Language

Plato's most influential disciple and proponent.

Plotinus (AD 204/5-270), possibly of Roman descent, but certainly a Greek in education and environment, was the first and greatest of Neoplatonic philosophers. Practically nothing is known of his early life, but at the age of 28 he went to Alexandria, and studied philosophy with Ammonius "Saccas" for eleven years. Wishing to learn the philosophy of the Persians and Indians, he joined the expedition of Gordian III against the Persians in 243, not without subsequent danger. Aged 40 he settled in Rome and taught philosophy there till shortly before his death. In 253 he began to write, and continued to do so till the last year of his life. His writings were edited by his disciple Porphyry, who published them many years after his master's death in six sets of nine treatises each (the Enneads).

Plotinus regarded Plato as his master, and his own philosophy is a profoundly original development of the Platonism of the first two centuries of the Christian era and the closely related thought of the Neopythagoreans, with some influences from Aristotle and his followers and the Stoics, whose writings he knew well but used critically. There is no real trace of Oriental influence on his thought, and he was passionately opposed to Gnosticism. He is a unique combination of mystic and Hellenic rationalist. His thought dominated later Greek philosophy and influenced both Christians and Muslims, and is still alive today because of its union of rationality and intense religious experience.

The Loeb Classical Library edition of Plotinus is in seven volumes.

Plato's most influential disciple and proponent.

Plotinus (AD 204/5-270), possibly of Roman descent, but certainly a Greek in education and environment, was the first and greatest of Neoplatonic philosophers. Practically nothing is known of his early life, but at the age of 28 he went to Alexandria, and studied philosophy with Ammonius "Saccas" for eleven years. Wishing to learn the philosophy of the Persians and Indians, he joined the expedition of Gordian III against the Persians in 243, not without subsequent danger. Aged 40 he settled in Rome and taught philosophy there till shortly before his death. In 253 he began to write, and continued to do so till the last year of his life. His writings were edited by his disciple Porphyry, who published them many years after his master's death in six sets of nine treatises each (the Enneads).

Plotinus regarded Plato as his master, and his own philosophy is a profoundly original development of the Platonism of the first two centuries of the Christian era and the closely related thought of the Neopythagoreans, with some influences from Aristotle and his followers and the Stoics, whose writings he knew well but used critically. There is no real trace of Oriental influence on his thought, and he was passionately opposed to Gnosticism. He is a unique combination of mystic and Hellenic rationalist. His thought dominated later Greek philosophy and influenced both Christians and Muslims, and is still alive today because of its union of rationality and intense religious experience.

The Loeb Classical Library edition of Plotinus is in seven volumes.

Plato's most influential disciple and proponent.

Plotinus (AD 204/5-270), possibly of Roman descent, but certainly a Greek in education and environment, was the first and greatest of Neoplatonic philosophers. Practically nothing is known of his early life, but at the age of 28 he went to Alexandria, and studied philosophy with Ammonius "Saccas" for eleven years. Wishing to learn the philosophy of the Persians and Indians, he joined the expedition of Gordian III against the Persians in 243, not without subsequent danger. Aged 40 he settled in Rome and taught philosophy there till shortly before his death. In 253 he began to write, and continued to do so till the last year of his life. His writings were edited by his disciple Porphyry, who published them many years after his master's death in six sets of nine treatises each (the Enneads).

Plotinus regarded Plato as his master, and his own philosophy is a profoundly original development of the Platonism of the first two centuries of the Christian era and the closely related thought of the Neopythagoreans, with some influences from Aristotle and his followers and the Stoics, whose writings he knew well but used critically. There is no real trace of Oriental influence on his thought, and he was passionately opposed to Gnosticism. He is a unique combination of mystic and Hellenic rationalist. His thought dominated later Greek philosophy and influenced both Christians and Muslims, and is still alive today because of its union of rationality and intense religious experience.

The Loeb Classical Library edition of Plotinus is in seven volumes.

The authoritative new translation of the epic Ramayana, as retold by the sixteenth-century poet Tulsidas and cherished by millions to this day.

The Epic of Ram presents a new translation of the Rāmcaritmānas of Tulsidas (1543-1623). Written in Avadhi, a literary dialect of classical Hindi, the poem has become the most beloved retelling of the ancient Ramayana story across northern India. A devotional work revered and recited by millions of Hindus today, it is also a magisterial compendium of philosophy and lore and a literary masterpiece.

In the second volume, prompted by the tyranny of the demon king Ravan, Ram decides to be born on earth. Tulsidas lovingly details Ram's infancy, childhood, and youthful adventures, the winning of Princess Sita as his bride, and the celebration of their marriage.

This new translation into free verse conveys the passion and momentum of its inspired poet and storyteller. It is accompanied by the most widely accepted edition of the Avadhi text, presented in the Devanagari script.

What immunizations do you need when travelling to Burkina Faso? Which movie won the Academy Award for Best Film in 1977? What is the mailing address in the U.S. for the Danish embassy? Who is the patron saint of booksellers? The Essential Desk Reference can help you find the answers to these questions--and thousands of others--in a matter of seconds.
Everything is covered--Roman emperors, the books of the Bible, the text of The Gettysburg Address, height and weight standards, mathematical terms and symbols, human anatomy, the rules of the sea, 50 major manned flights into space, and hundreds of other topics. The book provides extensive sections covering science and medicine, arts and leisure, prizes, work, and home. Numerous illustrations are riddled throughout the volume and each section ends with sources of information, making the Desk Reference an excellent starting point for further research.
Whether applying for a patent or simply browsing a list of famous inventors, The Essential Desk Reference is a resource that should always be within arm's reach. In an easy-to-use and affordable format, it offers a wealth of information on essential topics.

This is the first German grammar which has been specifically designed for the adult with limited learning time who wishes to be able to express himself with reasonable accuracy, yet does not wish to be burdened with archaic, highly literary, or seldom used forms. It covers the most important points of German grammar in the clearest possible manner, stressing regularities rather than irregularities and concentrating upon the constructions and expression-modes that you would be most likely to use. It has been created for readers who prefer the phrase-approach, and all grammatical points are illustrated with phrases and sentences that you can use immediately. Hints are included throughout the book on replacing difficult constructions with easier ones.

Inspired by a landmark exhibition mounted by the British Museum in 1963 to celebrate five eventful centuries of the printed word, Nicholas A. Basbanes offers a lively consideration of writings that have "made things happen" in the world, works that have both nudged the course of history and fired the imagination of countless influential people.

In his fifth work to examine a specific aspect of book culture, Basbanes also asks what we can know about such figures as John Milton, Edward Gibbon, John Locke, Isaac Newton, Samuel Taylor Coleridge, John Adams, Frederick Douglass, Abraham Lincoln, Henry James, Thomas Edison, Helen Keller--even the notorious Marquis de Sade and Adolf Hitler--by knowing what they have read. He shows how books that many of these people have consulted, in some cases annotated with their marginal notes, can offer tantalizing clues to the evolution of their character and the development of their thought.

By what narrow path is the ineffable silence of Zen cleft by the scratch of a pen? The distilled insights of forty years, Norman Fischer's Experience: Thinking, Writing, Language, and Religion is a collection of essays by Zen master Fischer about experimental writing as a spiritual practice.

Raised in a Conservative Jewish family, Fischer embraced the twin practices of Zen Buddhism and innovative poetics in San Francisco in the early 1970s. His work includes original poetry, descriptions of Buddhist practice, translations of the Hebrew psalms, and eclectic writings on a range of topics from Homer to Heidegger to Kabbalah. Both Buddhist priest and participant in avant-garde poetry's Language movement, Fischer has limned the fertile affinities and creative contradictions between Zen and writing, accumulating four decades of rich insights he shares in Experience.

Fischer's work has been deeply enriched through his collaborations with leading rabbis, poets, artists, esteemed Zen Buddhist practitioners, Trappist monks, and renowned Buddhist leaders, among them the Dalai Lama. Alone and with others, he has carried on a deep and sustained investigation into the intersection of writing and consciousness as informed by meditation.

The essays in this artfully curated collection range across divers, fascinating topics such as time, the Heart Sutra, God in the Hebrew psalms, the supreme "uselessness" of art making, "late work" as a category of poetic appreciation, and the subtle and dubious notion of "religious experience." From the theoretical to the revealingly personal, Fischer's essays, interviews, and notes point toward a dramatic expansion of the sense of religious feeling in writing.

Readers who join Fischer on this path in Experience can discover how language is not a description of experience, but rather an experience itself: shifting, indefinite, and essential.

Weve all been taught that this sentence--"Driving in from the airport, the flags flapped furiously"--is wrong, wrong, wrong. But is it, asks David Crystal. Everyone knows what this sentence means. No one actually thinks that the flags were driving the car. Is this sentence really incorrect.
In The Fight for English, Crystal offers a stimulating account of the struggle between various schools of grammar to control how we write and speak. Ranging back a thousand years, to the anguished concerns of Aelfric the Grammarian, and illuminating the contributions of Samuel Johnson, Noah Webster, and many others, the book sheds light on ten centuries of warfare over spelling, punctuation, pronunciation, and much more. The author takes to task such take-no-prisoners grammarians as the well-known Lynn Truss (whose Eats, Shoots, and Leaves was a giant bestseller), arguing that we should say no to zero-tolerance prescriptive rules. Indeed, as one of the world's leading authorities on the English language, Crystal offers an original and authoritative counter-argument to the prescriptive agenda. He shows for instance that context is very important, that the dangling participle "driving in from the airport" is not wrong because the context makes the meaning clear. Moreover, even the hope for a standard system of spelling is in vain, since approximately 25 per cent of the words in a standard dictionary have more than one spelling (such as dark room and dark-room and darkroom).
Hailed in The New York Times Book Review as "fascinating and insightful, often funny," The Fight for English is a welcome breath of fresh air in the often stultifying debate over English usage.

"Do you want to write clearer, livelier prose? This witty primer will help." --The New York Times Book Review

An exploration of how the most ordinary words can be turned into verbal constellations of extraordinary grace through the art of building sentences

The sentence is the common ground where every writer walks. A good sentence can be written (and read) by anyone if we simply give it the gift of our time, and it is as close as most of us will get to making something truly beautiful. Using minimal technical terms and sources ranging from the Bible and Shakespeare to George Orwell and Maggie Nelson, as well as scientific studies of what can best fire the reader's mind, author Joe Moran shows how we can all write in a way that is clear, compelling and alive.

Whether dealing with finding the ideal word, building a sentence, or constructing a paragraph, First You Write a Sentence informs by light example: much richer than a style guide, it can be read not only for instruction but for pleasure and delight. And along the way, it shows how good writing can help us notice the world, make ourselves known to others, and live more meaningful lives. It's an elegant gem in praise of the English sentence.

Callimachus of Cyrene, born ca. 310 BCE, after studying philosophy at Athens, became a teacher of grammar and poetry at Alexandria. Ptolemy II Philadelphus of Egypt (reigned 285-247) made him when still young a librarian in the new library at Alexandria; he prepared a great catalogue of its books.

Callimachus was author of much poetry and many works in prose, but not much survives. His hymns and epigrams are given with works by Aratus and Lycophron in another volume (no. 129) of the Loeb Classical Library. In the present volume are included fragments of the Aetia (Causes), aetiological legends concerning Greek history and customs; fragments of a book of Iambi; 147 fragments of the epic poem Hecale, which described Theseus's victory over the bull which infested Marathon; and other fragments.

We have no explicit information about the poet Musaeus, author of the short epic poem on Hero and Leander, except that he is given in some manuscripts the title Grammatikos, a teacher learned in the rhetoric, poetry and philosophy of his time. He was obviously a follower of the Egyptian poet Nonnus of Panopolis, of the fifth century AD, and his poem seems also to presuppose the Paraphrase of the Psalms of Pseudo-Apollinarius which can be dated to the period 460-470.

Musaeus takes up a subject whose first detailed treatment is preserved in Ovid's Heroides (Epistles 18 and 19), but he presents it in a quite different manner. Among the literary antecedents to which this learned grammatikos expressly alludes, the most prominent are Books 5 and 6 of the Odyssey and Plato's Phaedrus. He draws too on the Hymns of Proclus and the Metaphrasis of the Gospel of St. John by Nonnus. He was most probably a Christian Neoplatonist writing a Christian allegory.

Lost works by ancient Greece's third great tragedian.

Eighteen of the ninety or so plays composed by Euripides between 455 and 406 BC survive in a complete form and are included in the preceding six volumes of the Loeb Euripides. A further fifty-two tragedies and eleven satyr plays, including a few of disputed authorship, are known from ancient quotations and references and from numerous papyri discovered since 1880. No more than one-fifth of any play is represented, but many can be reconstructed with some accuracy in outline, and many of the fragments are striking in themselves. The extant plays and the fragments together make Euripides by far the best known of the classic Greek tragedians.

This edition, in a projected two volumes, offers the first complete English translation of the fragments together with a selection of testimonia bearing on the content of the plays. The texts are based on the recent comprehensive edition of R. Kannicht. A general Introduction discusses the evidence for the lost plays. Each play is prefaced by a select bibliography and an introductory discussion of its mythical background, plot, and location of the fragments, general character, chronology, and impact on subsequent literary and artistic traditions.