R. B. Rutherford - Böcker

Marcus Aurelius, Roman emperor from AD 161 to 180, is renowned for his just rule at home and for his long frontier wars. But his lasting claim to fame rests on the work known as the Meditations - a bedside book of reflections and self-admonitions composed in Greek (the language of philosophy) during his last years and partly while on campaign. These sparse notes, intended for the author's eyes alone, give unique access to the mind of an ancient ruler; they also contain many passages of pungent epigram and poetic imagery. In this study, Dr Rutherford seeks to make the Meditations more approachable to the modern reader by explaining the historical and philosophical background, charting the main themes and tendencies of Marcus' thought, and relating stylistic detail to the intellectual and moral outlook of the author.

The Odyssey, besides being one of the world's first and best adventure stories, is a poem of great subtlety, rich in irony and sophisticated characterisation. The poet's art is amply illustrated by books XIX and XX, in which Odysseus, disguised as a beggar, spends the night in his own palace and lays plans for his awesome revenge. Particularly memorable is the episode in which Penelope converses with her husband without suspecting his identity. In this edition, Richard Rutherford provides not only detailed comment on the action, characterisation and style of the books in question, but also, in an extensive introduction, a general survey of the Odyssey as a whole, laying special emphasis on the qualities of the second half of the poem. He also attempts to contribute to the literary criticism of the poem on a verbal level, by considering the poet's use of formulae, rhetorical technique and similes. This volume is intended for readers of the Odyssey at all stages. The commentary gives extensive linguistic guidance for beginners; and the introduction, in which all Greek is translated, is intended to be accessible to any readers interested in Homer as a poet.

Greek tragedy is widely read and performed, but outside the commentary tradition detailed study of the poetic style and language of Aeschylus, Sophocles and Euripides has been relatively neglected. This book seeks to fill that gap by providing an account of the poetics of the tragic genre. The author describes the varied handling of spoken dialogue and of lyric song; major topics such as vocabulary, rhetoric and imagery are considered in detail and illustrated from a broad range of plays. The contribution of the chorus to the dramas is also discussed. Characterisation, irony and generalising statements are treated in separate chapters and these topics are illuminated by comparisons which show not only what is shared by the three major dramatists but also what distinguishes their practice. The book sheds light both on the genre as a whole and on many particular passages.

The fascination of Plato's dialogues rests not only on the range of arguments and opinions expressed by the participants, but also on the richness of his literary style. He captures the imagination and stimulates the curiosity of his readers through his expert use of techniques devised by the rhetoricians and even the poets of his time; Plato, the critic of art and poetry, shows himself a consummate artist. This book is not a study of Plato's philosophy, but a contribution to the literary interpretation of the dialogues, through analysis of their formal structure, characterization, language and imagery. The dialogues considered in these interrelated essays include the "Gorgias", the "Symposium", the "Republic" and the "Phaedrus". Special attention is paid to the personality of Socrates, Plato's remarkable mentor, and to his interaction with other characters in the dialogues. The book includes discussion of particular problems such as the sources for our knowledge of Socrates, the origins of the dialogue form, Plato's use of myth and the "totalitarianism" of the "Republic".

Book 18 of the Iliad is an outstanding example of the range and power of Homeric epic. It describes the reaction of the hero Achilles to the death of his closest friend, and his decision to re-enter the conflict even though it means he will lose his own life. The book also includes the forging of the marvellous shield for the hero by the smith-god Hephaestus: the images on the shield are described by the poet in detail, and this description forms the archetypal ecphrasis, influential on many later writers. In an extensive introduction, R. B. Rutherford discusses the themes, style and legacy of the book. The commentary provides line-by-line guidance for readers at all levels, addressing linguistic detail and larger questions of interpretation. A substantial appendix considers the relation between Iliad 18 and the Babylonian Epic of Gilgamesh, which has been prominent in much recent discussion.

Greek tragedy is widely read and performed, but outside the commentary tradition detailed study of the poetic style and language of Aeschylus, Sophocles and Euripides has been relatively neglected. This book seeks to fill that gap by providing an account of the poetics of the tragic genre. The author describes the varied handling of spoken dialogue and of lyric song; major topics such as vocabulary, rhetoric and imagery are considered in detail and illustrated from a broad range of plays. The contribution of the chorus to the dramas is also discussed. Characterisation, irony and generalising statements are treated in separate chapters and these topics are illuminated by comparisons which show not only what is shared by the three major dramatists but also what distinguishes their practice. The book sheds light both on the genre as a whole and on many particular passages.