This is a revised and updated version of the survey on Homer which the author originally published in 1996. It provides a wide variety of readers with a clear and detailed introduction to the Iliad and the Odyssey, and to the problems which arise in dating, contextualising and interpreting these two epics, which are among the earliest poetic texts to come down to us from the ancient Greek world. A substantial introductory chapter discusses the so-called Homeric Question, the question of the identity and origins of 'Homer'. Among the important topics considered are the debate over oral composition, the structure, plot and themes of the two epics, and the religious and ethical ideas which figure in the poems; also discussed are characterisation, speeches, similes, symbolism and irony. An extensive bibliography gives expert guidance on these and many other aspects of these extraordinary poems.

When Tim and Mary befriend a small dog at the playground, they are delighted as he surprises them with a very friendly smile. The children become the victims of two mean bullies, but a mysterious voice saves them. Where did it come from? Later, when flying their kites, the siblings are once again interrupted by the bullies. Tim lets go of his kite and it begins to fly away, until the small dog catches it and then astonishes the youngsters by speaking. The children promise to keep his secret so that their new canine companion is not taken away. After another incident with the bullies, the children find the little dog wounded and take him to the vet. The vet examines him, including his unique vocal cords, and bandages him up. Recovering and taken home by the children, the dog relates his extraordinary story and tells the children that his name is Tadcaster. Will Tadcaster be able to stop the bullies once and for all?

‘That proud, impassioned soul, so ungovernable now that she has felt the sting of injustice’

Medea, in which a spurned woman takes revenge upon her lover by killing her children, is one of the most shocking and horrific of all the Greek tragedies. Dominating the play is Medea herself, a towering and powerful figure who demonstrates Euripides’ unusual willingness to give voice to a woman’s case. Alcestis, a tragicomedy, is based on a magical myth in which Death is overcome, and The Children of Heracles examines the conflict between might and right, while Hippolytus deals with self-destructive integrity and moral dilemmas. These plays show Euripides transforming the awesome figures of Greek mythology into recognizable, fallible human beings.

John Davie’s accessible prose translation is accompanied by a general introduction and individual prefaces to each play.

Previously published as Alcestis and Other Plays

The dramas Euripides wrote towards the end of his life are remarkable for their stylistic innovation and their adventurous - even outrageous plots.

Of these plays, Heracles stands apart in its stark portrayal of undeserved human suffering and the malignant power of the gods. In contrast the Cyclops (Euripides' sole surviving satyr play) celebrates drink, sex and self-indulgent hedonism. While in Iphigenia Among the Taurians, Ion and Helen, Euripides exploits the comic potential to be found in traditional myth, weaving plots full of startling shifts of tone, deception and illusion. Alongside the comedy, however, Euripides always reminds us how quickly fortunes are reversed and invites us to view the world with scepticism and compassion.

This volume originated in a conference of the same title, held in Oxford in September 2006, to celebrate the 70th birthday of Peter Parsons, Regius Professor of Greek at Oxford from 1989 to 2003. The contributors, who are former pupils, colleagues or collaborators with Peter Parsons, share a deep admiration for him and his work. Peter Parsons has, throughout his career, been engaged in research on newly discovered papyrus texts, and such texts play an important part in this volume's discussions. He has also constantly sought to use these texts to illuminate the literary and cultural history of antiquity. The essays in this volume are suitably diverse, reflecting the broad interests of the honorand: they straddle prose and verse, literary and subliterary texts, addressing both theoretical issues and specific practical problems of interpretation which contribute to the difficulties faced in giving form and meaning to the diverse and fragmentary evidence of ancient literary history - to give some kind of partial unity to 'culture in pieces'.
Broader topics considered include the methodology of editing fragments, the problems of identifying authorship (New Comedy being treated as a test case), the ambiguities of texts which may or may not be read as ironic, and the development of the Greek novel. Among major authors treated are Pindar, Euripides, Menander, Callimachus, and Ovid. The volume also includes an introduction outlining Peter Parsons's career and achievements, and a bibliography of his publications.

Euripides, wrote Aristotle, ‘is the most intensely tragic of all the poets’. In his questioning attitude to traditional pieties, disconcerting shifts of sympathy, disturbingly eloquent evil characters and acute insight into destructive passion, he is also the most strikingly modern of ancient authors.

Written in the period from 426 to 415 BC, during the fierce struggle for supremacy between Athens and Sparta, these five plays are haunted by the horrors of war – and its particular impact on women. Only the Suppliants, with its extended debate on democracy and monarchy, can be seen as a patriotic piece. The Trojan Women is perhaps the greatest of all anti-war dramas; Andromache shows the ferocious clash between the wife and concubine of Achilles’ son Neoptolemos; while Hecabe reveals how hatred can drive a victim to an appalling act of cruelty. Electra develops (and parodies) Aeschylus’ treatment of the same story, in which the heroine and her brother Orestes commit matricide to avenge their father Agamemnon. As always, Euripides presents the heroic figures of mythology as recognizable, often very fallible, human beings. Some of his greatest achievements appear in this volume.

About the Contributor(s): Owen F. Cummings is the Regents' Professor of Theology and Academic Dean at Mount Angel Seminary, Oregon. He is also a permanent deacon of the Diocese of Salt Lake City.

Father Rutherford has thoroughly revised The Death of a Christian, his popular study, to reflect the Order of Christian Funerals (1989). Pastors, educators, seminarians, and divinity school students will find this a major work for study and pastoral guidance in the exercise of their ministries.