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387p., illus. Paperback Good condition
Contains : Agamemnon of Aeschylus trans. Louis MacNeice. /The Oedipus Rex of Sophocles Trans. Dudley Fitts and Robert Fitzgerald / The Alcestis of Euripides Trans. Dudley Fitts and Robert Fitzgerald / The Birds of Aristophanes trans Dudley Fitts.310p. notes, index of names. Crisp, tight, unmarked copy Book
A clean, unmarked book with a tight binding. Full red cloth boards. Dust jacket has some edge wear. Modern Library number 294. 4 7/8"w x 7 1/8"h 473 pages, plus advertisements. Rockwell Kent torchbearer design on endpapers and in on cover.
Minor shelfwear. ; Reprint of the 1910 ed. x, 329pp.; College Classical Series; 329 pages
Ex-library copy with usual stamps, call numbers and removed pocket. Scholar's bookplate to inner cover (G. P. Goold). ; College Series of Greek Authors; 329 pages
333+p. SOFTCOVER. Includes: The Bourgeois Gentleman, The Doctor in Spite of Himself, The Affected Damsels, The Miser Paperback Very good condition
298 p. Co-published by the American-Scandinavian Foundation, New York. Hardcover Very good condition good
246p. Hardcover Very good condition good
Book club edition [originally published by Robert Hale]. This copy has a label of the "Canadian Bookclub Centre, Montreal" on the title page obscuring the details of the Scientific Book Club. London.222p. illus, else as new Book
Light bump to top of spine. Else book is fine. ; From Polypragmon to Curiosus is a study of how Greek and Latin writers describe curious, meddlesome, and exaggerated behaviour. Founded on a detailed investigation of a family of Greek terms, often treated as synonymous with each other, and of the Latin words used to describe them, opening chapters survey how they were used in Greek literature from the 5th and 4th centuries BC, moving onto their Latin usage and relationship to that of Hellenistic and imperial Greek. Other chapters adopt a more thematic approach and consider how words, such as polypramon, periergos, philopragmon, and curiosus, are employed in descriptions of the world of knowledge opened up by empire - in discourses of pious and impious curiosity, in reflections on what constitutes useful and useless learning, and in descriptions of style. The themes which the volume addresses remain alive throughout the literature of the Middle Ages and the Renaissance, most obviously through emblematic figures of human curiosity, such as Dante's Ulisse and Marlowe's Dr Faustus. ; 272 pages
242 pages. "Contains a number of short glimpses of certain scenes in the tragic drama of Europe between the two Great Wars, as they were witnessed by the writer. The implications of those scenes were so clear that it must remain something of a problem why the leaders of the nations which wished for peace failed to take warning while yet there was time to avert disaster. A scene from each of the Great Wars has been included as prelude and climax, and some account of what defeat has so far meant for Germany. It is a mild punishment compared with what would have befallen her opponents if they had been defeated." - foreword. Black and white photographic plates. Front free endpaper removed. Prior owner's details blacked out inside front board. Average wear to maroon boards. Spine sunned. Binding intact. A sound copy. Book
Publishers cloth. 8vo. 217; 205; 230 pages. 20 cm. First edition. In Yiddish. Cover illustrated by S. Raskin. From New York to Rehovot and Back, the travel narrative and memoir of Yehoash in three volumes. YEHOASH (pseudonym of Yehoash Solomon Bloomgarden; 18721927) , Yiddish poet and translator. Yehoash was born in Virbalen, Lithuania, and as a boy he read maskilic literature as well as studying Torah with his father, briefly attending the yeshivah of Volozhin, only to begin a career as a Hebrew poet. At the age of 17 he took his first Hebrew poems to Warsaw, where I. L. Peretz encouraged him to continue writing Hebrew and Yiddish lyrics. The following year Yehoash immigrated to the U. S. He made no headway either as a Hebrew poet or in various callings bookkeeping, tailoring, peddling, and Hebrew teaching. For a decade he faced severe privations until he contracted tuberculosis and went to the Denver Sanatorium for Consumptives in 1900 to recuperate. There he remained for almost ten years, maturing as a Yiddish poet, publishing his poems, ballads, fables, and translations in leading dailies, periodicals, and literary almanacs. In his early 30s, he undertook to translate the Bible into a modern Yiddish which would combine scholarly precision with simple idiomatic language, a task to which he devoted the rest of his life. While at work on this translation, he prepared, together with Charles D. Spivak, his physician and the co-founder of the sanatorium, a Yiddish dictionary, first published in 1911, which defined about 4, 000 Hebrew and Aramaic words used in Yiddish and which went through many editions as a basic reference work. Returning to New York in 1909, Yehoash had to struggle to make a living, even though his fame was worldwide and Yiddish periodicals in many lands gladly published his contributions. In January 1914, he left for Erez Israel and settled in Rehovot. He mastered classical Arabic and translated portions of the Koran and Arabian tales into Yiddish. When the Ottoman Empire entered World War I, he returned to New York and published the story of his experiences in three volumes of travel sketches, Fun New York biz Rekhovot un Tsurik (From New York to Rehovot and Back, 191718; Eng. The Feet of the Messenger, 1923) . His sojourn in Erez Israel as well as his knowledge of Arabic proved useful to him in his work on the translation of the Bible. Although he had published a Yiddish rendering of several biblical books including Isaiah and Job in 1910, he realized the inadequacy of this initial attempt and began anew. His more adequate rendering, starting with Genesis, appeared in installments in the New York daily Der Tog from 1922. At the time of his death only the Pentateuch translation had been published, but the rest of the biblical books were printed from his manuscripts. His version was hailed as a contribution of national significance. The translator drew upon idiomatic treasures of various Yiddish dialects, upon the Khumesh-Taytsh (the Old Yiddish, word-for-word translation of Pentateuch) , vocabulary used by melammedim in Ashkenazi schools for many generations, and expressions of the Ze'enah u-Re'enah (Tsene-Rene) , with its archaic patina. Yehoash was thus able to retain the rhythm and flavor of the Hebrew to a larger extent than preceding Bible translators. The two-volume edition, with parallel Hebrew and Yiddish texts, distributed in tens of thousands of copies, became a standard work for Yiddish-speaking homes throughout the world. In 1949, Mordecai Kosover edited Yehoash's notes to the Bible, which afforded an insight into the translator's many years of wrestling with the sacred text. Yehoash, who also translated Longfellow's Hiawatha and the Rubáiyát of Omar Khayyam into Yiddish, was far ahead of his time in terms of his own poetry. When the first edition of his Gezamelte Lider (Collected Poems) appeared in 1907, he was widely hailed as a first-rank artist. His lyrics were reprinted in anthologies and school texts, and were translated into many languages. An English translation, Poems of Yehoash, by Isidore Goldstick, appeared in 1952, and a Hebrew version (1957) was a cooperative venture by a number of significant Hebrew writers, including Jacob Fichmann and Dov Sadan. Yehoash's two later lyric volumes (1919 and 1921) linked him with Inzikhism, the modernist trend of introspection in post-World War I Yiddish poetry, the leaders of which acclaimed him as their forerunner. Yehoash gave expression in his lyrics to his awareness of a divine force permeating the universe. He re-imagined in verse biblical and post-biblical legends, tales from medieval Jewish chronicles, and hasidic lore, versified fables from the Talmud, Aesop, La Fontaine, and Lessing, and created new fables of his own. He wrote romantic, ghostly ballads, but he also felt the spell of Peretz, his lifelong friend, and strove for classical purity and perfection in rhythm and rhyme. Yehoash also influenced American Jewish poetry in English, notably the modernist work of Louis Zukofsky. (EJ 2007) Subjects: Yiddish literature - Palestine. Palestine -Description and travel. Authors, Yiddish - New York (State) - Biography. Authors, Yiddish - Israel - Biography. Light wear to cloth, light soiling to outer edges, endpapers starting on volume 3, otherwise fresh. Good + condition. (YID-16-10)
Publishers cloth. 8vo. 217; 205; 230 pages. 20 cm. First edition. In Yiddish. Cover illustrated by S. Raskin. From New York to Rehovot and Back, the travel narrative and memoir of Yehoash in three volumes. YEHOASH (pseudonym of Yehoash Solomon Bloomgarden; 18721927) , Yiddish poet and translator. Yehoash was born in Virbalen, Lithuania, and as a boy he read maskilic literature as well as studying Torah with his father, briefly attending the yeshivah of Volozhin, only to begin a career as a Hebrew poet. At the age of 17 he took his first Hebrew poems to Warsaw, where I. L. Peretz encouraged him to continue writing Hebrew and Yiddish lyrics. The following year Yehoash immigrated to the U. S. He made no headway either as a Hebrew poet or in various callings bookkeeping, tailoring, peddling, and Hebrew teaching. For a decade he faced severe privations until he contracted tuberculosis and went to the Denver Sanatorium for Consumptives in 1900 to recuperate. There he remained for almost ten years, maturing as a Yiddish poet, publishing his poems, ballads, fables, and translations in leading dailies, periodicals, and literary almanacs. In his early 30s, he undertook to translate the Bible into a modern Yiddish which would combine scholarly precision with simple idiomatic language, a task to which he devoted the rest of his life. While at work on this translation, he prepared, together with Charles D. Spivak, his physician and the co-founder of the sanatorium, a Yiddish dictionary, first published in 1911, which defined about 4, 000 Hebrew and Aramaic words used in Yiddish and which went through many editions as a basic reference work. Returning to New York in 1909, Yehoash had to struggle to make a living, even though his fame was worldwide and Yiddish periodicals in many lands gladly published his contributions. In January 1914, he left for Erez Israel and settled in Rehovot. He mastered classical Arabic and translated portions of the Koran and Arabian tales into Yiddish. When the Ottoman Empire entered World War I, he returned to New York and published the story of his experiences in three volumes of travel sketches, Fun New York biz Rekhovot un Tsurik (From New York to Rehovot and Back, 191718; Eng. The Feet of the Messenger, 1923) . His sojourn in Erez Israel as well as his knowledge of Arabic proved useful to him in his work on the translation of the Bible. Although he had published a Yiddish rendering of several biblical books including Isaiah and Job in 1910, he realized the inadequacy of this initial attempt and began anew. His more adequate rendering, starting with Genesis, appeared in installments in the New York daily Der Tog from 1922. At the time of his death only the Pentateuch translation had been published, but the rest of the biblical books were printed from his manuscripts. His version was hailed as a contribution of national significance. The translator drew upon idiomatic treasures of various Yiddish dialects, upon the Khumesh-Taytsh (the Old Yiddish, word-for-word translation of Pentateuch) , vocabulary used by melammedim in Ashkenazi schools for many generations, and expressions of the Ze'enah u-Re'enah (Tsene-Rene) , with its archaic patina. Yehoash was thus able to retain the rhythm and flavor of the Hebrew to a larger extent than preceding Bible translators. The two-volume edition, with parallel Hebrew and Yiddish texts, distributed in tens of thousands of copies, became a standard work for Yiddish-speaking homes throughout the world. In 1949, Mordecai Kosover edited Yehoash's notes to the Bible, which afforded an insight into the translator's many years of wrestling with the sacred text. Yehoash, who also translated Longfellow's Hiawatha and the Rubáiyát of Omar Khayyam into Yiddish, was far ahead of his time in terms of his own poetry. When the first edition of his Gezamelte Lider (Collected Poems) appeared in 1907, he was widely hailed as a first-rank artist. His lyrics were reprinted in anthologies and school texts, and were translated into many languages. An English translation, Poems of Yehoash, by Isidore Goldstick, appeared in 1952, and a Hebrew version (1957) was a cooperative venture by a number of significant Hebrew writers, including Jacob Fichmann and Dov Sadan. Yehoash's two later lyric volumes (1919 and 1921) linked him with Inzikhism, the modernist trend of introspection in post-World War I Yiddish poetry, the leaders of which acclaimed him as their forerunner. Yehoash gave expression in his lyrics to his awareness of a divine force permeating the universe. He re-imagined in verse biblical and post-biblical legends, tales from medieval Jewish chronicles, and hasidic lore, versified fables from the Talmud, Aesop, La Fontaine, and Lessing, and created new fables of his own. He wrote romantic, ghostly ballads, but he also felt the spell of Peretz, his lifelong friend, and strove for classical purity and perfection in rhythm and rhyme. Yehoash also influenced American Jewish poetry in English, notably the modernist work of Louis Zukofsky. (EJ 2007) Subjects: Yiddish literature - Palestine. Palestine -Description and travel. Authors, Yiddish - New York (State) - Biography. Authors, Yiddish - Israel - Biography. Light wear to cloth, light soiling to outer edges. Very Good Condition. (YID-16-10A)
Very light shelfwear else Fine. ; Erlanger Beiträge Zur Sprach- Und Kunstwissenschaft; Band 38; 148 pages
The first full-length study of Children of Herakles and Suppliant Women to appear in fifty years, Gender and the City in Euripides' Political Plays uses fresh insights into the Greek conception of gender and the Athenian ideology of civic identity to demonstrate at last the formal elegance and intellectual complexity of two works that are still dismissed as artistic failures within the poet's oeuvre. ; 274 pages
viii + 350pp., 24cm., hardback (editor's black cloth), dustwrapper, Good condition, [Study in English, Buchanan's texts in latin], T77646
Very light pencil marginalia on 2-3 pages. Light browning, small smudge and rubbing to wraps. ; Diss. In Dutch commentary and translation with Neo-Latin text. ; 280 pages
Publishers cloth. 8vo. 288; 286; 286; 288; 318; 285 pages. 21 cm. First edition. In Yiddish. Yonah Rozenfelds Collected Writings in six volumes: 1. Tsvishen tog un nakht 2. In shotens fun toyt. - 3. Froyen - 4. Nohente un vayte - 5. Ikh 6. Oyf di grenetsen. Yona Rozenfeld (18801944) , Yiddish prose writer. Born in Tshartorisk (mod. Staryi Chartoriisk) , Ukraine, Yona Rozenfeld received a traditional Jewish education that was interrupted when his parents both died of cholera in 1893. Shortly thereafter, under arrangements made by his older brother, 13-year-old Yona began an apprenticeship with a turner in Odessaan experience vividly depicted in his autobiographical novel Eyner aleyn (All Alone; 1940) . Rozenfeld showed his early writings to Y. L. Peretz when the latter visited Odessa in 1902. As a result, Rozenfelds first (autobiographical) story, Dos lernyingl (The Apprentice) , was published in Der fraynd in 1904. At the age of 23, Rozenfeld left his job as a turner and devoted himself to writing. He published his first collection of stories, the two-volume Shriftn (Writings; 19091912) , which included his most famous story, Konkurentn (Competitors) . He immigrated to New York in 1921, and began writing plays. His six-volume Gezamlte shriftn (Collected Writings; 1924) was published in New York and Geklibene verk (Selected Works; 1929) in Vilna. In the mid-1930s, he had a major conflict with Abraham Cahan, editor in chief of Der forverts, after which the newspaper ceased publishing Rozenfelds work. Rozenfeld began writing his autobiographical novel Eyner aleyn in 1937. Upon publication, it received excellent reviews in the Yiddish press. His longest earlier works were fictive and autobiographical diaries. In Fun mayn togbukh (From My Diary; 1924) , Rozenfeld depicted his return to Kovel from Kiev in 1919 during the Russian civil war. He regarded this text and Er un zey, a togbukh fun a gevezenem shrayber (He and They, a Diary of a Former Writer; 1927) as his best works. Together with the autobiographical texts entitled Ikh (I [the first-person pronoun]) in the fifth volume of Rozenfelds Gezamlte shriftn, these pieces indicate the importance of autobiographical writings in the authors work. During a conversation with Yohanan Twersky in 1937, Rozenfeld formulated his literary credo: Without having a big selection of types, I must be content with the situations in which I place my characters. And as a result, each type ceases to be a type. For in reality, the typical kind does not exist! Rozenfelds autobiographical method seeks to explore the potential for deviant behaviour when individuals are removed from their normal social environments and placed in extreme situations. Rozenfeld saw himself as a Yiddish Gorky whose short stories and autobiographical fiction chronicled Jewish working-class life in Odessa and the Lower East Side tenements. Except for a few translations of his short stories, most of his work remains a hidden treasure of modern Yiddish literature. Nevertheless, Rozenfeld belongs among the most original Yiddish prose writers of his generation. (YIVO Encyclopedia of Jews in Eastern Europe; Rozenfeld, Yona) Subjects: Yiddish fiction. Autobiography. Light wear to cloth, endpapers lightly aged, otherwise, fresh and clean. Very good condition. (YID-16-9)
229pp. + ills.hors-texte, 21cm., dans la collection "Théâtre", T66124
354 pages including index. An extraordinary, true Arctic drama of man against nature - and man against man. A work of non-fiction narrative that reads like a novel - a raw, vivid, harrowing adventure, brilliantly told. Excellent giftable copy. Book
8vo., original series binding of green cloth, upper board blocked in blind, gilt back, brown top, patterned endpapers, a very good, bright, clean copy in unclipped dustwrapper. With the EL essay and 8pp series catalogue bound in at end. First published in Everyman's Library in 1911. Sharp's introduction was revised specifically for this edition. EL 552; Seymour 551.0.
in-16°. pp. 70. Antiporta incisa in rame. Marca editoriale al frontespizio. Cartonato. Bruniture.
In 16° br. fig. col. pp. 160, ben tenuto
In 8° leg. edit. sov. fig. col. pp. 598, con ill.ni anche col. ben tenuto
282 pages. Colour photographs. Map endpapers. Tired of the frantic activity of society, and, more troubling, growing tired of each other (and their inability to have a child), Author and his partner decide to take unusual steps to avert a crisis in their marriage. They escape on a yearl-long canoeing expedition in Northern Canada. Author enfolds the reader in his world and portrays the universal drama of two people learning to get along. Clean, bright and unmarked with very light wear. Gift quality. Lovely copy. Book
