the tragic in Hippolytus, Roisman questions the applicability in this case of the idea of the tragic flaw. Nothing Is as It Seems includes extensive comparisons of Euripides' play with the Phaedra of Seneca. This is a very important book for students and scholars of Greek tragedy, literature, and rhetoric.

Living in Rome under Caligula and later a tutor to Nero, Seneca witnessed the extremes of human behaviour. His shocking and bloodthirsty plays not only reflect a brutal period of history but also show how guilt, sorrow, anger and desire lead individuals to violence. The hero of Hercules Insane saves his own family from slaughter, only to commit further atrocities when he goes mad. The horrifying death of Astyanax is recounted in Trojan Women, and Phaedra deals with forbidden love. In Oedipus a nervous man discovers himself, while Thyestes recounts the bitter family struggle for a crown. Of uncertain authorship, Octavia dramatizes Nero's divorce from his wife and her deportation. The only Latin tragedies to have survived complete, these plays are masterpieces of vibrant, muscular language and psychological insight.

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The tragedies of Euripides are among the most admired works of Greek literature. They are valued especially in our own day for their sceptical attitude to authority and divinity, for their psychological complexity and for their sympathetic but unsentimental portrayal of assertive women. In this striking new monograph, Boris Nikolsky reinterprets a Euripidean tragedy which combines these qualities to the highest degree, the Hippolytus. Nikolsky questions the current gender and psychoanalytical approaches to Hippolytus and challenges the widespread interpretations of the play as being concerned with the irresistible force of love and the inevitability of punishment for those who underestimate its power. He reads the play in terms of its own culture and argues that Euripides' primary interest lies rather in the sphere of morality. Arguing from the dramatic structure of Hippolytus, its imagery and the problems of its production, the author proposes a new interpretation of the play's main theme: humans turn out to be not culprits but victims of fate, their will always tends towards virtue, but their natural weakness and the ambivalence of virtue itself lead them to wrong actions. In consequence, it is exoneration and forgiveness that are shown to be the highest and only pure moral values.