The recitation of hymns during festivals, temple rites and domestic cultus is an ancient part of Hellenic and Italian religion. Collections of hymns circulated under the names of some of the greatest poets - Orpheus, Mousaios, Homer, Pindar, Theokritos, Kallimachos, Proklos and the emperor Julian to name just the best known. And now there are the Hymns of Sannion. This corpus of 31 poems honoring the god Dionysos in his multitude of forms is being published as Thunderstruck with Wine so that contemporary polytheists (be they of his own emergent Bacchic Orphic tradition or not) will have another devotional tool at their disposal. These hymns can be read in their entirety in one sitting or spread out with one read each day of the month. These aren't just poetry filled with lovely imagery and sentiment - they are Keys that open the Labyrinth, letting Dionysos and his mad retinue through into our world. Use them accordingly and carefully.

Satyric Play is the first book to offer an integrated analysis of Greek comedy and satyr drama. Using a literary-historical approach, Carl A. Shaw argues that comedy and satyr plays influenced each other in nearly all stages of their development. Although satyr drama was written by tragedians and employed a number of formal tragic elements, the humorous chorus of half-man, half-horse satyrs encouraged sustained interaction between poets of comedy and satyr play. From sixth-century proto-drama, through classical productions staged at the Athenian City Dionysia, to bookish Alexandrian plays of the third-century, the remains of comic and satyric performances reveal a range of literary, aesthetic, historical, religious, and geographical connections. Shaw analyzes the details of this interplay diachronically, looking at a wide range of literary and material evidence. He shows that ancient critics and poets allude to comic-satyric associations in surprising ways, vases depict fascinating performative connections, and the plays themselves share titles, plots, modes of humor, and occasionally even a chorus of satyrs. Satyric Play uncovers and examines the complex, shifting relationship between comedy and satyr drama, offering insight into the development of these genres and the Greek theatrical experience as a whole.

If Mick Churchill thinks he can buy out half of Shelby Jackson's family-owned race team, she's got news for him. So what if Mick's the most famous soccer star on the globe—with cash, connections and charisma? Fuel line? Finish line? Shelby doubts the Brit knows the difference. Superstar Mick knew buying a NASCAR team was going to be tricky. The truth is the struggling team needs Mick's media savvy and team-building skills—even if Shelby can't admit it. Now, with Daytona just days away, Mick won't quit until he changes Shelby's mind. Any way he can.

A Companion to Horace features a collection of commissioned interpretive essays by leading scholars in the field of Latin literature covering the entire generic range of works produced by Horace. Features original essays by a wide range of leading literary scholars Exceeds expectations for the standard handbook by featuring essays that challenge, rather than just summarize, conventional views of Homer's work and influence Considers Horace’s debt to his Greek predecessors Treats the reception of Horace from contemporary theoretical perspectives Offers up-to-date information and illustrations on the archaeological site traditionally identified as Horace's villa in the Sabine countryside

Some of the best evidence for the early development of literary criticism before Plato and Aristotle comes from Athenian Old Comedy. Playwrights such as Eupolis, Cratinus, Aristophanes and others wrote numerous comedies on literary themes, commented on their own poetry and that of their rivals, and played around with ideas and theories from the contemporary intellectual scene. How can we make use of the evidence of comedy? Why were the comic poets so preoccupied with questions of poetics? What criteria emerge from comedy for the evaluation of literature? What do the ancient comedians' jokes say about their own literary tastes and those of their audience? How do different types of readers in antiquity evaluate texts, and what are the similarities and differences between 'popular' and 'professional' literary criticism? Does Greek comedy have anything serious to say about the authors and texts it criticizes? How can the comedians be related to the later literary-critical tradition represented by Plato, Aristotle and subsequent writers? This book attempts to answer these questions by examining comedy in its social and intellectual context, and by using approaches from modern literary theory to cast light on the ancient material.

The editors look at dithyramb in its entirety, understanding it as a social and cultural phenomenon of Greek antiquity. How the dithyramb functions as a marker and as a carrier of social change throughout Greek antiquity is expressed in themes such as performance and ritual, poetics and intertextuality, music and dance, history and politics.

Book 3 of the Odes completes the lyric trilogy which Horace, who rivals Virgil as the greatest of all Latin poets, published in 23 BC. Arguably his most famous book, it opens with the six so-called 'Roman Odes', those defining texts of the Augustan Age, and concludes with the statement of his achievement: he has produced for his Roman readers a body of lyric poetry to rival the great lyric poets of Greece, a monument which will last as long as Rome itself. The present volume aims to place Horace's Odes in their literary and historical context, to explain his Latin, to articulate his thought, and to attempt to elucidate his brilliance. It presents a new text and adopts an approach independent of that of earlier commentators.

Hellenistic poets opted and were very likely expected to deal meaningfully, and perhaps competitively, with the tradition they inherited. They also needed to secure the goodwill of actual or potential patrons. Apollonius, the author of a novel heroic epic, eschews references to literary polemics and patronage. Callimachus often adopts a polemical stance against some colleagues in order to suggest his poetic excellence. Theocritus chooses a third way, which has not been investigated adequately. He avoids antagonism but ironizes the theme of poetic excellence and distances himself from the tradition of competitive success. He does not cast his narrators as superior to predecessors and contemporaries but stresses the advantages and merits of colleagues. This rejection of conceit is connected with a major strand in Theocritean poetry: the power of word, including song, to provide assistance to characters in distress is a major open issue. Language is versatile and potent but not all-powerful. Song gives pleasure but is not a panacea while instruction and advice are never helpful and may even prove harmful. Most genuine pieces are ambiguous and open-ended so that the aspirations of characters are not presented as doomed to failure.

A leading authority in the field, Phillip Harding presents the very first English translations of the six Athenian writers known as the Atthidographers. In his vivid and detailed history, Harding examines the remaining fragments of these historical writers' work – in chronological order – and how these writings, dating from the fifth and fourth century BC, reveal an invaluable wealth of information about early Athenian history, legend, religion, customs and anecdotes. Harding also goes on to study how these histories of Athens and its people were the source for later surviving historians such as Plutarch and Diodorus. With the aid of linking text and detailed annotation, anyone with an interest in Athenian history, classical Greece need look no further.