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7 Greeks by Guy Davenport
This book is inspiration at its finest. Just reading the Introduction of this excellent book will convince you that Mr. Davenport is as much a poet as he is a scholar. He brilliantly presents the works of poets such as: Sappho, Alkman, Anakreon, Arkhilokhos and others. |
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Greek Lyric Poetry (Oxford World’s Classics) by M. L. West Archilochus, Semonides, Callinus, Eumelus, Tyrtaeus, Mimnermus, Alcman, Sappho, Alcaeus, Theognis, Solon, Aristoxenus, Stesichorus, Ibycus, Anacreon, Lasus, Demodocus, Pythermus, Ananius and Hipponax |
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Greek Lyric Poetry: A New Translation by Sherod Santos Featuring works by such ancient masters as Xenophanes, Callimachus, Sappho, and Simonides. |
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Greek Lyric Poetry (With Greek Texts) by D. Campbell This eition provides a full and representative selection of all early Greek lyric (omitting Pindar, who requires his own volume), elegiac and iambic poetry. |
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Greek Elegiac Poetry: From the Seventh to the Fifth Centuries B.C. translated by Douglas E. Gerber Loeb Classical Library No. 258 (with full explanatory notes); The Greek poetry of the archaic period that we call elegy was composed primarily for banquets and convivial gatherings. Its subject matter consists of almost any topic. |
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Greek Iambic Poetry: From the Seventh to the Fifth Centuries B.C. translated by Douglas E. Gerber Loeb Classical Library No. 259; The poetry of the archaic period that the Greeks called iambic is characterized by scornful criticism of friend and foe and by sexual license. The purpose of these poems is unclear, but they seem to have some connection with cult songs used in religious festivals, for example, those honoring Dionysos and Demeter. In this completely new Loeb Classical Library edition of early Greek iambic poetry, Douglas Gerber provides a faithful and fully annotated translation of the fragments that have come down to us. |
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Greek Lyric: An Anthology in Translation by Andrew W. Miller This volume has examples of some the finest lyric poets and is complete with a glossary of names and informative notes which make the poems come back to life. I enjoyed this book very much and recommend it highly. |
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Greek Lyric: The New School of Poetry and Anonymous Songs and Hymns translated by David A. Campbell Loeb Classical Library No. 144; Towards the end of the fifth century BCE Aristophanes and the other writers of comedy used contemporary poets and musicians as targets for their jokes, making fun of their innovations in language and music. The dithyrambs of Melanippides, Cinesias, Phrynis, Timotheus, and Philoxenus are remarkable examples of this new style. This volume also collects folk songs, drinking songs and other anonymous pieces. |
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Greek Lyric: Sappho and Alcaeus translated by David A. Campbell Loeb Classical Library No. 142; This volume contains the poetic fragments of the two illustrious singers of early sixth-century Lesbos: Sappho, the most famous woman poet of antiquity, whose main theme was love; and Alcaeus, poet of wine, war, and politics, and composer of short hymns to the gods. Also included are the principal testimonia, the ancients’ reports on the lives and work of the two poets. |
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Greek Lyric II: Anacreon, Anacreontea, Choral Lyric from Olympis to Alcman translated by David A. Campbell Loeb Classical Library No. 143; including the work of Anacreon, composer of solo song; the Anacreontea; and the earliest writers of choral poetry, notably the seventh-century Spartans Alcman and Terpander. |
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Greek Lyric, Volume III, Stesichorus, Ibycus, Simonides, and Others translated by David A. Campbell Loeb Classical Library No. 476; All the extant verse of these poets is given in this third volume of David Campbell’s edition of Greek lyric poetry, along with the ancients’ accounts of their lives and works. Ten contemporary poets are also included, among them Arion, Lasus, and Pratinas. |
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The Cambridge History of Classical Literature: Volume 1, Greek Literature, Part 1, Early Greek Poetry by by P. E. Easterling and Bernard M. W. Knox A chronological survey of Greek literature from Homer to the end of the third century CE. Order The Cambridge History of Classical Literature from Amazon.com |
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Greek Epic Cycle by Malcom Davies Poets of the seventh and sixth centuries BCE composed epics that covered other parts of the Trojan War story or different areas of Greek mythology. Collectively these poems came to be known by Hellenistic scholars in Alexandria as The Epic Cycle. |
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Pindar I: The Olympian and Pythian Odes translated by William H. Race Loeb Classical Library Volume 56; Pindar wrote elaborate odes in honor of prize-winning athletes for public performance by singers, dancers, and musicians. These victory odes celebrate triumphs in athletic contests at the Olympic and Pythian games. |
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Pindar II: Nemean Odes, Isthmian Odes, Fragments translated by William H. Race Loeb Classical Library No. 485; Pindar wrote elaborate odes in honor of prize-winning athletes for public performance by singers, dancers, and musicians. These victory odes celebrate triumphs in athletic contests at the Nemean and Isthmian games. |
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The Complete Odes (of Pindar) by Stephen Instone and Anthony Verity Pindar composed victory odes for winners in the ancient Games, including the Olympics. The Odes contain versions of some of the best known Greek myths, such as Jason and the Argonauts, and Perseus and Medusa, and are a valuable source for insights on Greek religion and ethics. Pindar’s startling use of language, including striking metaphors, bold syntax, and enigmatic expressions, makes reading his poetry a uniquely rewarding experience. |
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The Odes (of Pindar) translated by C. M. Bowra Pindar was a Greek lyric poet (circa 518-438 BCE); that brief definition hardly describes a man who has been lauded as the greatest lyric poet of all time; his language, imagery and effortless eloquence have been the subject of praise, imitation and envy for two and a half millennia. |
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Poems and Fragments (Sappho) translated by Stanley Lombardo This title is a new Sappho by a master poet and translator that treats the fragments as aesthetic wholes, complete in their fragmentariness, and which is also, as the translator puts it: “ever mindful of performative qualities, quality of voice, changes of voice...”. |
