Avarice The Avaricious

This book is a translation, accurate and readable, of one of the wittiest pieces of medieval Arabic prose — Abu ‘Uthman al-Jahiz’s Avarice and the Avaricious. In the opinion of most Arab literary critics, Abu ‘Uthman al-Jahiz is one of the finest writers of Arabic of all time, described as the "sultan of style" and the very symbol of literary ability. He was a native of the city of Basra in southern Iraq, then the commercial and intellectual centre of the recently established Abbasid caliphate and the crucible where Islamic culture crystallised and assumed its form. Jahiz is characterised by wit, satire, irony and a wide-ranging erudition pinned to sharp observation of character. His language is agile and vigorous, lucid and precise. It is formally literary but inspired by the rhythms of ordinary speech. Digression and anecdote are commonplace as he passes seamlessly from the serious to the entertaining (and back again) for the improvement and pleasure of his readers. Hypocrisy and pretension are his targets. Reason, good sense, and a wholly uncynical good humour — the very salt of mirth — are his weapons. These qualities can all be found in the present work; one of his best-known books and, as the title suggests, an expose of the vice of miserliness among his contemporaries.

Professor Rees here re-examines the evidence for the Pelagian controversy. The second part of the book consists of Pelagius' letters, which provide the clearest and most succinct statements of Pelagian theology, but few of which have ever been translated into English before. --from publisher description.

Jonathan Patterson outlines the moral vocabulary and concepts used to describe avaricious behaviour in late Renaissance France and innovatively shows how the works of well-known authors engaged in productive dialogue with many of their lesser-known contemporaries on problems of avarice.

This book provides anyone, anywhere with the information they need to prevent bites and stings from scorpions, spiders, mites, ticks, centipedes, lice, and other such creatures.

In the early 1300s, Dante Alighieri set out to write the three volumes which make the up The Divine Comedy. Purgatorio is the second volume in this set and opens with Dante the poet picturing Dante the pilgrim coming out of the pit of hell. Similar to the Inferno (34 cantos), this volume is divided into 33 cantos, written in tercets (groups of 3 lines). The English prose is arranged in tercets to facilitate easy correspondence to the verse form of the Italian on the facing page, enabling the reader to follow both languages line by line. In an effort to capture the peculiarities of Dante's original language, this translation strives toward the literal and sheds new light on the shape of the poem. Again the text of Purgatorio follows Petrocchi's La Commedia secondo l'antica vulgata, but the editor has departed from Petrocchi's readings in a number of cases, somewhat larger than in the previous Inferno, not without consideration of recent critical readings of the Comedy by scholars such as Lanza (1995, 1997) and Sanguineti (2001). As before, Petrocchi's punctuation has been lightened and American norms have been followed. However, without any pretensions to being "critical", the text presented here is electic and being not persuaded of the exclusive authority of any manuscript, the editor has felt free to adopt readings from various branches of the stemma. One major addition to this second volume is in the notes, where is found the Intercantica - a section for each canto that discusses its relation to the Inferno and which will make it easier for the reader to relate the different parts of the Comedy as a whole.