Poetry Books

Book SynopsisTrade ReviewMiller is one of the ablest experts in the language of Greek poetry, and he has a razor-sharp sense for the nuances of the wording. A lastingly important sourcebook; I strongly recommend it. --Gregory Nagy, Harvard UniversityAndrew Miller is one of the--if not the--leading authority on classical antiquity’s most difficult lyric poet, Pindar. This book of translations and social and literary commentary proudly takes its place next to Richmond Lattimore’s. There is no better introduction to the problems and accomplishments of Greek lyric poetry, and the expert will appreciate the seriousness and brilliance of insight from a Hellenist of the highest caliber. --Joseph M. Romero, Mary Washington College. . . the translations are first-rate, better than anything comparable I know. The author is intelligent and scrupulous; he succeeds in maintaining a much higher level of accuracy and readability than any of his competitors. --Emmet Robbins, University of Toronto

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Book SynopsisOriginally adapted for the stage, Peter Meineck''s revised translations achieve a level of fidelity appropriate for classroom use while managing to preserve the wit and energy that led The New Yorker to judge his CloudsThe best Greek drama we''ve ever seen anywhere, and The Times Literary Supplement to describe his Wasps as Hugely enjoyable and very, very funny. A general Introduction, introductions to the plays, and detailed notes on staging, history, religious practice and myth combine to make this a remarkably useful teaching text.Trade ReviewStorey's contributions are solid, and conduct the beginner clearly and logically through the various minefields of Aristophanic scholarship, without oversimplification. . . . The particular virtue of Meineck lies in the fact that he is a theatre director who has worked with these texts in an attempt to realize them for modern audiences. . . . His aim of producing translations ‘that are understandable, performable, accessible, and entertaining’ has clearly been fulfilled. --Keith Sidwell, Classical Review. . . lively and entertaining. It conveys the astonishing vigor of the original Greek, while keeping close to the text. The notes would be useful in the classroom. --Margaret E. Reesor, Queen's University

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Book SynopsisOriginally adapted for stage, Peter Meineck's revised translation features a general introduction and introductions to the plays. Detailed notes on staging, history, religious practice and myth combine to make a this a practical teaching text.Trade ReviewStorey's contributions are solid, and conduct the beginner clearly and logically through the various minefields of Aristophanic scholarship, without oversimplification. . . . The particular virtue of Meineck lies in the fact that he is a theatre director who has worked with these texts in an attempt to realize them for modern audiences. . . . His aim of producing translations ‘that are understandable, performable, accessible, and entertaining’ has clearly been fulfilled. --Keith Sidwell, Classical Review. . . lively and entertaining. It conveys the astonishing vigor of the original Greek, while keeping close to the text. The notes would be useful in the classroom. --Margaret E. Reesor, Queen's University

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Book SynopsisThis is a book worthy of high praise. . . . All versions are exceedingly witty and versatile, in verse that ripples from one's lips, pulling all the punches of Plautus, the knockabout king of farce, and proving that the more polished Terence can be just as funny. Accuracy to the original has been thoroughly respected, but look at the humour in rendering Diphilius' play called Synapothnescontes as Three's a Shroud. . . . Students in schools and colleges will benefit from short introductions to each play, to Roman stage conventions, to different types of Greek and Roman comedy, and there is a note on staging, with a diagram illustrating a typical Roman stage and further diagrams of the basic set for each play. The translators have paid more attention to stage directions than is usually given in translations, because they aim to show how these plays worked. This is a book to be used and enjoyed. --Raymond J. Clark, The Classical OutlookTrade ReviewThese five new translations . . . take to its logical, lively conclusion the long-held but oft-ignored reality that Plautus and Terence were writers for the stage. These versions have verve: playability, liveliness, accessibility, unlike anything on library shelves today. Of modern-day attempts at Plautus-inspired music, for example, only Stephen Sondheim has excelled the inspired zaniness of Douglass Parker’s lyrics. There is much virtue to be measured here. . . . After reading these plays we might spend considerable thought on the possibility that conservative translations in the style of Barsby are less authentic--if such a thing can be measured--than those of Berg and Parker. . . . This is a deceptively important book, meriting a wide, attentive readership. . . . [Berg and Parker's] theater-friendly versions offer a vision of the future of Roman comedy, both scholarly and popular. The profession will be well repaid to take an appreciative look. --David Frauenfelder, North Carolina State UniversityDeena Berg and Douglass Parker’s Plautus & Terence: Five Comedies is a fascinating postmodernist rendition of some of the most postmodernist--metatheatrical, self-referential, sophisticated, stylized--literature classical antiquity has to offer. The sparkling and eminently performable translations are a hard act to precede, but the translator’s delightful introductions are a worthy match for their subjects. . . . Highly recommended. --John Wright, Northwestern UniversityThis splendid sampling of Roman comedy is particularly welcome because Parker and Berg have combined the best known (and perhaps finest) comedies of Plautus and Terence (The Brothers Menaechmus, here 'Double Bind,' and Miles Gloriosus, here 'Major Blowhard,' and Adelphoe, 'The Brothers') with two rarer and rather special comedies: 'The Wild Wild Women,' Plautus' exuberant Bacchides, and 'The Mother-in-Law' (Hecyra), perhaps Terence's most modern comedy, important as evidence from ancient comedy for the evolution of the sentimental or psychological drama of everyday life. The translators are to be congratulated on their choices and their truly up-to-date versions; Parker is a veteran whose punning wit and swashbuckling idiom in his very actable Plautus scripts contrast nicely with the simple elegance of Berg's Terence." —Elaine Fantham, Princeton UniversityTable of ContentsPart I: The Late Classics / Post-classic in Oaxaca - An Introduction; Part II: Chronology, Continuity and Disjunction - Etic and Emic Perspectives; Part III: Continuity and Abandonment of Houses in the Valley of Oaxaca - Lambityeco and Macuilxochitl; Part IV: Changing Power Relations and Interaction in the Lower Rio Verde Valley; Part V: Sacred History and Legitimisation in the Mixteca Alta; Part VI: New Research Frontiers in Oaxaca and Eastern Guerreo; Index.

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Book SynopsisPeter Meineck and Paul Woodruff's collaboration on this new translation combines the strengths that have recently distinguished both as translators of Greek tragedy: expert knowledge of the Greek and of the needs of the teaching classicist, intimate knowledge of theatre, and an excellent ear for the spoken word. Their Oedipus Tyrannus features foot-of-the-page notes, an Introduction, stage directions and a translation characterized by its clarity, accuracy, and power.Trade ReviewA clear, vigorous, spare, actable translation, and with it, excellent apparatus (Intro., notes, bibliography); all in a slim and affordable volume. I will use when I next teach Oedipus. Hackett is an invaluable resource!--Rachel Hadas, Rutgers UniversityI have enjoyed all of the recent Hackett editions of translations of Greek literature and "Oedipus Tyrannus” is certainly no exception. Meineck and Woodruff got things just right, from employing "Tyrannus” instead of "Rex” in the title (as has become traditional, though it lends an erroneous sense to the play from the outset) to Woodruff’s very fine and accessible Introduction to the suspenseful, poetic and powerful rendering of the play itself. Meineck’s theatrical sensibility and knowledge are evident, yet the text never becomes too "stagey” nor wanders far from the Greek. I will definitely use this text along with other terrific Hackett editions in my courses.--Lisa Rengs George, Arizona State UniversityAn excellent translation. . . . Paul Woodruff’s Introduction, written for a general audience, is clear and well-informed.--Herman Van Looy, L'Antiquité Classique

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Book SynopsisPresents a 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...Trade ReviewThe four sections of this book [Introduction, Translator's Note, translations, Notes on Ancient Sources] work remarkably well together, presenting the fragments of Sappho according to 'the idea of the isolated message' (xvii). The dominant and characteristic interest shared by both Lombardo as translator and Gordon as introducer is their concerted effort to validate 'fragments as esthetic wholes' (xxvi). Lombardo's translations are pleasantly distinct from those of any other I am aware of both for their sonorous but straightforward rendering in modern spoken American English . . . [an edition] better both for its clear translations, and for the breadth and depth of the critical Introduction. Lombardo's strategy as translator is to convey not only the Greek by means of English, but also the experience of reading 'Sappho as a pure, received text' (xxvi) by means of direct, plain presentation of the poem . . . A unique and welcome contribution to the diversity of English translations available. --Travis Feldman, The Bryn Mawr Classical ReviewI have long been an admirer of Stanley Lombardo's translations of Homer, and I was curious to see how he would adapt his fast-paced, lively style to Sappho. He has succeeded admirably. His translation of 73 poems of Sappho is clear, energetic, and close to the Greek. Pamela Gordon's Introduction gives a lucid and useful guide for the non-specialist to the last fifty years of scholarly debate on Sappho. This edition will be particularly useful for instructors of courses in translation seeking an introduction to Sappho for the Greekless student. It is also a pleasure to read. --Laurel Bowman, The Classical BulletinGordon's Introduction is a clear summation of the poetic and scholarly aura surrounding the figure of Sappho and these literary fragments. . . . This essay, complete with selective bibliography at the end, could be assigned to undergraduates as a first introduction to both the poetry and the phenomenon of Sappho. . . . Lombardo's translations are lively and accessible; Sappho lives anew for the English reader. . . . Ideal for teaching at the undergraduate level. --Cashman Kerr Prince, New England Classical Journal

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Book SynopsisRendered in an idiom drawn from present-day nature guides, gardening handbooks, how-to manuals, and scientific treatises--and in a style influenced by twentieth-century poetry--this bold new translation seeks to renew our appreciation of a work often relegated to the pigeonhole of didactic poetry about farming. In doing so, it reveals the Georgics as a remarkable window on Roman conceptions of the natural world and of the place of human life within it--and also conveys a sense of how daring were Virgil''s poetics in their day. Footnotes offer a wealth of information on mythology, agriculture, wildlife, geography, and astronomy while highlighting the technical, scientific, ethnographic, and other registers of the poem.Trade ReviewChew's translation is, both in aesthetic and scholarly terms, an excellent piece of work. I find her approach refreshing and true to the spirit of the Georgics; her adventurousness strikes me as just the thing to rescue the poem from the appearance of blandness that a more straightforward style of translationese would inevitably, but misleadingly, impose upon it. This Georgics does not read much like any previous version of it. Chew helps the English reader to get a sense of Virgil's avant-garde poetics, which is the main thing that almost all translators of the Georgics work to eliminate, if indeed they are even aware of it. First-rate. --Joseph Farrell, Professor of Classical Studies, University of PennsylvaniaThis is a translation with a difference, intended for readers without Latin. The most striking feature is the use of variations of type and layout. . . . Invocations are set out like memorial inscriptions; tasks or points to look for in animals come in the form of numbered or bulleted lists, assembling a plough reads like an instruction manual. Similes appear in italics, but so do the key words in some descriptive passages. The positioning of the text is used to illustrate the meaning of a quincunx, terracing, or the flight of a swarm of bees. These innovations serve to distinguish between what might be termed the poetry and the practical. Explanations are sometimes incorporated into the translation, which is in free verse, but mostly these are in the generous footnotes. . . . Chew has done considerable research into ancient and modern methods of husbandry and the notes concentrate on agriculture, astronomy, and botany. . . . Some [renderings] are particularly apt: 'the cicadas' complaining plainsong bursts the strawberry trees' for 'cantu querulae rumpent arbusta cicadae;' `'the murmur of the groves grows and grows' for 'et nemorum increbescere murmur.' . . . Chew should certainly achieve her aim of bringing the work to a wider readership. As she claims in her Introduction, 'Plain and simple, it is an American Georgics.' _—Anne Haward, The Joint Association of Classical Teachers ReviewMy graduate seminar members and I enjoyed Dr. Chew's rendering of the Georgics immensely. We were delighted and instructed by her playful blend of argots and typefaces, and by her artful blend of information in the notes. This translation opened the poem for me all over again—and it has long been among my favorites. Chew's translation offers a dazzling survey of musical styles in the poem. The fifteen of us send our thanks for her provocative and delightful achievement. -—Thomas A. Goodmann, University of Miami

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Book SynopsisSince its publication by Odyssey Press in 1935, Hughes's richly annotated edition--revised in 1962--emains the preferred text of many instructors.Trade ReviewWonderful! Hughes' edition is unexcelled! --Carol V. Kaske, Cornell University

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Book SynopsisTrade ReviewSarah Ruden's translation is clear, lean, intelligent, and delightfully readable. The notes provide guidance without encumbering the text. This will be marvelous for classroom use, for reading aloud, or simply for reading for pleasure. --Pamela Gordon, Department of Classics, University of KansasThe translation moves along at a smart and elegant pace. . . . Ruden is clearly a writer with considerable skill in poetic expression. . . . [Sheila Murnaghan's] introduction does a good job of introducing the Homeric Hymns to a general audience and assisting the inexperienced reader in reading the longer hymns, in particular. [This] new translation will clearly fill a niche for a convenient and inexpensive translation of the Homeric Hymns into English verse. . . . --Roger S. Fisher, Bryn Mawr Classical ReviewClear, inclusive, luminously helpful, the Ruden/Murnaghan Homeric Hymns is a text I'll use next time I teach my ever-expanding Mythology in Literature class. Introduction, translation, and notes are all of superior quality. --Rachel Hadas, Department of English, Rutgers University

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Book Synopsis Readers of this witty and fluent new translation of The Canterbury Tales should find themselves turning page after page: by recasting Chaucer''s ten-syllable couplets into eight-syllable lines, Joseph Glaser achieves a lighter, more rapid cadence than other translators, a four-beat rhythm well-established in the English poetic tradition up to Chaucer''s time. Glaser''s shortened lines make compelling reading and mirror the elegance and variety of Chaucer''s verse to a degree rarely met by translations that copy Chaucer beat for beat. Moreover, this translation''s full, Chaucerian range of diction--from earthy to Latinate--conveys the great scope of Chaucer''s interests and effects. The selection features complete translations of the majority of the stories, including all of the more familiar tales and narrative links along with abridgments or summaries of the others. To reflect Chaucer''s interest in poetic technique, Glaser presents the tales written in non-coupleTrade Review This version of The Canterbury Tales is indeed 'fast-paced and entertaining'. It includes translations of most of the tales (certainly all of the most popular ones) and abridgments and summaries of a few others. Glaser's main innovation in this translation is a rather striking decision to render Chaucer's standard iambic pentameter line in iambic tetrameter. . . . Those who read his translation of The Canterbury Tales will likely be motivated to tackle a linguistically more challenging, yet more rewarding Middle English edition. Those who lack the time for such a task will still be able to appreciate the humor and variety of one of Chaucer's greatest works and will, through the basic and clear Introduction, get a sense of the historical and literary background of Chaucer, his times, and his works. The near conversational tone of the Introduction, furthermore, makes for an unintimidating encounter with a period of literature that, for many, is foreign and remote. As a kind of gateway text, therefore, Glaser's new translation of The Canterbury Tales will be much appreciated and valued by a non-specialist audience. --Jennifer A. Smith, Comitatus

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Book SynopsisStanley Lombardo''s deft abridgment of his 2005 translation of the Aeneid preserves the arc and weight of Virgil''s epic by presenting major books in their entirety and abridged books in extended passages seamlessly fitted together with narrative bridges. W. R. Johnson''s Introduction, a shortened version of his masterly Introduction to that translation, will be welcomed by both beginning and seasoned students of the Aeneid, and by students of Roman history, classical mythology, and Western civilization.Trade Review"In 2005, Lombardo published his full Aeneid, and in doing so offered an elegant modern verse translation of Virgil. This has now been abridged, but nevertheless the essence of the original is maintained. . . . Lombardo gives us a realistic Aeneas, whose frail humanity and thoughtful heroism are manifested subtly, in unpretentious, yet dignified language. . . . This would prove a worthy (and cheap!) addition to a bookshelf lacking the full translation by Lombardo. He manages to give a real sense of Virgil through a style that is elegant and solemn, yet never overbearing." --Philip Harrison, The Journal of Classics Teaching"This attractive volume, an abridgment of Stanley Lombardo's complete translation of Virgil's Aeneid (Hackett, 2005), adds a Latin epic to the author's burgeoning set of translations of mainly Greek poetry. Lombardo has proved himself a poet-translator and performer of exceptional ability and innovation; by publishing in written and audio media, he has contributed to the awareness in the readership of translations the centrality of performance to Homeric epic. The recently published Aeneid represented his first foray into Latin epic, and he has translated Virgil with the same combination of austerity and accessibility that marked his Homers. . . . The translation is excellent, on the whole, and perfectly captures the pace and character of the original." --Joanne McNamara, Bryn Mawr Classical Review"Stanley Lombardo shows in the strength of his verse the talent that marks him as the most Greek and Roman of the modern translators of ancient epic." --Douglas Domingo-Forasté, Professor of Classics, California State University, Long Beach

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Book SynopsisBook Five of The Faerie Queene is Spenser''s Legend of Justice. It tells of the knight Artegall''s efforts to rid Faerie Land of tyranny and injustice, aided by his sidekick Talus and the timely intervention of his betrothed, the woman warrior Britomart. As allegory, Book Five figures forth ideal concepts of justice and explores how justice may be applied in a real world complicated by social inequality, female rule, political guile, and excessive violence. At the same time, as historical allegory, it retells a number of the most important events of early modern England, in particular the controversies surrounding the colonization of Ireland. An integral part of the larger poem, Book Five also stands on its own as one of the most challenging meditations on justice in English literature.Trade ReviewThis edition of book 5 of The Faerie Queene is a welcome contribution. Stoll presents a text that will be very useful in the classroom. The decision to make available individual (or in two cases, paired) books of the romance will make it possible for instructors to teach their preferred books of the romance; Stoll's edition of book 5 will certainly increase the likelihood that the Legend of Justice will reappear in undergraduate classrooms, introducing students to a text in which Spenser scholars are increasingly interested. We will all benefit from that. --Andrew Fleck, Sixteenth Century JournalTwo editions of Spenser are both from the same series, published by Hackett Publishing Company, which is providing inexpensive paperback volumes of The Faerie Queene, under the general editorship of Abraham Stoll. The volumes printed this year, books 1 and 5, are edited, respectively, by Carol V. Kaske and Stoll himself. A single volume combining books 3 and 4, edited by Dorothy Stephens, is forthcoming, as is book 6, edited by Andrew Hadfield. The volumes are attractively printed, with notes at the bottom of the page. Each volume includes an introduction, the Letter to Raleigh, a brief 'Life of Edmund Spenser,' textual notes, a glossary, an 'Index of Characters,' and a bibliography. Kaske's introduction to book 1 forms an accessible student guide, touching on a wide range of topics, from versification, genre, and allegory, to 'Spenser's Religious Milieu.' At the same time, there are fresh flashes of insight, no doubt derived from Kaske's long experience of teaching a complex poem. . . . Eschewing 'political and biographical allegory (p. xvi), the notes offer plenty of help to the student seeking to get behind the veil of Spenser's dark conceit, for they emphasize symbolism and historical context, especially literary context or 'sources.' Stoll's edition of book 5 of the Faerie Queene includes a judicious introduction of considerable merit. Not simply well written and learned, it partitions the information in an accessible and interesting way. Stoll is fully attuned to the recent controversies surrounding the Legend of Justice, but he does more than record them for the student reader; he manages to express sympathy for both poet and poem. Students need to hear the historical nature of Spenser's achievement for English literature, and Stoll leads nicely with this topic: book 5 is 'one of the most challenging meditations on justice in English literature' (p. ix). Stoll is as sensitive to the violence of book 5 as he is to its strangeness and beauty. Students will appreciate the short inventory of important works of criticism at the end of each section. The notes are not as full as Kaske's, but perhaps appropriately so. . . . I look forward to having access to the remaining volumes in this series. --Patrick Cheney, Studies in English Literature 1500-1900

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Book SynopsisThis new volume of three of Euripides'' most celebrated plays offers graceful, economical, metrical translations that convey the wide range of effects of the playwright''s verse, from the idiomatic speech of its dialogue to the high formality of its choral odes.Trade ReviewDiane Arnson Svarlien's body of work means a quantum leap forward in the vibrancy and immediacy of classical verse drama. I first learned of her work when I was searching, madly, for a translation of Medea for a production I had been hired to direct. I sought out every published version. I tried to track down any unpublished ones rumored to exist. All the others were wanting; her translation was revelatory. Merely read her translation of the play, then read another. You will sense the difference. This is particularly true if you are a practitioner of theatre. --Patrick Wang, Director of Diane Arnson Svarlien's Medea in its world premiere at the Stella Adler Studio, and of the feature film In the Family, nominated for a Best First Feature Independent Spirit Award.The excellent Introduction by Robin Mitchell-Boyask displays an admirable command of up-to-date scholarship and judiciously leaves controversial matters open to one's own interpretation. Arnson Svarlien's verse translation has both elegance and power--it reads well, not just to the eye, but (happily for the director and actors) also to the ear. --Ian Storey, Department of Classics, Trent UniversityMitchell-Boyask's Introduction gives the reader a lively and accessible overview of Euripides' life, the circumstances of the original performances, and critical debate on the three plays. Footnotes to the translations provide students with useful background without over-burdening the text. The translations themselves are lively, vigorous, colorful, and direct, while remaining very close to the Greek; I laughed out loud more than once when I realized that, yes, this was exactly what Euripides had said. Arnson Svarlien has also taken care with the meter. Iambic trimeter, the 'spoken' meter of Greek, has been represented with iambic pentameter in English; but even in the lyric passages, whose meters do not translate into English, responsion within odes has been preserved. Yet all of this attention to such details of meter and accuracy sacrifices nothing in clarity or pace. Arnson Svarlien's translations are an ideal introduction to Euripides for students with no Greek and little knowledge of the ancient world. They remind me of why I love Euripides. --Laurel Bowman, Department of Classics, University of VictoriaTable of ContentsIntroduction; Translator's Preface; Maps; Alcestis; Medea; Hippolytus.

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Book SynopsisOffers a broad selection of Middle English poetry from about 1200 to 1500 CE, including more than 150 secular and religious lyrics and nine complete or extracted longer works, all translated into Modern English verse.Trade Review[An] excellent edition. Beautiful layout, attractive format. A good balance of Worldly and Religious texts.--Maryellen Keefe, Department of Humanities, SUNY Maritime College

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Book Synopsis This rich and lively anthology offers a broad selection of Middle English poetry from about 1200 to 1500 C.E., including more than 150 secular and religious lyrics and nine complete or extracted longer works, all translated into Modern English verse that closely resembles the original forms. Five complete satires and narratives illustrate important conventions of the period: Athelston, a historical romance; The Cock and the Fox, a beast fable by Robert Henryson; Sir Orfeo, a Breton lai; Saint Erkenwald, an alliterative saint''s life; and The Land of Cockayne, a fantasy. The book concludes with substantial excerpts from longer narratives such as Piers Plowman and Confessio Amantis. The poems are accompanied by introductions, notes, marginal glosses, source notes, and appendixes, including a bibliography and a list to help readers locate the lyrics in current original-language editions. Trade Review[An] excellent edition. Beautiful layout, attractive format. A good balance of Worldly and Religious texts.--Maryellen Keefe, Department of Humanities, SUNY Maritime College

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Book Synopsis"Faerie Queene: Book 6 and the Mutabilitie Cantos".Trade ReviewA thoughtful edition with just the right amount of annotation for a class on sixteenth century literature. --Byron Nelson, West Virginia UniversityTable of ContentsIntroduction; The Fearie Queen, Book Six; Introduction; The Fearie Queen, Book Seven, the Mutabilitie Cantos; The Letter to Raleigh; The Life of Edmund Spenser; Textual Notes; Glossary; Index of Characters.

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Book SynopsisIncludes introduction and notes by Robin Mitchell-Boyask.Trade ReviewDiane Arnson Svarlien's body of work means a quantum leap forward in the vibrancy and immediacy of classical verse drama. I first learned of her work when I was searching, madly, for a translation of Medea for a production I had been hired to direct. I sought out every published version. I tried to track down any unpublished ones rumored to exist. All the others were wanting; her translation was revelatory. Merely read her translation of the play, then read another. You will sense the difference. This is particularly true if you are a practitioner of theatre.--Patrick Wang, Director of Diane Arnson Svarlien's Medea in its world premiere at the Stella Adler Studio, and of the feature film In the Family,nominated for a "Best First Feature" Independent Spirit Award. Retrieved from monkeyatatypewriter.com.Fluid, lively, and accurate! --Amy Vail, Department of Classics, Baylor UniversityTable of ContentsIntroducton; Translator's Preface; Maps; Medea; Endnotes & Comments on the Text; Select Bibliography.

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Book SynopsisA collection of fifty prose poems provided with accurate translation that conveys the lyricism and nuance of the original French text. It includes an introductory essay, explanatory notes, and a bibliography that show the development of Baudelaire's work over time. It also features a translation of Baudelaire's early novella, "La Fanfarlo".Trade ReviewAttractively produced and presented, this useful edition of Paris Spleen and La Fanfarlo reads as both serious and engaging. The introduction is clear without being condescending. It seems to me very much to the point--as is Baudelaire as always. --Mary Ann Caws, Distinguished Professor of English, French, and Comparative Literature, Graduate School, CUNYA new translation is certainly welcome for providing fresh perspective on this provocative work, and the added bonus of Baudelaire's early novella, La Fanfarlo , makes this edition particularly useful and illuminating of the author's career as a whole. --Marc Caplan, Professor, Department of German and Romance Languages, The Johns Hopkins UniversityIn this new translation Raymond MacKenzie has followed recent tradition in placing together Baudelaire's early novella and the collection of fifty prose poems which were published after his death. La Fanfarlo , published in 1847, is discussed in MacKenzie's clear and thought-provoking introduction under the heading "an experiment in narrative." As a narrative experiment Baudelaire's novella is one he judged to have failed, but MacKenzie's translation of the tale has a lightness of touch that captures the humour and pacing of this baroque fantasy and places it in the context of the poet's defiance of narrative expectations. The true experimental writing here is to be found in the prose poems of Paris Spleen . . . . if this translation is more prose than poetry, it allows a contemporary and fresh way of looking at the prose poems, and most importantly, to paraphrase Walter Benjamin, succeeds in not blocking the light of the original. -- Nineteenth-Century French Studies

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Book SynopsisPrudence Steiner''s lively prose translation of Moliere''s great comedy remains close to the original French, while casting the speech of characters in a slightly compressed and formalized way that comes very close to the original effect created by Molière''s verse. This edition includes translations of Moliere''s three appeals to the king, as well as an introductory essay by Roger Herzel, which discusses Moliere''s life, Tartuffe and the comic tradition, and the setting, language and style of the play.Trade ReviewThe new Steiner Tartuffe offers welcome relief from all the rhymed translations that make Moliere sound like a third-rate Restoration poet while creating the (false) impression that verbal dexterity and wit trump all other values in the great comic playwright's dramaturgy. Steiner's crisp, lucid prose—her adroitly balanced sentences are especially effective at conveying the slippery rhetoric of Tartuffe's seductions—unfolds the plot and characters of Moliere's play with an unaccustomed clarity, presenting the ideological clashes of the play with a bluntness many other translations attenuate. Roger Herzel's Introduction is well-focused for those encountering Molière for the first time and informed throughout by his own excellent scholarship. --Jim Carmody, University of California, San DiegoThis dynamic new translation of Tartuffe conveys the subject matter of Moliere's perennial masterpiece in a way that resonates for contemporary audiences. Prudence Steiner has modernized and revitalized the text, making its burning and scandalous tone stand out, as it does in the original French. The thorough introduction to the play skillfully invites the reader into the dark and controversial world of Tartuffe. --Florent Masse, Princeton UniversityThis translation is a welcome relief from the ungainly verse translations of Tartuffe that dominate the field. The introduction by Prof. Herzel is detailed, scholarly, and readable, and the translation of the play is stageable, therefore a good one to teach theatre students. --Dr. Rosemarie Bank, Kent State University

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Book SynopsisFeatures a modernised text of Marlowe's play with annotation on the page, a comprehensive introduction, and related texts, including selections from Machiavelli's "Prince", Gentillet's "Anti-Machiavel", and Bacon's "The Advancement of Learning".Trade ReviewA provocative edition, one which belongs on the shelves of student and scholar alike. --Martha Oberle, Frederick Community College, Maryland, in The Sixteenth Century Journal

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Book SynopsisPrudence Steiner''s lively prose translation of Moliere''s great comedy remains close to the original French, while casting the speech of characters in a slightly compressed and formalized way that comes very close to the original effect created by Molière''s verse. This edition includes translations of Moliere''s three appeals to the king, as well as an introductory essay by Roger Herzel, which discusses Moliere''s life, Tartuffe and the comic tradition, and the setting, language and style of the play.Trade ReviewThe new Steiner Tartuffe offers welcome relief from all the rhymed translations that make Moliere sound like a third-rate Restoration poet while creating the (false) impression that verbal dexterity and wit trump all other values in the great comic playwright's dramaturgy. Steiner's crisp, lucid prose—her adroitly balanced sentences are especially effective at conveying the slippery rhetoric of Tartuffe's seductions—unfolds the plot and characters of Moliere's play with an unaccustomed clarity, presenting the ideological clashes of the play with a bluntness many other translations attenuate. Roger Herzel's Introduction is well-focused for those encountering Molière for the first time and informed throughout by his own excellent scholarship. --Jim Carmody, University of California, San DiegoThis dynamic new translation of Tartuffe conveys the subject matter of Moliere's perennial masterpiece in a way that resonates for contemporary audiences. Prudence Steiner has modernized and revitalized the text, making its burning and scandalous tone stand out, as it does in the original French. The thorough introduction to the play skillfully invites the reader into the dark and controversial world of Tartuffe. --Florent Masse, Princeton UniversityThis translation is a welcome relief from the ungainly verse translations of Tartuffe that dominate the field. The introduction by Prof. Herzel is detailed, scholarly, and readable, and the translation of the play is stageable, therefore a good one to teach theatre students. --Dr. Rosemarie Bank, Kent State University

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Book SynopsisThis volume offers lively and accurate translations of Chekhov''s major plays and one-acts (complete contents listed below) along with a superb Introduction focused on the plays'' remarkably enduring power to elicit the most widely divergent of responses, the life of the playwright in its historical and aesthetic contexts, suggestions for reading the plays under a microscope, and notes designed to bring Chekhov''s world into immediate focus--everything needed to examine his drama with fresh eyes and on its own artistic terms.Trade ReviewCarnicke treats Chekhov as a riddle that is solvable only if we understand his career as a humorist. Her decision to juxtapose Chekhov's great dramas with his earlier light farces is purposeful, as the thrust behind her translations and excellent introduction is not only to introduce the reader to Chekhov's early humorous works, but to bring out crucial comic elements in his later ones. Her introduction functions as an essential primer for any student on the works of Chekhov. Its thorough exploration of Chekhov's idiosyncratic use of language is a godsend for directors and performers of English-language productions of these plays. A theatre director and performer herself, Carnicke pays close attention to the details of Chekhov's language, and her translations are geared toward live performance with speech ready-made for the stage. She retains the sense of the originals but adapts them in a colloquial English that is utterly performable. Carnicke's collection is the quintessential starting point for any serious performer of Chekhov, not only because of the playable translations, most of which have already been tested on stage, but for its engaging and enlightening introduction. The volume represents a momentous step toward ridding the American stage of stodgy and dour productions of Chekhov's masterpieces. --Brian Johnson, Swarthmore College, condensed from Translation Review 82These new translations read smoothly and display ?delity to the original. Carnicke has aimed to ?nd a middle path between versions that are too colloquial and versions that sound stilted or too formal to the American ear and has succeeded. --Julian W. Connolly, Professor of Slavic Languages and Literatures, University of VirginiaCarnicke's translation of Three Sisters shows her background in the Slavic ?eld to good advantage. Chekhov doesn't emerge as 'the voice of Twilight Russia,' or anything mawkish at all, as he sometimes does, but as a sharp-eyed watcher of some very silly people. Carnicke understands Chekhov and understands Russia. --Robert L. Belknap, Professor Emeritus of Slavic Languages, Columbia University

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Book SynopsisThis volume offers lively and accurate translations of Chekhov''s major plays and one-acts (complete contents listed below) along with a superb Introduction focused on the plays'' remarkably enduring power to elicit the most widely divergent of responses, the life of the playwright in its historical and aesthetic contexts, suggestions for reading the plays under a microscope, and notes designed to bring Chekhov''s world into immediate focus--everything needed to examine his drama with fresh eyes and on its own artistic terms.Trade ReviewCarnicke treats Chekhov as a riddle that is solvable only if we understand his career as a humorist. Her decision to juxtapose Chekhov's great dramas with his earlier light farces is purposeful, as the thrust behind her translations and excellent introduction is not only to introduce the reader to Chekhov's early humorous works, but to bring out crucial comic elements in his later ones. Her introduction functions as an essential primer for any student on the works of Chekhov. Its thorough exploration of Chekhov's idiosyncratic use of language is a godsend for directors and performers of English-language productions of these plays. A theatre director and performer herself, Carnicke pays close attention to the details of Chekhov's language, and her translations are geared toward live performance with speech ready-made for the stage. She retains the sense of the originals but adapts them in a colloquial English that is utterly performable. Carnicke's collection is the quintessential starting point for any serious performer of Chekhov, not only because of the playable translations, most of which have already been tested on stage, but for its engaging and enlightening introduction. The volume represents a momentous step toward ridding the American stage of stodgy and dour productions of Chekhov's masterpieces. --Brian Johnson, Swarthmore College, condensed from Translation Review 82These new translations read smoothly and display ?delity to the original. Carnicke has aimed to ?nd a middle path between versions that are too colloquial and versions that sound stilted or too formal to the American ear and has succeeded. --Julian W. Connolly, Professor of Slavic Languages and Literatures, University of VirginiaCarnicke's translation of Three Sisters shows her background in the Slavic ?eld to good advantage. Chekhov doesn't emerge as 'the voice of Twilight Russia,' or anything mawkish at all, as he sometimes does, but as a sharp-eyed watcher of some very silly people. Carnicke understands Chekhov and understands Russia. --Robert L. Belknap, Professor Emeritus of Slavic Languages, Columbia University

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Book Synopsis

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