Buy this book before it goes out of print for another thirty-five years!

If Golding's Ovid is not, "the most beautiful book in the language," it's among the top two-dozen "most beautiful books" you can find in English. I've searched for a second-hand copy of the 1965 Simon and Schuster edition since the late sixties, ever since I read Pound's ABC of Reading. I never had any luck finding it, though I did come across a non-circulating copy in a university library once. Its title page explained that only 2500 copies had been printed and that the previous edition -- the one Pound must have used -- was a small, deluxe Victorian production, itself unattainable by 1965.

After all my years lurking in second-hand bookshops, Paul Dry Books has finally done the decent and brought Golding's Ovid out again, this time as a beautifully printed, well-bound, but inexpensive paperback. I grabbed up my copy at first sight.

Is this an "accurate" translation of Ovid? As a previous reviewer has said, if you really want accuracy, you should read Ovid in Latin and leave the wild Elizabethan translators alone. Unlike that reviewer though, I'd say that, if you want Ovid in perfectly accurate modern English, with his poetry and voice included, you should read him in Mandelbaum's beautifully rendered version; but if you want an accurate modern English translation -- the type of thing your Latin prof would give you excellent marks for -- then read him in Melville's able, though sometimes sightly flat translation.

But if you love Elizabethan literature, then you should read Golding. You read his Ovid for the ripe, quirky, full-on Elizabethan English, deployed in his long, rambling fourteeners. Golding's metre was becoming antiquated in his own day but, as with a good deal of his rustic vocabulary, he didn't seem to care much about literary fashion. Reading him now, I find it's his joy with his original that matters. Open the volume anywhere -- at the Cyclops Polyphemus singing to the Nymph Galatea for example -- and there is Golding rolling magnificently on:

"More whyght thou art then Primrose leaf, my Lady Galatee.
More fresh than meade, more tall and streyght than lofy Aldertree.
More bright than glasse, more wanton than the tender kid forsooth.
Than Cockeshelles continually with water worne, more smoothe."

Where "forsooth" is outrageous metrical padding, and "forsoothe/smoothe" was probably a forced rhyme even in 1567. But who cares? Golding's music carries the reader past any such concerns, and the beauty and energy of the thing are undeniable.

So buy the book! Make sure it sells tens-of-thousands of copies! Give the publisher a reason to keep reprinting, so it never disappears again.

I'd like my review to correct what seems to be an over-hasty, unreflective lionization of Golding's translation by the other reviewers. Yes, it is a "great translation," in the sense that Marlowe's translations from Latin are, or Motteaux' Don Quixote is, or Pope's Iliad, or Robert Lowell's Imitations, or Pound's Chinese "translations," or even Ted Hughes' Tales From Ovid: that is, it is an powerful, compelling, wholly literary work in its own right, but it is nowhere near the original in terms of accuracy. The Latinless reader would do much better to buy Melville's excellent Oxford translation (which lacks nothing in poetic splendor) or perhaps Allen Mandelbaum's. As for the poetic "quality" of Golding's verse, that's of course subjective, but I could easily think of at least ten Elizabethan poets who are more satisfying to my taste. Golding's chief literary interest, as Nims points out, is his absolutely odd-ball English; attentive readers will find him a veritable storehouse of strange, funny, quaint Elizabethanisms that didn't quite make it into Shakespeare or the other mainstream writers of the period. (Much of the same joy can be found in Chapman's marvelous translations of Homer, reprinted by Princeton.) And the much-quoted Pound maxim comes from his wonderfully cantankerous ABC of Reading, certainly a fascinating book, but one in which Pound indulges in various critical pronouncements that seem, at times, merely whimsical or rhetorical. Much of Golding is rough, much dull, much of its interest is linguistic rather than poetic. He also adds a lot to round off his fourteeners (which I can't imagine are palatable to most readers for long stretches): his additions are fun, but they're not Ovid. Golding "Englished" Ovid to a great degree: his imagery often comes from English culture, not Mediterranean. Of course, any translation is fallible, and Golding's faults as a translator are, in my view, his greatest strengths as a poet, but he's definitely not a good place to start reading what is certainly one of the world's greatest books. This is a fine book, well worth the five stars, but emphatically NOT for the reasons cited by my colleagues. If you want Ovid, go for the original; failing that, Melville's your man.

This edition presents the Arthur Golding translation just as it would have been read at the time of its publication (1567). The Elizabethan spelling is maintained but is not an overwhelming problem (and really not very difficult at all and really adds to the charm of the translation (poetry) itself...) The print of this edition is also perfect in look (black print) and size and is the type of print that gives words a more substantial look...(that's not a small thing in a work like this...) Arthur Golding was not only a Protestant in times when faith was very political, but he was a Puritan...(he also was famous for translating John Calvin...) This edition reprints his preface where he justifies his efforts in translating Ovid. It also reprints his Epistle, or, dedication... I noticed on the copyright page that this is a reprint of an edition that was published back in 1965 by Simon and Schuster which interested me because I've been looking for an edition new or used of the famous Golding translation all my reading life (which began well after 1965...) and had never had any luck, so I would say if you come across this edition or it's not out-of-print by the time you see it here on amazon.com and you've always wanted to read it (I, by the way, had never been able to find the Golding translation in any libraries either...) then don't put-off aquiring it... Golding's translation of Ovid's Metamorphoses is really a basic book (there are only about 40 of those at last count...don't ask me to document that though...) Why is Golding's translation of this work so intriguing...? It, for one thing, looks on the page like sunlight looks when it's dancing and flashing off the water of a running brook...

If you purchase only a single engineering reference work this year, purchase this one. It contains the essentials you need to design nearly anything.

This is the essential engineering reference book. It's all here, in one place and well-organized. You will never need more than a small fraction of it your entire design career. But the for that fraction that you do need you will find it indispensible.

The essential book to own if you are serious about engineering. Everything you need to know. It is amazing how much Eshback packed into one volume. Tapley has continued the tradition. Everything you learned in school and need to recall, plus everything you should have learned.

I have quite a bit of experience in the study of Classical civilization, and I have yet to find a better source for information on Greek and Roman mythology. I think this book is a necessity for anyone wishing to learn more about ancient religion or to anyone who needs a reliable reference for this subject.

Everyone should own a copy of this book. It is the best sophisitcated introduction to classical mythology that is out there, and is filled with useful illustrations.

Morford and Lenardon set out to write a pretty comprehensive mythology text for those just starting a study of the subject and I think they've done a fantastic job. The most recent edition features tons of artwork and brings recent research in classical mythology and archaeology into the discussion. Also, the book is written in a highly engaging style that draws the reader in. You tend to forget you're reading a textbook. My only complaint was that I didn't feel some gods and goddesses were really covered. However, they were usually minor characters in Greek myth, so don't let that deter you from this book. It's worth the price!

I was privileged enough to see this play performed on Broadway at Circle in the Square theatre. Ever since, I can think of no play, aside from Laramie Projet that has been as powerful and moving as Metamorphosis. Zimmerman has created a masterwork from Ovid's tales. Fully deserving of a Tony or Pulitzer, this play belongs in any serious collectors library.

This is the play that should have won this year's Pulitzer, and if there's any justice, the Broadway production will take away a Tony. I can only imagine what this is like onstage, but even in script form it is a poetic, witty, and extremely moving experience. How Zimmerman managed to condense Ovid's sprawling work into this deft stage piece is a mystery, but she has constructed a fluid, fascinating play that transcends genres, race, religion, and politics to speak to the hopes and desires of all human beings. Like "Copenhagen" and "The Invention of Love", this is one of those plays that reminds me why I love live theater. There is hope after all! Buy it, read it, cherish it--and if you're lucky enough to be in New York, GO SEE IT!

This play is AMAZING! I saw it twice and HAD to buy the script! WOW!!!! The pool might seem hokey, but it's used so beautifully. SEE THIS PLAY IF YOU CAN! You're truly missing out if you don't. The script has the right lines, but misses the subtlety and humor and beauty that the live production gives. SEE THE SHOW AND BUY THE SCRIPT! KEEP THIS SHOW OPEN!

Ovid is by far the greatest Roman poet. Certainly, Vergil's work must not be overlooked, with his excellent style and powerful emotion (a favorite scene of mine is the death of Laocoon); however, Ovid surpasses Rome's poet laureate by leaps and bounds: Ovid's dactylic hexameter is ornate and precise, and his poetry contains a daring irreverence that outraged Augustus. Few authors have surpassed the power of Ovid's pen, and his _Metamorphoses_ is his best work.

Although I am not entirely impressed with pedestrian prose translations of poetry, the Lobe edition's side-by-side translation provides the reader an adequate aid to begin to grasp the poet's beauty.

(If one desires to read Ovid's _Metamorphoses_ in English, I highly recommend Rolfe Humprhies's excellent translation.)

The Metamorphoses, of course, is one of, if not the, classical world's greatest mythological treatises. The Loeb edition's convenient format of original Latin text opposite a clear, concise English translation is invaluable for anyone who has ever been interested in Latin, and a wonderful study guide for the Latin scholar. Highly recommended.

"The Student's Ovid" has several selections from Ovid's Metamorphoses --- and Musgrove, the editor of the book and writer of the helper notes for translating in the back, does a wonderful job of not truncating any important parts of the sections she includes. She begins where she feels each section begins -- usually as some fellow begins telling a story about lovers turned to trees or whatnot, or in a idyllic glade right before Zeus enters to take advantage of an unknowing female in the shape of a cloud or bull.

Musgrove includes the most important and interesting stories from "The Metamophoses": Deucalion and Pyrrha, Daphne and Apollo, Io, Europa, Cadmus, Echo and Narcissus, Pyramus and Thisbe, Perseus and Andromeda, Orpheus, Pygmalion, Midas, and many others.

This book is perfect for an intermediate college - level Latin course, both as a window into the rich culture of the time, and practice with translation!

Dr. Musgrove provides simultaneously an in-depth and easy to digest interpretation of the Metomorphoses. Ovid has never been seen in this light, and I expect won't be again for a long time.

Salve! This book is really great, as long as you have a teacher who will elaborate on the short grammar sections. With a teacher, you can learn Latin with little difficulty, but I cannot seem to progress with self-study. Probably, with real dedication to learning, it could be done. I don't know what else to suggest, but I would look for a text better suited to self-study (maybe Cambridge?).

As a highschooler, trying to find a Latin text that is easy to understand and to learn from is difficult. I had tried the Oxford series before, but had not gotten very far because I needed a teacher to explain, but LvO has a grammar section that is neatly divided up into different grammatical lessons. They are all pretty explanatory, I enjoyed how more verb tenses were introduced (more frequently), and I feel like this book is really better than others. I would definitely reccommnend this book.

Though this is a challenging course for the diligent high school student, it requires no prior knowledge of the language. My home schooled daughter used it and was amazed at the amount of Latin she could grasp after one year. She said it was gratifying to translate Ovid instead of contrived readings written specifically for students.

Good thing they included a "who's who" in the appendix because it appears that Fratianno was in contact with every made guy in the U.S. This was the first book I ever read on LCN and I had to re-read it because it has been 18 years. I enjoyed it much more now that I have more knowledge of organized crime because it covers a lot of ground. I would like to read another book or meet someone who knew Fratianno because he is very interesting and I would like to get their perspective on him. I'm going to read Roselli's book next so we'll see. The only real gripe I have is that the violence (Murders) weren't plentiful and they didn't really put me up close to them often enough. Also, the nickname the Weasel is inappropriate for Fratianno.

IF YOU ARE A FAN OF MAFIA BOOKS THIS IS THE ONLY BOOK YOU WILL EVER NEED TO GET. JIMMY FRATTIANO IS THE PERFECT EXAMPLE OF A MADE GUY. HE WAS A FEARED HITMAN, A HUSTLER AND HE WAS RESPECTED BY WISEGUYS FROM SEVERAL FAMILIES ACROSS THE COUNTRY. I HAVE READ STACKS OF MAFIA BOOKS THIS STILL BY FAR THE BEST.

This is a book that is saturated with intrigue and even humor. Jimmy the Weasel has seen it all and tells it like he sees it. This book is the beyond a doubt the best mafia book ever written and no movie could ever do it justice. Read it and forever be captivated by it. Skip the bad Gotti books and pick this one up fast! In memory of Aladena "Jimmy the Weasel" Fratianno.

Ovid, maybe the greatest Roman poet of the Augustan period, was famous not only for his "Metamorphoses" but also his works on the art of love. It was these works which dragged him into scandal and censorship of his works. Yes, as long as there has been authority, authority has been afraid of rebels. For his scandalous works and perhaps for some political reasons Ovid was exiled to the ends of the empire, the equivalent of Siberia to the Romans. He would live out the rest of his days away from everything and everyone he had ever known. This work tries to chronicle his thoughts and actions in those last years in the village of Tomia on the Black Sea. Ovid only has the memories of his past to give him consolation in his loneliness. In particular, he has memories of encounters with a wild boy raised by wolves that he last saw as a young boy. During a hunt with the villagers he sees what he believes to be this very same wild boy. He convinces the village headman to capture the boy and Ovid sets about trying to civilize the Child into what he believes to be humanity. Ironically, it is Ovid who finds himself being educated. This is a short and beautiful book. Its transcendent message of casting off the past and finding your destiny is one very relevant to our age. We have lost touch with primal nature.

The title of this review is from Ovid's Metamorphoses. It has been quite some time since I read of Hercules, Pygmalion, Thisbe, and a host of others. I do not believe the original Ovid must be read to enjoy Mr. David Malouf's book, but it certainly add to the experience. The irony is Ovid's work is probably four or five times the length, and even a greater consumer of time. A general grasp of what he wrote will suffice. The book also can be read with no reference material, and perhaps that is as the Author intended, each reader will have to decide.

In his work, "An Imaginary Life", the Author takes you to an Ovid in exile. His Emperor has sent him away to a place he knows nothing of, amongst a people as different from he as perhaps can be imagined, and without the ability to communicate at all. Time facilitates the learning of language, and the differences that first are so extreme between Ovid and his fellow inhabitants moderate if they do not disappear.

The catalyst for much of the effort to learn is a "creature" that also is present among Ovid and his neighbors. This is what I believe to be the "shape transformde" in Mr. Malouf's tale. Many are changed when the story is complete, perhaps most importantly Ovid. Mr. Malouf makes many points about nature, the definition of what it is to be human, and human relations. However for me this was not the most fascinating event while reading.

The Author places Ovid in the midst of a situation where everything is unknown to him. Perhaps the most dramatic unknown is a young child that lives among the Deer that he is said to have grown up amongst. When Ovid becomes aware of the child, he desires to capture the boy. His experiences with his plan, his preconceptions, and the very different views of those he hunts the Child with, are fascinating, and wonderfully original. Some may argue that since this work flows as a result of the writings of one of History's great poets the work by definition cannot be unique, only derivative. And such a point is well taken.

But to label this work derivative is to do the Author an injustice. He has taken a man who has greatly influenced literature, and in a manner of speaking dropped Ovid into an environment where Ovid is no longer the creator, the narrator, he is the subject. He is the subject not only of his ideas, and preconceptions, he is subject to them as well. Mr. Malouf places Ovid in an environment and with players that contain what Ovid so often wrote of. In this book he being subjected to the experience, not creating it, and Mr. Malouf pays tribute to the man by the quality of what he has created.

Again the more of Ovid you bring with you, the deeper you will be able to involve yourself in the Author's purpose. I was forced to go back and refresh my memory, and because I did, I do not believe I experienced all the Author intended. If you read this after Ovid's own work, I believe the experience will be even better.

David Malouf, the talented Australian author of this novel, often writes of cultural conflict or misunderstanding, and he never fails to convey the tensions felt by his protagonists as they grapple with the demons they face. I probably should have had more faith when I began this novel, but the plot line is so bizarre that I couldn't imagine becoming involved with these characters. Exiled to a remote part of Asia Minor where he knows no one, does not understand the culture, and does not speak the language, the Roman poet Ovid, after failing to become an integral part of his new community, makes contact with a wild child who has been living with wolves, the only being more isolated than he. As the unlikely pair begins to communicate, the author's themes of identity, value, and truth take shape and lead to an inevitable conclusion. Ultimately, I did begin to identify with Ovid and to share the feelings of the wolf child, a tribute to the awesome ability of this author to create new worlds.