Fraternal strife.

Statius published his Thebaid in the last decade of the first century. This epic recounting the struggle between the two sons of Oedipus for the kingship of Thebes is his masterpiece, a stirring exploration of the passions of civil war. The extant portion of his unfinished Achilleid is strikingly different in tone: this second epic begins as a charming account of Achilles’ life.

Statius was raised in the Greek cultural milieu of the Bay of Naples, and his Greek literary education is reflected in his poetry. The political realities of Rome in the first century are also evident in the Thebaid, in representations of authoritarian power and the drive for domination. Shackleton Bailey’s new edition of the two epics, with a highly skillful translation, addresses a number of puzzles in the text and its interpretation and provides essential information on mythological and other references. Kathleen M. Coleman, Professor of Latin at Harvard University, contributes a survey of recent scholarship on Statius’ epics.

The new Loeb Classical Library edition of Statius is complete in three volumes.

Taken together, these comprehensive volumes offer an authoritative account of the music of Africa. One of the most prominent experts on the subject, Gerhard Kubik draws on his extensive travels and three decades of study in many parts of the continent to compare and contrast a wealth of musical traditions from a range of cultures.

In the first volume, Kubik describes and examines xylophone playing in southern Uganda and harp music from the Central African Republic; compares multi-part singing from across the continent; and explores movement and sound in eastern Angola. And in the second volume, he turns to the cognitive study of African rhythm, Yoruba chantefables, the musical Kachamba family of Malaŵi, and African conceptions of space and time.

Each volume features an extensive number of photographs and is accompanied by a compact disc of Kubik’s own recordings. Erudite and exhaustive, Theory of African Music will be an invaluable reference for years to come.

THIS EDITION HAS BEEN REPLACED BY A NEWER EDITION.

Spectacular verse drama.

Seneca is a figure of first importance in both Roman politics and literature: a leading adviser to Nero who attempted to restrain the emperor’s megalomania; a prolific moral philosopher; and the author of verse tragedies that strongly influenced Shakespeare and other Renaissance dramatists.

Seneca’s plays depict intense passions and interactions in rhetoric that is equally strong. Their perspective is much bleaker than that adopted in his prose writings. His plots are based on mythical episodes, in keeping with classical tradition. But the political realities of imperial Rome are also reflected in an obsessive concern with power and dominion over others. The Octavia is our sole surviving example of a Roman historical play; set at Nero’s court, it was probably written by an admirer of Seneca as statesman and dramatist.

John G. Fitch has thoroughly revised his two-volume edition of Seneca’s Tragedies to take account of the textual and interpretive scholarship that has appeared since its initial publication. His translation conveys the force of Seneca’s dramatic language and the lyric quality of his choral odes.

Seneca is a figure of first importance in both Roman politics and literature: a leading adviser to Nero who attempted to restrain the emperor's megalomania; a prolific moral philosopher; and the author of verse tragedies that strongly influenced Shakespeare and other Renaissance dramatists. Here is the first of a new two-volume edition of Seneca's tragedies, with a fully annotated translation facing the Latin text.

Seneca's plays depict intense passions and interactions in an appropriately strong rhetoric. Their perspective is much bleaker than that of his prose writings. In this new translation John Fitch conveys the force of Seneca's dramatic language and the lyric quality of his choral odes.