A comedy of manners that serves as an insightful look at the lives of those in the upper classes. After two sisters, Laure and Marie, learn of their parents’ plan to sell the family’s summer retreat, L’Agapanthe, they devise a scheme for attracting a wealthy suitor who can afford to purchase the estate. Selling it would mean more than just losing a place to go during the summer—for the sisters, it’s become a necessary part of their character, their lifestyle, and their past. L’Agapanthe, a place of charm and nostalgia, is the perfect venue to exercise proper etiquette and intellect, though not all its visitors are socially savvy, especially when it’s a matter of understanding the relationships between old money and the nouveau riche. The comedy of manners begins: with stock traders, yogis, fashion designers, models, swindlers, the Mafia, and a number of celebrity guests. Laure—the witty, disarming, and poignant narrator—guides the reader through elegant dinners, midnight swims in the bay, and conversations about current events, literature, art, and cinema. The Suitors is an amusing insider’s look at the codes, manners, and morals of French high society.

This audacious reimagining of The Odyssey finds Penny home alone while Payne, a modern-day Odysseus, gallivants around the world on battleships and attack helicopters, waging wars of conquest. A drinking, drugging crew of ne'er-do-well squatters surrounds Penny, eager for her attention. Even their most eyebrow-raising exploits can't distract her, though, as she angrily pines for Payne. But when a mysterious man with suspicious origins arrives on the scene, the suitors' precarious pecking order falls to pieces in the glow of Penny's newly ignited ardor. Brutal, playful, sexy, and subversive, The Suitors is a classic of its own kind.

In 1917 Kent, England, 18-year-old Imogene Chively's father has chosen Ernest Steeple as her future husband. But it's Ernest's younger brother, Benjamin, who wins her heart while she is giving him drawing lessons--all while someone seeks to do them harm.

The suitors in the Odyssey strikingly resemble a very specific audience of iambic poets such as Archilochus or Semonides. Justifying these young men's deaths, the Odyssey engages in a polemic intertext with Archilochus' attacks against the threatening epic discourse. This study is concerned with reading both the traces of this often hidden quarrel in the Odyssey and the answers we can find within the iambic texts. Although iambus and epos have been connected in earlier studies, the direct portrait of the iambic audience within the Odyssey has not been examined. This book allows the reader to see these issues in the larger social context.

The Odyssey is one of the oldest works of Western literature, dating back to classical antiquity. Homer’s epic poem belongs in a collection called the Epic Cycle, which includes the Iliad. It was originally written in ancient Greek, utilizing a dactylic hexameter rhyme scheme. Although this rhyme scheme sounds beautiful in its native language, in modern English it can sound awkward and, as Eric McMillan humorously describes it, resembles “pumpkins rolling on a barn floor.” William Cullen Bryant avoided this problem by composing his translation in blank verse, a rhyme scheme that sounds natural in English. This epic poem follows Ulysses, one of the Greek leaders that brought an end to the ten-year-long Trojan war. Longing for home, he travels across the Mediterranean Sea to return to his kingdom in Ithaca; unfortunately, our hero manages to anger Neptune, the god of the sea, making his trip home agonizingly slow and extremely dangerous. While Ulysses is trying to return home, his family in Ithaca is also in danger. Suitors have traveled to the home of Ulysses to marry his wife, Penelope, believing that her husband did not survive the war. These men are willing to kill anyone who stands in their way. This book is part of the Standard Ebooks project, which produces free public domain ebooks.

Since their composition almost 3,000 years ago the Homeric epics have lost none of their power to grip audiences and fire the imagination: with their stories of life and death, love and loss, war and peace they continue to speak to us at the deepest level about who we are across the span of generations. That being said, the world of Homer is in many ways distant from that in which we live today, with fundamental differences not only in language, social order, and religion, but in basic assumptions about the world and human nature. This volume offers a detailed yet accessible introduction to ancient Greek culture through the lens of Book One of the Odyssey, covering all of these aspects and more in a comprehensive Introduction designed to orient students in their studies of Greek literature and history. The full Greek text is included alongside a facing English translation which aims to reproduce as far as feasible the word order and sound play of the Greek original and is supplemented by a Glossary of Technical Terms and a full vocabulary keyed to the specific ways that words are used in Odyssey I. At the heart of the volume is a full-length line-by-line commentary, the first in English since the 1980s and updated to bring the latest scholarship to bear on the text: focusing on philological and linguistic issues, its close engagement with the original Greek yields insights that will be of use to scholars and advanced students as well as to those coming to the text for the first time.

As portrayed in Homer's Odyssey, Penelope - wife of Odysseus and cousin of the beautiful Helen of Troy - has become a symbol of wifely duty and devotion, enduring twenty years of waiting when her husband goes to fight in the Trojan War. As she fends off the attentions of a hundred greedy suitors, travelling minstrels regale her with news of Odysseus' epic adventures around the Mediterranean - slaying monsters and grappling with amorous goddesses. When Odysseus finally comes home, he kills her suitors and then, in an act that served as little more than a footnote in Homer's original story, inexplicably hangs Penelope's twelve maids. Now, Penelope and her chorus of wronged maids tell their side of the story in a new stage version by Margaret Atwood, adapted from her own wry, witty and wise novel. The Penelopiad premiered with the Royal Shakespeare Company in association with Canada's National Arts Centre at the Swan Theatre, Stratford-upon-Avon, in July 2007.

THE STORY: One of the most hilarious French plays ever written, Racine's only comedy (1688) tells of a judge named Nigaud who has lost his mind from overwork and yet is possessed with the desire to go to court and try cases day and night. His son,