Aristophanes, a native Athenian and the leading exponent of Greek comedy, was born c. 450 BCE. Today forty-three of his plays are known by title; eleven survive. The most famous of these is the whimsical fantasy Lysistrata.

A perennial classroom and stage favorite as well as the basis of Spike Lee’s Chi-Raq, the play is as relevant today as it was 2,500 years ago. The premise is simplicity itself: to end the Peloponnesian War, women decide to withhold sex from their husbands until the fighting stops.

The play is by turns raucous, bawdy, frantic, and funny. David Mulroy’s exciting new translation retains the original’s verse format, racy jokes, and vibrancy—setting it apart from previous efforts, which are typically reproduced as prose or depart from meaning and meter. His introduction offers a concise summary of Aristophanes’ life and social milieu, including a brief overview of the Peloponnesian War, which took place during the playwright’s lifetime. The appendices include guides on translating meter and Greek pronunciation for aspiring thespians.

The appearance of David R. Slavitt’s translation of Orlando Furioso (“Mad Orlando”), one of the great literary achievements of the Italian Renaissance, is a publishing event. With this lively new verse translation, Slavitt introduces readers to Ariosto’s now neglected masterpiece—a poem whose impact on Western literature can scarcely be exaggerated. It was a major influence on Spenser’s Faerie Queene. William Shakespeare borrowed one of its plots. Voltaire called it the equal of the Iliad, the Odyssey, and Don Quixote combined. More recently, Italo Calvino drew inspiration from it. Borges was a fan. Now, through translations of generous selections from this longest of all major European poems, Slavitt brings the poem to life in ways previous translators have not.At the heart of Ariosto’s romance are Orlando’s unrequited love for the pagan princess Angelica and his jealous rage when she elopes. The action takes place against a besieged Paris, as Charlemagne and his Christian paladins defend the city against the Saracen king. The poem, however, obeys no geography or rules but its own, as the story moves by whim from Japan to the Hebrides to the moon; it includes such imaginary creatures as the hippogriff and a sea monster called the orc.Orlando Furioso is Dante’s medieval universe turned upside down and made comic. Characterized by satire, parody, and irony, the poem celebrates a new humanistic Renaissance conception of man in an utterly fantastical world. Slavitt’s translation captures the energy, comedy, and great fun of Ariosto’s Italian.