Basing her interpretation on the workings of farce and naturalism in Plautine comedy, McCarthy finds a way to understand the plays' patchwork literary style as well as their protean social effects. Beyond this, she raises important questions about popular literature and performance not only on ancient Roman stages but in cultures far from Plautus' Rome. How and why do people identify with the fictional figures of social subordinates? How do stock characters, happy endings, and other conventions operate? How does comedy simultaneously upset and uphold social hierarchies? Scholars interested in Plautine theater will be rewarded by the detailed analyses of the plays, while those more broadly interested in social and cultural history will find much that is useful in McCarthy's new way of grasping the elusive ideological effects of comedy.
New York Times Book Review Notable Book Selection for 2000: "[Lombardo] has brought his laconic wit and love of the ribald. . . to his version of the Odyssey. His carefully honed syntax gives the narrative energy and a whirlwind pace. The lines, rhythmic and clipped, have the tautness and force of Odysseus' bow." --Chris Hedges, The New York Times Book Review
Plato's account of Socrates' trial and death (399 BC) is a significant moment in Classical literature and the life of Classical Athens. In these four dialogues, Plato develops the Socratic belief in responsibility for one's self and shows Socrates living and dying under his philosophy. In Euthyphro, Socrates debates goodness outside the courthouse; Apology sees him in court, rebutting all charges of impiety; in Crito, he refuses an entreaty to escape from prison; and in Phaedo, Socrates faces his impending death with calmness and skilful discussion of immortality.
Christopher Rowe's introduction to his powerful new translation examines the book's themes of identity and confrontation, and explores how its content is less historical fact than a promotion of Plato's Socratic philosophy.