Dictionary of Greek and Roman Biography and Mythology
The Dictionary of Greek and Roman Biography and Mythology is an encyclopedia/biographical dictionary. Edited by William Smith, the dictionary spans 3,700 pages, it is a classic work of 19th-century lexicography. The work is a companion to Smith's Dictionary of Greek and Roman Antiquities and Dictionary of Greek and Roman Geography; the work lists thirty-five authors in addition to the editor, an author for some definitions and articles. The authors were classical scholars from Oxford, Rugby School, the University of Bonn, but some were from other institutions. Many of the mythological entries were the work of the German expatriate Leonhard Schmitz, who helped to popularise German classical scholarship in Britain. With respect to biographies, Smith intended to be comprehensive. In the preface, he writes:The biographical articles in this work include the names of all persons of any importance which occur in the Greek and Roman writers, from the earliest times down to the extinction of the Western Empire in the year 476 of our era, to the extinction of the Eastern Empire by the capture of Constantinople by the turks in the year 1453.
Samuel Sharpe thought Edward Bunbury had plagiarised his work, as he wrote of in his diary entry on 3 September 1850: I felt mortified on reading the articles on the Ptolemies in Dr. Smith's "Dictionary of Classical Biography." They were all written by E. H. Bunbury with the help of my "History of Egypt," and with-out any acknowledgment, though he borrowed the volume from my brother Dan for the purpose. Many of the Dictionary's definitions and articles have been referred to in more recent works, Robert Graves has been accused of "lifting his impressive-looking source references straight, unchecked" from it when writing The Greek Myths; the work is now in the public domain, is available in several places on the Internet. While still accurate, much is missing more recent discoveries and epigraphic material. More the context in which ancient evidence is viewed has changed in the intervening century and a half. Dictionary of Greek and Roman Antiquities Dictionary of Greek and Roman Geography Dictionary of Greek and Roman Biography and Mythology.
Vol. I online at University of Michigan Library. Dictionary of Greek and Roman Biography and Mythology. Vol. II online at University of Michigan Library. Dictionary of Greek and Roman Biography and Mythology. Vol. III online at University of Michigan Library; the Internet Archive has a derivative work: Smith, William. A new classical dictionary of biography and geography based on the "Dictionary of Greek and Roman biography and mythology.". London: Murray. Anthon, Charles. A new classical dictionary of Greek and Roman biography and geography: based upon the Dictionary of Greek and Roman biography and mythology by William Smith. New York: Harper and Brothers
The Aeneid is a Latin epic poem, written by Virgil between 29 and 19 BC, that tells the legendary story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans. It comprises 9,896 lines in dactylic hexameter; the first six of the poem's twelve books tell the story of Aeneas's wanderings from Troy to Italy, the poem's second half tells of the Trojans' victorious war upon the Latins, under whose name Aeneas and his Trojan followers are destined to be subsumed. The hero Aeneas was known to Greco-Roman legend and myth, having been a character in the Iliad. Virgil took the disconnected tales of Aeneas's wanderings, his vague association with the foundation of Rome and his description as a personage of no fixed characteristics other than a scrupulous pietas, fashioned the Aeneid into a compelling founding myth or national epic that tied Rome to the legends of Troy, explained the Punic Wars, glorified traditional Roman virtues, legitimized the Julio-Claudian dynasty as descendants of the founders and gods of Rome and Troy.
The Aeneid is regarded as Virgil's masterpiece and one of the greatest works of Latin literature. The Aeneid can be divided into two halves based on the disparate subject matter of Books 1–6 and Books 7–12; these two halves are regarded as reflecting Virgil's ambition to rival Homer by treating both the Odyssey's wandering theme and the Iliad's warfare themes. This is, however, a rough correspondence, the limitations of which should be borne in mind. Virgil begins his poem with a statement of his theme and an invocation to the Muse, falling some seven lines after the poem's inception, he explains the reason for the principal conflict in the story: the resentment held by the goddess Juno against the Trojan people. This is consistent with her role throughout the Homeric epics. In the manner of Homer, the story proper begins in medias res, with the Trojan fleet in the eastern Mediterranean, heading in the direction of Italy; the fleet, led by Aeneas, is on a voyage to find a second home. It has been foretold that in Italy he will give rise to a race both noble and courageous, a race which will become known to all nations.
Juno is wrathful, because she had not been chosen in the judgment of Paris, because her favorite city, will be destroyed by Aeneas's descendants. Ganymede, a Trojan prince, was chosen to be the cupbearer to her husband, Jupiter—replacing Juno's daughter, Hebe. Juno proceeds to Aeolus, King of the Winds, asks that he release the winds to stir up a storm in exchange for a bribe. Aeolus agrees to carry out Juno's orders. Neptune takes notice: although he himself is no friend of the Trojans, he is infuriated by Juno's intrusion into his domain, stills the winds and calms the waters, after making sure that the winds would not bother the Trojans again, lest they be punished more harshly than they were this time; the fleet takes shelter on the coast of Africa, where Aeneas rouses the spirits of his men, reassuring them that they have been through worse situations before. There, Aeneas's mother, Venus, in the form of a huntress similar to the goddess Diana, encourages him and recounts to him the history of Carthage.
Aeneas ventures into the city, in the temple of Juno he seeks and gains the favor of Dido, queen of the city. The city has only been founded by refugees from Tyre and will become a great imperial rival and enemy to Rome. Meanwhile, Venus has her own plans, she goes to her son, Aeneas's half-brother Cupid, tells him to imitate Ascanius. Disguised as such, Cupid offers the gifts expected from a guest. With Dido's motherly love revived as she cradles the boy during a banquet given in honour of the Trojans, Cupid secretly weakens her sworn fidelity to the soul of her late husband, murdered by her brother, Pygmalion. In books 2 and 3, Aeneas recounts the events, he begins the tale shortly after the war described in the Iliad. Cunning Ulysses devised a way for Greek warriors to gain entry into the walled city of Troy by hiding in a large wooden horse; the Greeks pretended to sail away, leaving a warrior, Sinon, to mislead the Trojans into believing that the horse was an offering and that if it were taken into the city, the Trojans would be able to conquer Greece.
The Trojan priest Laocoön saw through the Greek plot and urged the horse's destruction, but his protests fell on deaf ears, so he hurled his spear at the horse. In what would be seen by the Trojans as punishment from the gods, two serpents emerged from the sea and devoured Laocoön, along with his two sons; the Trojans took the horse inside the fortified walls, after nightfall the armed Greeks emerged from it, opening the city's gates to allow the returned Greek army to slaughter the Trojans. In a dream, the fallen Trojan prince, advised Aeneas to flee with his family. Aeneas saw with horror what was happening to his beloved city. At first he tried to fight the enemy, but soon he lost his comrades and was left alone to fend off the Greeks, he witnessed the murder of Priam by Achilles' son Pyrrhus. His mother, appeared to him and led him back to his house. Aeneas tells of his escape with his son, his wife Creusa, his father, after the occurrence
Bibliotheca historica, is a work of universal history by Diodorus Siculus. It consisted of forty books; the first six books are geographical in theme, describe the history and culture of Egypt, of Mesopotamia, India and Arabia, of North Africa, of Greece and Europe. In the next section, he recounts the history of the world starting with the Trojan War, down to the death of Alexander the Great; the last section concern the historical events from the successors of Alexander down to either 60 BC or the beginning of Caesar's Gallic War in 59 BC. He selected the name "Bibliotheca" in acknowledgement that he was assembling a composite work from many sources. Of the authors he drew from, some who have been identified include: Hecataeus of Abdera, Ctesias of Cnidus, Theopompus, Hieronymus of Cardia, Duris of Samos, Philistus, Timaeus and Posidonius. Diodorus' immense work has not survived intact; the rest exists only in fragments preserved in Photius and the excerpts of Constantine Porphyrogenitus. The earliest date Diodorus mentions is his visit to Egypt in the 180th Olympiad.
This visit was marked by his witnessing an angry mob demand the death of a Roman citizen who had accidentally killed a cat, an animal sacred to the ancient Egyptians. The latest event Diodorus mentions is Octavian's vengeance on the city of Tauromenium, whose refusal to help him led to Octavian's naval defeat nearby in 36 BC. Diodorus shows no knowledge that Egypt became a Roman province—which transpired in 30 BC—so he published his completed work before that event. Diodorus asserts that he devoted thirty years to the composition of his history, that he undertook a number of dangerous journeys through Europe and Asia in prosecution of his historical researches. Modern critics have called this claim into question, noting several surprising mistakes that an eye-witness would not be expected to have made. In the Bibliotheca historica, Diodorus sets out to write a universal history, covering the entire world and all periods of time; each book opens with a table of its contents and a preface discussing the relevance of history, issues in the writing of history or the significance of the events discussed in that book.
These are now agreed to be Diodorus' own work. The degree to which the text that follows is derived from earlier historical works is debated; the first five books describe the history and culture of different regions, without attempting to determine the relative chronology of events. Diodorus expresses serious doubts that such chronology is possible for barbarian lands and the distant past; the resulting books have affinities with the genre of geography. Books six to ten, which covered the transition from mythical times to the archaic period, are entirely lost. By book ten he had taken up an annalistic structure, narrating all the events throughout the world in each year before moving on to the next one. Books eleven to twenty, which are intact and cover events between 480 BC and 302 BC, maintain this annalistic structure. Books twenty-one to forty, which brought the work down to Diodorus' own lifetime, terminating around 60 BC, are lost. Book one opens with a prologue on the work as a whole, arguing for the importance of history and universal history in particular.
The rest of the book is divided into two halves. In the first half he covers the development of civilisation in Egypt. A long discussion of the theories offered by different Greek scholars to explain the annual floods of the River Nile serves to showcase Diodorus' wide-reading. In the second half he presents the history of the country, its customs and religion, in a respectful tone, his main sources are believed to be Hecataeus of Agatharchides of Cnidus. This book has only a short prologue outlining its contents; the majority of the book is devoted to the history of the Assyrians, focussed on the mythical conquests of Ninus and Semiramis, the fall of the dynasty under the effeminate Sardanapallus, the origins of the Medes who overthrew them. This section is explicitly derived from the account of Ctesias of Cnidus; the rest of the book is devoted to describing the various other peoples of Asia. He first describes India, drawing on Megasthenes the Scythians of the Eurasian steppe, including the Amazons and the Hyperboreans) and Arabia Felix.
He finishes the book with an account of the traveller Iambulus' journey to a group of islands in the Indian Ocean, which appears to be based on a Hellenistic utopian novel. In this book, Diodorus describes the geography of North Africa including Ethiopia, the gold mines of Egypt, the Persian Gulf and Libya, where he sites mythical figures including the Gorgons, Amazons and Atlas. Based on the writings on Agatharchides, Diodorus describes gold mining in Egypt, with horrible working conditions: And those who have been condemned in this way—and they are a great multitude and are all bound in chains—work at their task unceasingly both by day and throughout the entire night... For no leniency or respite of any kind is given to any man, sick, or maimed, or aged, or in the case of a woman for her weakness, but all without exception are compelled by bl
In Greek mythology, Oeneus was a Calydonian king. He introduced wine-making to Aetolia, which he learned from Dionysus and the first who received a vine-plant from the same god. Oeneus was the son of King Porthaon and Euryte, thus, brother of Agrius, Melas and Sterope, he married Althaea and became the father of Deianeira, Toxeus, Periphas, Thyreus, Eurymede and Perimede. See Meleagrids. Oeneus was the father of Tydeus and Melanippus or Olenias by Periboea, daughter of Hipponous, though Tydeus was exiled from Aetolia and appears in myths concerning Argos. According to Pausanias, Mothone was a daughter of Oeneus by a concubine. In some accounts, Polyxo was called the sister of Meleager and thus, can be counted among the daughters of Oeneus. Oeneus slew his son Toxeus by his own hand; when Dionysus had come as a guest to Oineus he fell in love with Althaea and the king realizing this, he voluntarily left the city and pretended to be performing sacred rites. But Dionysus laid with Althaea. To Oineus, because of his generous hospitality, he gave the vine as a gift, showed him how to plant it, decreed that its fruit should be called oinos from the name of his host.
Since Oineus had made sacrifices yearly to all the gods during the harvest ceremonies, but had omitted to honor Artemis, who in anger, sent a boar of immense size to lay waste the district of Calydon. He sent out his son Meleager who promised that he would go with chosen leaders to attack the Calydonian Boar. So began the Calydonian Hunt during which the boar was killed by Atalanta and Meleager. However, an argument began as to who should take the boar's skin as a prize: Meleager gave it to Atalanta, but two of his maternal uncles, sons of Thestius, wanted the trophy for themselves, claiming that it belonged to them by the right of birth if Meleager did not want it. Meleager, in rage, killed them, which resulted in a war between the Calydonians and the Curetes, in which all of Oeneus' sons, including Meleager, fell; when Hipponoüs of Olenus, angered at his daughter Periboea because she claimed that she was with child by Ares, sent her away into Aetolia to Oeneus with orders for him to do away with him at the first opportunity.
Oeneus, who had lost son and wife, was unwilling to slay Periboea, but married her instead and begat a son Tydeus. The sons of Oeneus' brother Agrius deposed him but Diomedes, his grandson through Tydeus, put Oeneus back on the Calydonian throne. Oeneus either died of natural causes or was killed by the surviving sons of Agrius who laid an ambush against him while Diomedes was transporting him to Peloponessus, he was buried in Argos by Diomedes, a town was named Oenoe after him. Antoninus Liberalis, The Metamorphoses of Antoninus Liberalis translated by Francis Celoria. Online version at the Topos Text Project. Diodorus Siculus, The Library of History translated by Charles Henry Oldfather. Twelve volumes. Loeb Classical Library. Cambridge, Massachusetts: Harvard University Press. Vol. 3. Books 4.59–8. Online version at Bill Thayer's Web Site Diodorus Siculus, Bibliotheca Historica. Vol 1-2. Immanel Bekker. Ludwig Dindorf. Friedrich Vogel. in aedibus B. G. Teubneri. Leipzig. 1888-1890. Greek text available at the Perseus Digital Library.
Gaius Julius Hyginus, Fabulae from The Myths of Hyginus translated and edited by Mary Grant. University of Kansas Publications in Humanistic Studies. Online version at the Topos Text Project. Pausanias, Description of Greece with an English Translation by W. H. S. Jones, Litt. D. and H. A. Ormerod, M. A. in 4 Volumes. Cambridge, MA, Harvard University Press. Online version at the Perseus Digital Library Pausanias, Graeciae Descriptio. 3 vols. Leipzig, Teubner. 1903. Greek text available at the Perseus Digital Library. Pseudo-Apollodorus, The Library with an English Translation by Sir James George Frazer, F. B. A. F. R. S. in 2 Volumes, Cambridge, MA, Harvard University Press. Online version at the Perseus Digital Library. Greek text available from the same website
Greek mythology is the body of myths told by the ancient Greeks. These stories concern the origin and the nature of the world, the lives and activities of deities and mythological creatures, the origins and significance of the ancient Greeks' own cult and ritual practices. Modern scholars study the myths in an attempt to shed light on the religious and political institutions of ancient Greece and its civilization, to gain understanding of the nature of myth-making itself; the Greek myths were propagated in an oral-poetic tradition most by Minoan and Mycenaean singers starting in the 18th century BC. Two poems by Homer's near contemporary Hesiod, the Theogony and the Works and Days, contain accounts of the genesis of the world, the succession of divine rulers, the succession of human ages, the origin of human woes, the origin of sacrificial practices. Myths are preserved in the Homeric Hymns, in fragments of epic poems of the Epic Cycle, in lyric poems, in the works of the tragedians and comedians of the fifth century BC, in writings of scholars and poets of the Hellenistic Age, in texts from the time of the Roman Empire by writers such as Plutarch and Pausanias.
Aside from this narrative deposit in ancient Greek literature, pictorial representations of gods and mythic episodes featured prominently in ancient vase-paintings and the decoration of votive gifts and many other artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles. In the succeeding Archaic and Hellenistic periods and various other mythological scenes appear, supplementing the existing literary evidence. Greek mythology has had an extensive influence on the culture and literature of Western civilization and remains part of Western heritage and language. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in the themes. Greek mythology is known today from Greek literature and representations on visual media dating from the Geometric period from c. 900 BC to c. 800 BC onward. In fact and archaeological sources integrate, sometimes mutually supportive and sometimes in conflict.
Mythical narration plays an important role in nearly every genre of Greek literature. The only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus; this work attempts to reconcile the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends. Apollodorus of Athens wrote on many of these topics, his writings may have formed the basis for the collection. Among the earliest literary sources are the Iliad and the Odyssey. Other poets completed the "epic cycle", but these and lesser poems now are lost entirely. Despite their traditional name, the "Homeric Hymns" have no direct connection with Homer, they are choral hymns from the earlier part of the so-called Lyric age. Hesiod, a possible contemporary with Homer, offers in his Theogony the fullest account of the earliest Greek myths, dealing with the creation of the world. Hesiod's Works and Days, a didactic poem about farming life includes the myths of Prometheus and the Five Ages.
The poet gives advice on the best way to succeed in a dangerous world, rendered yet more dangerous by its gods. Lyrical poets took their subjects from myth, but their treatment became less narrative and more allusive. Greek lyric poets, including Pindar and Simonides, bucolic poets such as Theocritus and Bion, relate individual mythological incidents. Additionally, myth was central to classical Athenian drama; the tragic playwrights Aeschylus and Euripides took most of their plots from myths of the age of heroes and the Trojan War. Many of the great tragic stories took on their classic form in these tragedies; the comic playwright Aristophanes used myths, in The Birds and The Frogs. Historians Herodotus and Diodorus Siculus, geographers Pausanias and Strabo, who traveled throughout the Greek world and noted the stories they heard, supplied numerous local myths and legends giving little-known alternative versions. Herodotus in particular, searched the various traditions presented him and found the historical or mythological roots in the confrontation between Greece and the East.
Herodotus attempted to reconcile the blending of differing cultural concepts. The poetry of the Hellenistic and Roman ages was composed as a literary rather than cultic exercise, it contains many important details that would otherwise be lost. This category includes the works of: The Roman poets Ovid, Valerius Flaccus and Virgil with Servius's commentary; the Greek poets of the Late Antique period: Nonnus, Antoninus Liberalis, Quintus Smyrnaeus. The Greek poets of the Hellenistic period: Apollonius of Rhodes, Pseudo-Eratosthenes, Parthenius. Prose writers from the same periods who make reference to myths includ
In Greek mythology, Achilles or Achilleus was a Greek hero of the Trojan War and the central character and the greatest warrior of Homer's Iliad. His mother was the immortal Nereid Thetis, his father, the mortal Peleus, was the king of the Myrmidons. Achilles' most notable feat during the Trojan War was the slaying of the Trojan hero Hector outside the gates of Troy. Although the death of Achilles is not presented in the Iliad, other sources concur that he was killed near the end of the Trojan War by Paris, who shot him in the heel with an arrow. Legends state that Achilles was invulnerable in all of his body except for his heel because, when his mother Thetis dipped him in the river Styx as an infant, she held him by one of his heels. Alluding to these legends, the term "Achilles' heel" has come to mean a point of weakness in someone or something with an otherwise strong constitution; the Achilles tendon is named after him due to these legends. Linear B tablets attest to the personal name Achilleus in the forms a-ki-re-u and a-ki-re-we, the latter being the dative of the former.
The name grew more popular becoming common soon after the seventh century BC and was turned into the female form Ἀχιλλεία, attested in Attica in the fourth century BC and, in the form Achillia, on a stele in Halicarnassus as the name of a female gladiator fighting an "Amazon". Achilles' name can be analyzed as a combination of ἄχος "distress, sorrow, grief" and λαός "people, nation", resulting in a proto-form *Akhí-lāu̯os "he who has the people distressed" or "he whose people have distress"; the grief or distress of the people is a theme raised numerous times in the Iliad. Achilles' role as the hero of grief or distress forms an ironic juxtaposition with the conventional view of him as the hero of κλέος kléos. Furthermore, laós has been construed by Gregory Nagy, following Leonard Palmer, to mean "a corps of soldiers", a muster. With this derivation, the name obtains a double meaning in the poem: when the hero is functioning rightly, his men bring distress to the enemy, but when wrongly, his men get the grief of war.
The poem is in part about the misdirection of anger on the part of leadership. Another etymology relates the name to a Proto-Indo-European compound *h₂eḱ-pṓds "sharp foot" which first gave an Illyrian *āk̂pediós, evolving through time into *ākhpdeós and *akhiddeús; the shift from -dd- to -ll- is ascribed to the passing of the name into Greek via a Pre-Greek source. The first root part *h₂eḱ- "sharp, pointed" gave Greek ἀκή, ἀκμή and ὀξύς, whereas ἄχος stems from the root *h₂egʰ- "to be upset, afraid"; the whole expression would be comparable to the Latin acupedius "swift of foot". Compare the Latin word family of aciēs "sharp edge or point, battle line, engagement", acus "needle, bodkin", acuō "to make pointed, whet; some topical epitheta of Achilles in the Iliad point to this "swift-footedness", namely ποδάρκης δῖος Ἀχιλλεὺς or more πόδας ὠκὺς Ἀχιλλεύς. Some researchers deem the name a loan word from a Pre-Greek language. Achilles' descent from the Nereid Thetis and a similarity of his name with those of river deities such as Acheron and Achelous have led to speculations about him being an old water divinity.
Robert S. P. Beekes has suggested a Pre-Greek origin of the name, based among other things on the coexistence of -λλ- and -λ- in epic language, which may account for a palatalized phoneme /ly/ in the original language. Achilles was the son of the Nereid Thetis and of Peleus, the king of the Myrmidons. Zeus and Poseidon had been rivals for the hand of Thetis until Prometheus, the fore-thinker, warned Zeus of a prophecy that Thetis would bear a son greater than his father. For this reason, the two gods withdrew their pursuit, had her wed Peleus. There is a tale which offers an alternative version of these events: In the Argonautica Zeus' sister and wife Hera alludes to Thetis' chaste resistance to the advances of Zeus, pointing out that Thetis was so loyal to Hera's marriage bond that she coolly rejected the father of gods. Thetis, although a daughter of the sea-god Nereus, was brought up by Hera, further explaining her resistance to the advances of Zeus. Zeus was furious and decreed. According to the Achilleid, written by Statius in the 1st century AD, to non-surviving previous sources, when Achilles was born Thetis tried to make him immortal by dipping him in the river Styx.
However, he was left vulnerable at the part of the body by: his left heel. It is not clear. In another version of this story, Thetis anointed the boy in ambrosia and put him on top of a fire in order to burn away the mortal parts of his body, she was abandoned both father and son in a rage. However, none of the sources before Statius make any reference to this general invulnerability. To the contrary, in the Iliad Homer mentions Achilles being wounded: in Book 21 the Paeonian hero Asteropaeus, son of Pelagon, challenged Achilles by the river Scamander, he cast two spears at once, one grazed Achilles' elbow, "drawing a spurt of blood". In the fragmentary poems of the Epic Cycle
Little, Brown and Company
Little and Company is an American publisher founded in 1837 by Charles Coffin Little and his partner, James Brown, for close to two centuries has published fiction and nonfiction by American authors. Early lists featured Little Women by Louisa May Alcott, Emily Dickinson's poetry, Bartlett's Familiar Quotations; as of 2016, Brown & Company is a division of the Hachette Book Group. Little and Company had its roots in the book selling trade, it was founded in 1837 in Boston by James Brown. They formed the partnership "for the purpose of Publishing and Selling Books." It can trace its roots before that to 1784 to a bookshop owned by Ebenezer Batelle on Marlborough Street. They published works of Benjamin Franklin and George Washington and they were specialized in legal publishing and importing titles. For many years, it was the most extensive law publisher in the United States, the largest importer of standard English law and miscellaneous works, introducing American buyers to the Encyclopædia Britannica, the dictionaries of William Smith, many other standard works.
In the early years Little and Brown published the Works of Daniel Webster, George Bancroft's History of the United States, William H. Prescott's Ferdinand and Isabella, Jones Very's first book of poetry, Letters of John Adams and works by James Russell Lowell and Francis Parkman. Little and Company was the American publisher for Edward Gibbon's The Decline and Fall of the Roman Empire; the firm was the original publisher of United States Statutes at Large beginning in 1845, under authority granted by a joint resolution of Congress. In 1874, Congress transferred the authority to publish the Statutes at Large to the Government Printing Office, responsible for producing the set since that time. 1 U. S. C. § 113 still recognizes their edition of the laws and treaties of the United States are competent evidence of the several public and private Acts of Congress and international agreements other than treaties of the United States. In 1853, Brown began publishing the works of British poets from Chaucer to Wordsworth.
Ninety-six volumes were published in the series in five years. In 1859, John Bartlett became a partner in the firm, he held the rights to his Familiar Quotations, Little, Brown published the 15th edition of the work in 1980, 125 years after its first publication. John Murray Brown, James Brown's son, took over when Augustus Flagg retired in 1884. In the 1890s, Brown expanded into general publishing, including fiction. In 1896, it published Quo Vadis. In 1898, Brown purchased a list of titles from the Roberts Brothers firm. 19th century employees included Charles Carroll Soule. John Murray Brown died in 1908 and James W. McIntyre became managing partner; when McIntyre died in 1913, Brown incorporated. In 1925, Brown entered into an agreement to publish all Atlantic Monthly books; this arrangement lasted until 1985. During this time the joint Atlantic Monthly Press/Little Brown imprint published All Quiet on the Western Front, Herge's The Adventures of Tintin, James Truslow Adams's The Adams Family, Charles Nordhoff and James Norman Hall's Mutiny on the Bounty and its sequels, James Hilton's Goodbye, Mr. Chips, Walter D. Edmonds's Drums Along the Mohawk, William Least Heat-Moon's Blue Highways, Tracy Kidder's The Soul of a New Machine, J. D. Salinger's The Catcher in the Rye.
Salinger terminated his contract with the publishing house sometime in the 1970s, though his novel was still published by Little, Brown. Other prominent figures published by Little, Brown in the 20th and early 21st centuries have included Nagaru Tanigawa, Donald Barthelme, Louisa M. Alcott, Catherine Drinker Bowen, Bernie Brillstein, Thornton Burgess, Hortense Calisher, Bruce Catton, A. J. Cronin, Peter De Vries, J. Frank Dobie, C. S. Forester, John Fowles, Malcolm Gladwell, Pete Hamill, Cynthia Harrod-Eagles, Lillian Hellman, Oliver Wendell Holmes, Sr. Henry Kissinger, Elizabeth Kostova, Norman Mailer, William Manchester, Nelson Mandela, John P. Marquand and Johnson, Stephenie Meyer, Rick Moody, Ogden Nash, Edwin O'Connor, Erich Maria Remarque, Alice Sebold, David Sedaris, George Stephanopoulos, Gwyn Thomas, Gore Vidal, David Foster Wallace, Evelyn Waugh, P. G. Wodehouse, James Patterson and Herman Wouk. Little, Brown published the photography of Ansel Adams; the imprint was purchased by Time Inc. in 1968, was made part of the Time Warner Book Group when Time merged with Warner Communications to form Time Warner in 1989.
All editing staff moved from Boston to Time Warner Book Group offices in New York City by 2001. In 1996, Brown's legal and medical publishing division was purchased by Wolters Kluwer. In 2001, Michael Pietsch became Publisher of Brown. Little, Brown expanded into the UK in 1992 when TWBG bought MacDonald & Co from Maxwell Communications, taking on its Abacus and Orbit lists, authors including Iain Banks. Feminist publisher Virago Press followed in 1996. In 1996, Wolters Kluwer acquired Little, Brown's professional division and incorporated it into its Aspen and Lippincott-Raven imprints. In 2006, the Time Warner Book Group was sold to French publisher Hachette Livre. Following this, the Little, Brown imprint is used by Hachette Livre's U. S. publishing company, Hachette Book Group USA. In 2011, Brown launched an imprint devoted to suspense publishing: Mulholland Books. In 2018, Brown launched an imprint devoted to health, lifestyle and science: Little, Brown Spark; the company received the Publisher of the Year Award three times.
On April 1, 2013, Reagan Arthur became publisher of Brown. Badminton Library Books in the United States List