Knox's fine Classical Literature really deserves four and a half stars; I just can't figure out how to put on that extra half a star. Truly, this is a superb piece of editing-- Knox has chosen wisely , including well-known classical works, Homer, Aeschylus, Euripides, as well as more obscure works. The book runs the whole gamut of Greek and Roman literature, giving a tantalizing taste of each. Often the lesser-known works are the most interesting. I was fascinated. Knox also gives details about the lives and times of the authors that are interesting and engaging. Also, I appreciated Knox's interest in providing the most reader-friendly versions of the pieces. Sometimes he alternates translators to show how different people have read the great works, and in some cases, Propertius in particular, he offers great literary translations (such as one by Ezra Pound) alongside a more faithful translation. There is so much to say for this book. You will want to read more. There is one cause for frustration though, and that is in Knox's approach to giving liner notes. He gives all notes up-front in the introduction to each piece where a footnote or endnote might have been more convenient to the reader-- they must go back to the intro if they've forgotten what something meant. Other than smoe confusion with editorial notes, this book is wonderful and well worth your time.

This anthology stands head and shoulders above the competition, such as the Portable Greek and Roman readers for a number of reasons, not the least of which are the fresh, modern translations of these very well-chosen ancient works. Others include its size (ca. 850 large pages) and high quality as a book, and, of course, its contents, which range from Homer to Augustine.

About 2/3 of the volume is devoted to Greek literature, with about 200 pages of that being Homer and Hesiod. Early poets are well represented from Sappho to the obscure. A complete translation of "Antigone" is included, as well as a generous sampling of other plays by Aechylus, Euripides, etc. Herodotus, Thucidides, Plato, Aristotle and many little known Hellenistic items appear. From Rome, Vergil, Lucretius, Marcus Aurelius, and various poetic and theatrical works.

The book does leave you wanting more. Fortunately, after reading this, you will have a much better idea about what you want more of!

A wide-ranging and cunningly chosen set of texts and translations and a generous set of elegantly written introductions make this a first-rate anthology. I am not very widely read in the classics, but I showed the book to a friend who is, and he was delighted to find many selections with which he was unfamiliar. Reading this book made we want to run out and get another whole shelf-full of complete works.

Robert Fagles's translation of Homer's Iliad is spiritually if not literally true to the original. Both versions repeat set speeches and descriptions in precisely the same words, and the translation exhibits a fairly regular rhythmic beat. But Homer's Greek was chanted, and the set passages were like refrains in which listeners could, if they chose, join in as a chorus. In English, the repetitions sometimes become tedious, especially when the same speech is given three times in two pages, as in the relay of Zeus's orders in Book II. Especially noteworthy is Bernard Knox's long and fascinating Introduction, a masterpiece of literary criticism and scholarship which conveys Homer's grim attitude toward war, the interplay of divine and human will, and the ancient concepts of honor, courage, and virility in the face of the stark finality of death. Knox also includes a succinct explanation of the quantitative, rather than accentual, basis of Greek (and Latin) verse. For easy readability, Fagles's translation is without rival. For elegance and poetry, however, I recommend Richmond Lattimore's older but still gripping and fluent translation.

Robert Fagles's translation of Homer's Iliad is spiritually if not literally true to the original. Both versions repeat set speeches and descriptions in precisely the same words, and the translation exhibits a fairly regular rhythmic beat. But Homer's Greek was chanted, and the set passages were like refrains in which listeners could, if they chose, join in as a chorus. In English, the repetitions sometimes become tedious, especially when the same speech is given three times in two pages, as in the relay of Zeus's orders in Book II. Especially noteworthy is Bernard Knox's long and fascinating Introduction, a masterpiece of literary criticism and scholarship which conveys Homer's grim attitude toward war, the interplay of divine and human will, and the ancient concepts of honor, courage, and virility in the face of the stark finality of death. Knox also includes a succinct explanation of the quantitative, rather than accentual, basis of Greek (and Latin) verse. For easy readability, Fagles's translation is without rival. For elegance and poetry, however, I recommend Richmond Lattimore's older but still gripping and fluent translation.

Robert Fagles's translation of Homer's Iliad is spiritually if not literally true to the original. Both versions repeat set speeches and descriptions in precisely the same words, and the translation exhibits a fairly regular rhythmic beat. But Homer's Greek was chanted, and the set passages were like refrains in which listeners could, if they chose, join in as a chorus. In English, the repetitions sometimes become tedious, especially when the same speech is given three times in two pages, as in the relay of Zeus's orders in Book II. Especially noteworthy is Bernard Knox's long and fascinating Introduction, a masterpiece of literary criticism which conveys Homer's grim attitude toward war, the interplay of divine and human will, and the ancient concepts of honor, courage, and virility in the face of the stark finality of death. Knox also includes a succinct explanation of the quantitative, rather than accentual, basis of Greek (and Latin) verse. For easy readability, Fagles's translation is without rival. For elegance and poetry, however, I recommend Richmond Lattimore's older but still gripping and fluent translation.

This is a very good book on the subject of Oedipus, but not quite the best book on Sophocles or Oedipus. I liked both Bates' "Sophocles-poet and dramatist" and Weinstock's "Sophokles" a wee bit better, but that may be just my personal taste. Knox has a very bad habit of insisting that, by playing with the translations of tense and the shifting of meaning, and the redistributing of stress in a given sentence, that whole new meanings of the text can be 'discovered'. This is a very lazy, haphazard way to engage in critiquing, for it is not research. And Fagle's translation is plodding. Takes the poetry right out of the text.

The superlative reviews from publications as disparate as the New York Times, the New Yorker and Hellenic World (!)should be sufficient inducement to convince anyone with the least interest in Sophocles and "Oedipus Tyrannus" to buy this book.

Bernard Knox is perhaps the greatest living classicist and he may just be one of the greatest of all time. He writes with an ease and lucidity that renders the most difficult subject available to the lay reader. He has an uncanny facility to sum up in a paragraph a subject that has occupied him for twenty or thirty pages. Indeed one of the delights of this book is that at the end of each section there appears a wonderfully pithy summation.

When this book was first published it (surprisingly) received immediate and positive reviews from the New York Times and the New Yorker. But it was almost universally ignored by the classical community who were perhaps annoyed at the twitting they received in Knox's introduction. Dismayed by the appearance of an article entitled "The Carrot in Classical Antiquity", Knox had lashed out at the "excessive technicality" of his colleagues. This will remind many of us of Victor Davis Hanson's brilliantly polemical attack on the classical establishment in "Who Killed Homer".

Time, however, was on Knox' side and he went, on, as I said, to become a giant in his field. In 1998, "Oedipus at Thebes" was republished for a new and grateful generation of students.

This is a true tour de force. Knox took as his starting point a statement made by Walter Headlam. Headlam had claimed that "when embarking on the elucidation of a Greek text, the scholar should first learn the text by heart and the read the whole of Greek literature looking for parallel passages." Sounds almost preposterous. Right? Well Knox actually did this. The result is a reading of "Oedipus Tyrannus" that is not only breath-taking in its magisterial sweep, but which, as far as I am concerned offers the first coherent explanation of what the play is about (but see also Charles Segal's sensitive reading - "Tragic Heroism and the Limits of Knowledge"). Knox has lovingly burnished Sophocles somewhat tarnished reputation and has ensured that Oedipus Tyrannus takes its place in the pantheon of the greatest works of literature.

But Knox is also careful to point out the relevance of the play for modern readers -- yet another reminder (and it is despairing that we need them) that the classics should be taught in our schools and read by all of us. Here is Knox on the subject: "A play, however, which suggests that, for all its great achievements, human ingenuity may be fatally flawed, does not seem irrelevant for an age that lives in dread of atomic and biological warfare, not to mention the nightmare possibilities offered by the latest developments in genetics."

The reason I read this little book is that I had started to read Sophocles' plays in the Chicago collection, "The Complete Greek Tragedies", edited by Grene and Lattimore. I became immediately bogged down in "Oedipus Tyrannus" and I began to suspect he had more to do with the translation than anything else.

The dust jacket of this collection contains superlatives about Grene's translations. We are gushingly told at one point that the Greekless reader needs "no other translation." Well allow me to politely differ. As I read Knox's book, using it as a tool to annotate Grene's translation, I came to see that time and again Grene had, for what could only be poetic purposes, obscured the true meaning of the text. In so doing he presents a version of the play that is VERY far from what Sophocles must have intended.

So, for those of you about to embark at University (or at home) on a study of Sophocles let me suggest two things. 1. Buy Knox and read him FIRST. 2. Buy Fagles' translation of Sophocles and not Grene (it is anything but unpoetic as has been suggested elsewhere). You won't be disappointed. I think you will emerge with far more respect for Sophocles and Greek society in general.

This is by far the best (critical) text ever written on Sophocles and Greek tragedy. This book delves into the Oedipus myth and covers many themes in the Oedipus, particularly the primary theme between fate and free will, which is a direct refutation to Freud and his conception of the myth: in "The Interpretation of Dreams," Freud labels the Oedipus a "tragedy of fate." His claim is certainly controversial and Knox deals with it in a very thorough manner. Oedipus at Thebes not only displays an apt critical analysis, but also displays a very unique writing style: very elequoent, yet easy to understand. This text is useful for research as well as for pleasure purposes. Bernard Knox also delivers a wonderful analysis of the Oedipus in the Introduction/Notes to Fagles' translation of "The Three Theban Plays."