The King Must Die: A Novel

I love mythology and history, and after reading the reviews I had high hopes. I could not finish this book. Theseus is portrayed as an oversexed macho twerp. I could not finish because at a certain point I just didn't care what happened to him. I think a teenage boy would love this book, but it's not for me.

‘The King Must Die’ is a historical novel by Mary Renault, first published in 1958. Set in Ancient Greece: Troizen, Corinth, Eleusis, Athens, Knossos in Crete, and Naxos, it traces the early life and adventures of Theseus, one of the heroes in Greek mythology. Ms Renault’s story constructs a story around Theseus which, while not a simple retelling of the myth, could form the basis of it. The story begins in Troizen, the land of Theseus’s grandfather, King Pittheus. Theseus believes that he is the son of the sea-god Poseidon, and when he discovers that he can sense earthquakes, he considers this is proof of his heritage. When he is seventeen, after lifting a stone to recover his father’s sword, he learns that his father is Aigeus, King of Athens. He decides to travel to Athens, but along the way he unexpectedly becomes the King of Eleusis.

‘To be a king’, I thought, ‘what is it? To do justice, to go to war for one’s people, make their peace with the gods? Surely it is this.’

Theseus eventually reaches Athens, meets his father and then volunteers to become one of the fourteen bull-dancers demanded as tribute by the King of Crete. He does not know whether he will survive, or whether he will return to Athens to see his father.

‘It is a saying of the Bull Court that the longer you live there, the longer you may.’

In this book, Theseus is made real by Ms Renault’s knowledge of archaeology, culture and history. He pays homage to Poseidon, but recognises the other gods who are part of the world in which he lives. The whole book is magnificent, but I especially enjoyed Theseus’s experiences in becoming a bull-dancer. This novel and its sequel, ‘The Bull From the Sea’ (published in 1962) are two of the best works of historical fiction I’ve ever read. Theseus’s adventures are - well - legendary, but what works best in this novel is the realistic context and plausible life that Ms Renault has created for him.

‘Man born of women cannot outrun his fate. Better then not to question the Immortals, nor when they have spoken to grieve one’s heart in vain. A bound is set to our knowing, and wisdom is not to search beyond it. Men are only men.’

Jennifer Cameron-Smith

I first got hooked on history, and therefore on historical fiction, as a highly imaginative and rather geeky kid living in Europe in the `50s. Anywhere we went, I could look around and see buildings and street scenes that were ancient before the United States was even invented, and it affected me on a deep level. I read a lot of Thomas Costain and Samuel Shellabarger and Lawrence Schoonover. Then I discovered Mary Renault shortly after the publication of this novel -- her second historical -- and I became an instant fan. She has the special talent of taking myth and recasting it as "history as it actually might have been."

The narrator is Theseus, beginning with his early childhood in the Mycenaean-era palace at Troizen on the northwest shore of the Peloponnese. He's the grandson of the local king, the son of the community's priestess, and he's confident he has a destiny to fulfill, though he doesn't yet know what it is. He lives in what we would regard as an "age of myth," but that only means Theseus and his contemporaries see the world through a particular sort of lens that is foreign to us, based on specific societal values that we would find strange. But Renault understands them. Richard Hofstadter called a myth a legend magnified by tradition and accepted as the historical beginning of a nation, and that's exactly what Theseus was to the latter Greeks: The founder of the Athenian city-state, the synoikismos (unification) of Attica.

As a boy, Theseus is prone to experiencing omens, which makes him something of an oracle to those around him, an explainer of what the gods want. And he experiences and accepts the concept of moira -- personal fate -- at a visceral level. And he takes part in the sacrificial death of the King Horse to the sky gods, a feature of the religion of the stock-raising Hellenes before they invaded Greece. When he's in doubt about what he should do, he goes directly to the gods, especially Poseidon, god of the sea and of earthquakes, whom he once thought was his father and later regards as his "patron."

In his teens, Theseus discovers the true identity of his father -- he's the king of the town of Athens, living on the fortified Acropolis -- and sets off to reveal his existence and claim his inheritance. This involves traveling up the bandit-ridden Isthmus, where he makes a name for himself, but then he fetches up at Eleusis, which is only a few miles from Athens but of another culture entirely. Eleusis is still ruled by the pre-Hellenic indigenous matrilineal culture that worships the Earth Mother and which follows the tradition of the Year-King, who must die every year for the benefit of the people and their crops, to be replaced by the next Year-King. But Theseus will change things, which is part of his job as a Hero. (And "hero" is another term with a very special meaning in Greek myth.)

It takes while, but he finally makes his way to Athens, no longer merely a supplicant but as the ruler of a neighboring state -- the first step in Attica's unification, a process he will continue by actual military conquest on his father's behalf. But lurking in the background throughout the first part of the story is the incontestable naval power of Minoan Crete, demanding and collecting tribute from all the small kingdoms of mainland Greece. For Athens, that tribute consists of an annual offering of adolescent boys and girls, drawn by lot, who will be sacrificed to Cretan religious practices. To protect his honor, Theseus finds himself forced to volunteer as part of the offering -- another king who must face his almost certain death. And so he sails for Knossos.

On the voyage there, Theseus once again demonstrates his unique leadership -- his innate kingship -- by converting a loose group of teenagers into a disciplined, united team determined to survive whatever comes. And so they arrive at the great palace without walls, where Theseus must once again learn to understand and to deal with a foreign culture, and where he re-makes himself once again, this time into a successful bull-dancer, a sacrifice offered to Poseidon. But the Cretans have allowed their religion to degenerate into mere sport and Theseus knows the gods are unhappy about that. There's going to be a reckoning, and he will be the agent of it.

This is not an enormously long book, only a little over 300 pages, but the ideas and action and descriptions are so packed together, it seems like an epic of much greater length. And, in fact, the rest of Theseus's story is told in the sequel, _The Bull from the Sea,_ which you should have ready to hand. I reread both books (and several of Renault's other novels set in the ancient world) every decade or so. They're vivid and exciting and thoughtful and instructive and every time I settle down to immerse myself in Theseus's life again, it's like going back to a museum to look yet again at a well-loved painting. If someone who had never read an historical novel before asked me for a recommendation (and they have done), this is the first book I would hand them.

Basic idea: grandson of a petty king, young man leaves home to find his father, Along the way he wanders through societies in transition, struggles with warriors and priestesses, and finds himself elevated in unexpected ways and must respond in a manner consistent with his own sense of honour. He experiences both kingship and near slavery in a bull-pit. Yet he is always a hero.

I loved this book when I first read it as a teenager in the 1970s but now I cannot help but think that the writing style of more modern writers is more accessible for the youth of today. Nevertheless I feel that this is a book that should be read.

For me one of the most powerful aspects of the novel is the struggle between the worldviews of two peoples who are increasingly intermingling. On one hand are the Minyans, apparently the original inhabitants of what we think of as ancient Greece. Short and dark, their society is a matriarchal one, and each year they sacrifice a king and raise up a new one. Through such ceremony they seem to have a society without major internal conflicts. Hence the Minyans of Eleusis only need worry about raids from neighbouring town states and hte inhabitants of Crete (the Minoans) had managed to build a civilisation that had lasted a thousand years (by their own reckoning in the novel). Against these Minyan societies come the patriarchic Hellenes. It is apparent that these are more war-like. A king is truly a ruler - not an annual sacrifice. Whereas the annual handover of kingship only sees one death in matriarcha societies (the King's), the patriarchal kingdoms suffer civil war with each king's death and their is far greater bloodletting. Renault is very blunt in portraying these aspects of both types of society, but somehow most readers appear shocked by the portrayal of the bloody matriarchies more than the even bloodier patriarchies.

The characters in the novel are a bit one dimensional. The protagonist, Theseus, tells us the story from his perspective. It is apparent that he is recalling this from his old age, and hence there is no real feel of character development. He comes across as a little niaive, a little arrogant and very much a man's man. As such he looks down on women to some extent, admiring many but nevertheless considering men their superior. When women are in a position of power, the protagonist considers them to be manipulative or dishonest. Perhaps this is why Renault is accused of misogyny - but to be realistic, she is portrayng how she felt a man of his times would think. Interestingly I know many men of our current times who barely think differently. By comparison we are often shown appalling male behaviour in this book without any moral commentary on it, and I don't believe that this absence is intended to be a lack of judgement but rather an emphasis of the unfairness.

OK - so now its sounding more like a social commentary than a book you want to read. Wrong - that is just part of the richness of the book that it does address these issues. The story is an engaging one and the world it takes place in is intriguing and varied.

Finally, the thing I've been avoiding mentioning - Theseus and the minotaur. Yes, the book is based upon ideas surrounding the origins of that legend. As much as I love Greek mythology, I think that readers who only approach this book for that reason will come away disappointed. The novel is so much more that the myth and certain reader expectations may be unmet. Just approach the novel without any expectations other than an interesting tale.

I first got hooked on history, and therefore on historical fiction, as a highly imaginative and rather geeky kid living in Europe in the `50s. Anywhere we went, I could look around and see buildings and street scenes that were ancient before the United States was even invented, and it affected me on a deep level. I read a lot of Thomas Costain and Samuel Shellabarger and Lawrence Schoonover. Then I discovered Mary Renault shortly after the publication of this novel -- her second historical -- and I became an instant fan. She has the special talent of taking myth and recasting it as "history as it actually might have been."

The narrator is Theseus, beginning with his early childhood in the Mycenaean-era palace at Troizen on the northwest shore of the Peloponnese. He's the grandson of the local king, the son of the community's priestess, and he's confident he has a destiny to fulfill, though he doesn't yet know what it is. He lives in what we would regard as an "age of myth," but that only means Theseus and his contemporaries see the world through a particular sort of lens that is foreign to us, based on specific societal values that we would find strange. But Renault understands them. Richard Hofstadter called a myth a legend magnified by tradition and accepted as the historical beginning of a nation, and that's exactly what Theseus was to the latter Greeks: The founder of the Athenian city-state, the synoikismos (unification) of Attica.

As a boy, Theseus is prone to experiencing omens, which makes him something of an oracle to those around him, an explainer of what the gods want. And he experiences and accepts the concept of moira -- personal fate -- at a visceral level. And he takes part in the sacrificial death of the King Horse to the sky gods, a feature of the religion of the stock-raising Hellenes before they invaded Greece. When he's in doubt about what he should do, he goes directly to the gods, especially Poseidon, god of the sea and of earthquakes, whom he once thought was his father and later regards as his "patron."

In his teens, Theseus discovers the true identity of his father -- he's the king of the town of Athens, living on the fortified Acropolis -- and sets off to reveal his existence and claim his inheritance. This involves traveling up the bandit-ridden Isthmus, where he makes a name for himself, but then he fetches up at Eleusis, which is only a few miles from Athens but of another culture entirely. Eleusis is still ruled by the pre-Hellenic indigenous matrilineal culture that worships the Earth Mother and which follows the tradition of the Year-King, who must die every year for the benefit of the people and their crops, to be replaced by the next Year-King. But Theseus will change things, which is part of his job as a Hero. (And "hero" is another term with a very special meaning in Greek myth.)

It takes while, but he finally makes his way to Athens, no longer merely a supplicant but as the ruler of a neighboring state -- the first step in Attica's unification, a process he will continue by actual military conquest on his father's behalf. But lurking in the background throughout the first part of the story is the incontestable naval power of Minoan Crete, demanding and collecting tribute from all the small kingdoms of mainland Greece. For Athens, that tribute consists of an annual offering of adolescent boys and girls, drawn by lot, who will be sacrificed to Cretan religious practices. To protect his honor, Theseus finds himself forced to volunteer as part of the offering -- another king who must face his almost certain death. And so he sails for Knossos.

On the voyage there, Theseus once again demonstrates his unique leadership -- his innate kingship -- by converting a loose group of teenagers into a disciplined, united team determined to survive whatever comes. And so they arrive at the great palace without walls, where Theseus must once again learn to understand and to deal with a foreign culture, and where he re-makes himself once again, this time into a successful bull-dancer, a sacrifice offered to Poseidon. But the Cretans have allowed their religion to degenerate into mere sport and Theseus knows the gods are unhappy about that. There's going to be a reckoning, and he will be the agent of it.

This is not an enormously long book, only a little over 300 pages, but the ideas and action and descriptions are so packed together, it seems like an epic of much greater length. And, in fact, the rest of Theseus's story is told in the sequel, _The Bull from the Sea,_ which you should have ready to hand. I reread both books (and several of Renault's other novels set in the ancient world) every decade or so. They're vivid and exciting and thoughtful and instructive and every time I settle down to immerse myself in Theseus's life again, it's like going back to a museum to look yet again at a well-loved painting. If someone who had never read an historical novel before asked me for a recommendation (and they have done), this is the first book I would hand them.

Basic idea: grandson of a petty king, young man leaves home to find his father, Along the way he wanders through societies in transition, struggles with warriors and priestesses, and finds himself elevated in unexpected ways and must respond in a manner consistent with his own sense of honour. He experiences both kingship and near slavery in a bull-pit. Yet he is always a hero.

I loved this book when I first read it as a teenager in the 1970s but now I cannot help but think that the writing style of more modern writers is more accessible for the youth of today. Nevertheless I feel that this is a book that should be read.

For me one of the most powerful aspects of the novel is the struggle between the worldviews of two peoples who are increasingly intermingling. On one hand are the Minyans, apparently the original inhabitants of what we think of as ancient Greece. Short and dark, their society is a matriarchal one, and each year they sacrifice a king and raise up a new one. Through such ceremony they seem to have a society without major internal conflicts. Hence the Minyans of Eleusis only need worry about raids from neighbouring town states and hte inhabitants of Crete (the Minoans) had managed to build a civilisation that had lasted a thousand years (by their own reckoning in the novel). Against these Minyan societies come the patriarchic Hellenes. It is apparent that these are more war-like. A king is truly a ruler - not an annual sacrifice. Whereas the annual handover of kingship only sees one death in matriarcha societies (the King's), the patriarchal kingdoms suffer civil war with each king's death and their is far greater bloodletting. Renault is very blunt in portraying these aspects of both types of society, but somehow most readers appear shocked by the portrayal of the bloody matriarchies more than the even bloodier patriarchies.

The characters in the novel are a bit one dimensional. The protagonist, Theseus, tells us the story from his perspective. It is apparent that he is recalling this from his old age, and hence there is no real feel of character development. He comes across as a little niaive, a little arrogant and very much a man's man. As such he looks down on women to some extent, admiring many but nevertheless considering men their superior. When women are in a position of power, the protagonist considers them to be manipulative or dishonest. Perhaps this is why Renault is accused of misogyny - but to be realistic, she is portrayng how she felt a man of his times would think. Interestingly I know many men of our current times who barely think differently. By comparison we are often shown appalling male behaviour in this book without any moral commentary on it, and I don't believe that this absence is intended to be a lack of judgement but rather an emphasis of the unfairness.

OK - so now its sounding more like a social commentary than a book you want to read. Wrong - that is just part of the richness of the book that it does address these issues. The story is an engaging one and the world it takes place in is intriguing and varied.

Finally, the thing I've been avoiding mentioning - Theseus and the minotaur. Yes, the book is based upon ideas surrounding the origins of that legend. As much as I love Greek mythology, I think that readers who only approach this book for that reason will come away disappointed. The novel is so much more that the myth and certain reader expectations may be unmet. Just approach the novel without any expectations other than an interesting tale.

The Hunger Games by Suzanne Collins is a fabulous trilogy known to be inspired by reality television, the Iraq War, and the myth of Theseus. Not well-known is how inspirational The King Must Die (with a sequel, The Bull of the Sea), must have been to The Hunger Games. In Mary Renault's cinematic and stirring coming-of-age story, the Theseus of myth (having already done a few grand, violent, and sexy deeds), volunteers in a younger 'tribute's' stead to be one of the teens sent to Crete, to compete with youths from around the world taken from their homes to play a deadly game for others' amusement. They 'dance' and die in a bullring, leaping as a team over the bull's sharpened horns. Few survive longer than a few months, but then they are replenished by the next season's tributes. In Crete, mincing and decadent 'patrons' bet on the bull dancers' deaths, give them gifts, and become their lovers. Theseus keeps his teammates alive by impressing these decadent and necessary sponsors with an opening show unlike any other tributes' , impressive costuming, and teaching his countrymen and women how to operate as a team rather than each against the other - all aspects of The Hunger Games. Theseus even has an emblematic bird (the crane) that stirs people's loyalty and is one of the factors that helps him upend the corrupt status quo. In short, this is the prototypical Hunger Games, and just as good. Mary Renault's historical novels offer many of the joys of the great young adult novels of recent years - fully realized alternative worlds, compelling characters, and meaningful themes.

Mary Renault's great historical novel of Theseus begins when he is a young man in Troizen, a well-bred youth who has never known his father's identity. When, with the help of the gods, he succeeds in lifting a stone to reclaim his father's sword, Theseus discovers that he is the son of Aigeus, King of Athens. On his way to Athens to meet him, Theseus arrives in Eleusis, where after wrestling the king in a fight to the death, he finds himself, unexpectedly, the King of Eleusis. Later, in Athens, when fourteen young men and women are chosen by lot to become bull-dancers in Crete, fulfilling a tribute demanded by the King of Crete, Theseus listens to his god and joins the group, never knowing if he will survive to return to his father.

Renault tells the story of Theseus as if Theseus were a real person, not a mythical character, using history, archaeology, and a deep understanding of the cultures of the period to place Theseus in a realistic context. Her descriptions of the lifting of the stone, the wrestling match in Eleusis, Theseus's arrival at the palace in Athens, and especially his experiences in becoming a bull dancer bring the period vibrantly to life in ways consistent with the historical record. Theseus's devotion to the god Poseidon, to whom he prays throughout his journey, reflects his appreciation of his own smallness in relation to the gods, and his honoring of the gods unique to the kingdoms he visits show how the Greek religion gradually incorporated increasing numbers of gods and goddesses to explain the increasingly complex mysteries of life faced by Greek citizens.

Renault never fails to treat Theseus, his religion and culture, and the traditions of the countries in which he travels with the dignity they would have inspired in their own period. She never patronizes either her characters or her readers, writing with elegance and a fine appreciation for the details of daily life, the art of the period, and the pantheon of gods thought to control men's destinies. Whether Theseus was a real man whose strength and reputation grew to mythical proportions, as Renault illustrates, or whether he was, in fact, a mythical character whom she places in a realistic context in ancient Greece is less important than the fact that she creates a plausible life for this monumental character. Few, if any, other authors are so successful in recreating an entire era, its people, its beliefs, and its culture. Mary Whipple

Based on historic research, this book gives a wonderful view of early life in the Athens and Cyprus area of the world. Renault brings to life people who may not even be found in the records. It is easy to admire most of the people and to flow with the feeling and desires of Theseus as he builds his kingdom and lives his life in such a fantastical way that it is not surprising that so many tales come from that part of the world. I first thought it was pure fantasy but Renault provides the official history at the end of the book and there is only a fleshing out of the historical count of Theseus in The King Must Die. What an amazing person she has depicted in this book; nowadays he would be a classic hero -- sword and all.

With times, stories change and people confuse what really happened with myth and legend. In The King Must Die, Mary Renault imagines the Theseus story (from his birth to his fight against the Minotaur and his return to Athnes) as it could have happened. The story brings the myth to life based on what is known about the historical Greece and Crete. It includes almost all of the main events in the Theseus story but told in a different way. This is done with the goal of creating a protagonist that survives through dexteriety and intelligence rather through strength. Divine intervention and mythical creatures are replaced by events that could have

The title refers to the law that the king must die for things to be renewed. This is not always pleasant but it is necessary. Many kings (both real and symbolic) do die in this book. Another important theme in the book is the contrast between the male religion (lead by Zeus, etc.) and the female religion (led by the Godess).

Renault tells a well-written story about an interesting and likable hero who has to survive using his wits, willpower, and charisma. Thios was a book I read in High School and this time, I found the book even more compelling and easy to read. Mary Renault also wrote a sequel, The Bull from the Sea that covers Theseus' later life.

Mary Renault's style has been much imitated by authors of historical fiction, but never really matched. In this intelligent, fascinating, and entertaining retelling of the myth of the ancient Greek hero Theseus, Ms. Renault has taken a mythological figure and transformed him into an all-too-human youth, complete with the flaws, foibles, and passions of adolescence and young adulthood.

The narrative, which is delivered in the first person, begins with Theseus' childhood; as a fatherless boy, even though a member of a royal family, he faces the insecurity of knowing little about his roots and nothing about the identity of his father. Slight and relatively small in stature, he longs for the large, robust physique of a true "hero," and learns to compensate for his lack of size by the use of his keen intelligence and wit. As a young man, clever, aggressive, lusty, and quick-minded if slightly temperamental, he learns the identity of his father--the king of Athens--and travels to Athens to meet him, encountering numerous adventures along the way. The storyline of the traditional Theseus myth is followed, at least in principle: after being recognized by his father as his son and a prince of Athens, Theseus is chosen to accompany the group of boys and maidens demanded as tribute by the powerful ruler of Crete, King Minos. Once in Crete, the little band of Athenian captives is taken to the royal palace--the Labyrinth--where they are trained to become a team of bull-leapers, destined to perform the dangerous and popular sport before the royalty of Crete. The heir to King Minos' throne, known as the Minotaur, is not the half-man-half-bull of ancient myth but a hulking, arrogant and boorish fellow (a bully, not a bull) called Asterion who takes a dislike to the Athenian prince. While plotting to escape from Crete with his Athenian comrades, Theseus becomes the lover of the virginal but passionate Cretan princess Ariadne, and must face down Asterion the Minotaur before he can attempt a flight back to mainland Greece.

Ms. Renault's wonderful descriptive style makes the world of ancient, pre-classical, Bronze Age Greece come alive. The cultural differences between what are now regarded as different regions of the country are made vividly clear, particularly in her treatment of the "exotic" Cretan court. She exhibits her familiarity with Minoan art and dress of the period, and with the layout and decoration of the actual Labyrinth at Knossos (excavated in 1900 by Arthur Evans). Finally, her characters are imbued with distinct and often engaging personalities worthy of the reader's attention, and in Theseus we are given a delightful "mythic hero" of genuinely human proportions.

The King Must Die is a fantastically interesting and dynamic book. In this novel, Mary Renault, who is noted for her accurate historical research, recreates the ancient Greek myth of Theseus and the Minotaur. She based the premise and theory of her story on the latest archaeological research of the time, the excavation of the Palace of Knossos. This well written, well researched story strips the fantastic from the myth and leaves the reader with the bare bones of a plausible interesting story that could have actually happened.
While there are some who decry the lack of a proper Minotaur, half man and half bull, it cannot be denied that Renault took the archaeological evidence unearthed from Knossos and explained many of the aspects of the myth. The extremely large palace was built in such an elaborate fashion that it was difficult to navigate. This is the probable origin of the legend of the labyrinth. Frescoes on the wall of the palace that showed youthful athletes somersaulting over the horns of bulls is the probable basis of the Minotaur of the myth. These frescoes provided Renault with her vision of the bull dancers of the story.

Renault's story also covers other aspects of the ancient Greek culture as well. She writes convincingly about the topics of the worship of the Mother Goddess, the decline of the matrilineal societies to patrilineal societies, the sacrifice of the king, honor and fate. She weaves these themes around a very human like Theseus whose destiny is intertwined with his fatalistic acceptance of sacrificing his own will for that of his God. The story is brought to life with such vividness and originality that it is extremely difficult to put down.

Mary Renault's great historical novel of Theseus begins when he is a young man in Troizen, a well-bred youth who has never known his father's identity. When, with the help of the gods, he succeeds in lifting a stone to reclaim his father's sword, Theseus discovers that he is the son of Aigeus, King of Athens. On his way to Athens to meet him, Theseus arrives in Eleusis, where after wrestling the king in a fight to the death, he finds himself, unexpectedly, the King of Eleusis. Later, in Athens, when fourteen young men and women are chosen by lot to become bull-dancers in Crete, fulfilling a tribute demanded by the King of Crete, Theseus listens to his god and joins the group, never knowing if he will survive to return to his father.

Renault tells the story of Theseus as if Theseus were a real person, not a mythical character, using history, archaeology, and a deep understanding of the cultures of the period to place Theseus in a realistic context. Her descriptions of the lifting of the stone, the wrestling match in Eleusis, Theseus's arrival at the palace in Athens, and especially his experiences in becoming a bull dancer bring the period vibrantly to life in ways consistent with the historical record. Theseus's devotion to the god Poseidon, to whom he prays throughout his journey, reflects his appreciation of his own smallness in relation to the gods, and his honoring of the gods unique to the kingdoms he visits show how the Greek religion gradually incorporated increasing numbers of gods and goddesses to explain the increasingly complex mysteries of life faced by Greek citizens.

Renault never fails to treat Theseus, his religion and culture, and the traditions of the countries in which he travels with the dignity they would have inspired in their own period. She never patronizes either her characters or her readers, writing with elegance and a fine appreciation for the details of daily life, the art of the period, and the pantheon of gods thought to control men's destinies. Whether Theseus was a real man whose strength and reputation grew to mythical proportions, as Renault illustrates, or whether he was, in fact, a mythical character whom she places in a realistic context in ancient Greece is less important than the fact that she creates a plausible life for this monumental character. Few, if any, other authors are so successful in recreating an entire era, its people, its beliefs, and its culture. Mary Whipple

English author Mary Renault's main works were in the genre of historical fiction. Not in the same sense of James Michener or Ken Follett, for example, authors whose books are about closer, more "at-hand" themes. Renault's main work concerns the ancient Greece, the Greece of myths, legends and Olympic gods.

"The king must die" is a book about Theseus, that little guy we learn about when we are kids, the guy that entered the Cretan Labyrinth with a ball of thread given to him by his lover Ariadne, daughter of King Minos, with the intention of killing the monster Minotaur. The legend is beautiful, but Renault's book is even better than that, in the sense that the settings seem real, the characters seem real, and the story still have the aura of a legend, but complemented with elemets that make it seem more fact than fiction.

Even if it was written almost half a century ago, the author's style remains modern - this book doesn't feel like a burden to read, which sometimes happens when dealing with older books. The story is not fast-paced, but it is not slow either. Renault has her own rhythm, describing Theseus' life from when he was five or six years old, his relationship with the gods (especially Poseidon), his love for horses and wars, the discovery of his real ancestry, and, finally, his life as a man among the bull-dancers in Crete.

Renault writes about a time that is surrounded by mist. Not many records remain from that era, and she had to blend her factual research with her imagination, to create a tale that could be historically possible about a subject that is impressed in our minds as legend. She did a great job.

The sequel to "The king must die" is "The bull from the sea", about Theseus' later life.

Grade 8.7/10

How many people picked up "The King Must Die" and put it back thinking it was another hackneyed palace-plot historical novel? The title has the unfortunate punch of a spy novel. But for those who've read it . . . again and again, "The King Must Die" is the best of Mary Renault's novels of ancient Greece, and the best account of the Theseus myth.
Extensive research and exquisite talent combine in recreating Bronze Age Greece, down to the women's spangled skirts and the atmosphere in the smaller Greek cities. Theseus himself springs forward from the first page, a boy of reckless courage and pride whose belief that he is the son of a god is coupled with an intuition of coming earthquakes. When his parentage is revealed to be human, Theseus sets off to find his father--and Renault takes us deep into ancient spirituality and the forms of king and queenship.
From the first we understand that Theseus' people believed not in the divine right of kings, but the divinely-ordained duties of kings; the title is taken from the concept that a king might be called at any time to lay down his life for his people, or else lose his right to rule. The society Theseus moves in has not yet moved completely away from matriarchies, but is not entirely patriarchal either. Women hold power and no matter who the woman is, she is a presence, from Aithra (Theseus' mother) to Ariadne (the princess of Krete).
Nor are all the men chauvinistic boors, a fatal flaw in more than a few recent historical novels (at least those seeking to show the ancient world from a woman's point of view). From Theseus' grandfather Pittheus to Minos of Crete, the men of "The King Must Die" are by turns honorable, lust-driven, wise and attuned to the demands of the societies they live in. They are all flawed--there are no stainless heroes here, only fully-rounded characters with complex natures and needs. The only flat villain is Asterion, Minos' heir, but through Renault's power of description he has a strong presence for what time he appears in the book.
The style is perfect. Renault wastes no words, and every scene fits together seamlessly. Characters, even the flat ones, evoke response from the reader; the narrative voice never veers into anachronisms, nor loses that sense that Theseus is there at your shoulder, telling you his story. Descriptions are rich without being overwritten, something most authors fail to do today.
If you've never read one of Mary Renault's historical novels, "The King Must Die" is an excellent one to start with.

Although on the surface this book is about Theseus and the legend of his life prior to becoming King of Athens, the book is much more fundamentally an adventure tale featuring all of the most desirable male adolescent fantasies. If you read it as the latter, you will be thrilled. If you read it as historical fiction, you will be disappointed because the potential to develop the historical side is clearly subordinated to the adventure tale.
The classical story about Theseus features his slaying of the Minotaur. In this book, by contrast, the central theme is Theseus fulfilling his fate, as decreed by the gods. The primary backdrop is the conflict between "the old religion" of Mother Dia and "the new religion" of the Sky Gods (all sired by Zeus). Theseus brings about a reconciliation between the two sets of beliefs by honoring both, while rejecting the practice of routinely sacrificing the king (Kerkyon) as a fertility offering.
The book has enough material in it to be four books. The first story is about Theseus as a young man growing up with his mother, Aithra, without knowing who is father is in the household of his grandfather in Troizen. The second story starts with his finding that he is the son of the King of Athens and continues through his becoming King of Eleusis. The third story starts with leaving Eleusis to meet his father, King Aigeus, and continues through writing his name on the lot that selects him as a bull dancer slave as tribute for the Cretans. The fourth story begins with his leaving Athens for Crete through his return. Although each of these stories is exciting and interesting, the fourth one is the best.
Bull leaping entailed running toward and grasping the two horns of a live Cretan bull and performing gymnastic feats, like one does today by vaulting using a pommel horse. Naturally, it was a lot more dangerous than vaulting is. Theseus revels in the danger and excitement. He also feels committed to keeping his fellow slaves from Athens alive, in a team that he has named the Cranes, for a dance that they do in the bull ring.
Some of the many adventure themes that will resonate with young male readers include being specially selected by the gods for an exalted purpose, being the unknown son of a king, being sought out by powerful and beautiful women, unlimited sexual access, being a popular hero with other males, successful conquests of animals, leading successful battles with men, and being invincible in all endeavors. I cannot remember a book with so many of these themes packed into one.
Placing the book in these ancient times gives you a fresh perspective on our own world. What are the proper roles for men and women in society? How should they relate to one another? What is the role of piety? What is the purpose of life? How can we contribute to one another? If you ask and answer these questions after you finish, you will have gotten much benefit from the book as well as much pleasure from the adventure tales in it.
Take the bull by the horns to accomplish more!

Theseus is the legendary Hellene hero of ancient Greece who may be the son of Poseidon. Crafty and swift, he is able to outwit his opponents on the battlefield and bring the mighty rulers of Crete to their knees.

Ms. Renault has done an excellent job of breathing life into this mythical figure, telling his story from his early years on up to warrior and then hero of Athens. Told in the first person, the story is filled with vivid descriptions of an ancient time now lost. I especially enjoyed the descriptions of Crete and the life of a bull dancer. Ms. Renault was able to take a complicated myth and organize it into a cohesive tale, weaving into the tale the importance of the gods' influence on the ancient people.

Theseus was developed so well that at times I felt anger toward his views of the pre-Hellenic religion. I had to remind myself that as a Hellene, his views would be derogatory toward the queen of Eleusis and their custom of killing the old king to make way for the young king.

I highly recommend this to anyone who is interested in ancient history, particularly ancient Eleusis, Athens and Crete.

Those readers who were upset at Mary Renault "tampering" with the accepted myth of Theseus should realize that her interest is not mythology but history. As a historical novelist, Renault has no peer. She researched her subjects thoroughly and evoked the time and place so accurately that her books seem to spring into life. She was less interested in Theseus as a mythological figure than as a historical figure, and her rendering of Theseus as a lightweight, fast on his feet, quick and active, seems absolutely correct. Renault is probably correct in believing that the myth of the minotaur in the labyrinth derived from the actual bull dancers of ancient Crete, who were for the most part captive slaves from the subject territories ruled by Crete three thousand years ago, and her depiction of the bull court, and the team Theseus trained to dance with the bulls, realizing that they would either all survive together or they would all die together, is more compelling than any labyrinth story we are already familiar with. In "The King Must Die", Theseus becomes a very human figure we can relate to and empathize with, rather than a stiff mythological figure more god than man. This is Renault's genius -- she brings ancient civilizations so vividly to life that we feel we are right there in the middle of the action. "The King Must Die" is one of her best.

Mary Renault revitalizes the ancient Greek myth of Theseus, Ariadne, and the Minotaur by following its hero's thoughts and actions as a series of rites of passage. Theseus, no longer innocent, leaves home, traverses dangerous territory, kills his first adult opponent, beds a queen, and returns home triumphant, only to volunteer to be one of the youths annually sent to Crete as doomed tribute to King Minos and as mortally perilous bull-dancing entertainment for the king's minions. He welds together a team so flawlessly attuned and unselfish that all its members survive, and he then goes on to new adventures. Because of the book's explicit (though tasteful) sex scenes, I was surprised to learn from a teenager who spotted the title on my beach towel that he had read it in his freshman year at a parochial prep school in Connecticut. But then I realized that The King Must Die is indeed an adventure story which teaches tenderness and consideration as well as sexual politics to its intended young audience. The descriptions and extended similes are Homeric in their richness, and the story is faithful to accepted versions of Greek mythology.

Having not read anything about Theseus was probably a good way to start this book. Having no annoying preconceived notions of how it should be told made it possible for me to enjoy this as a story like any other - so I could let it win me on its own merits, instead of accordance with other versions, which it did completely. I know just for myself that it affected me really strangely when I finished it; I started feeling the flame and passion of my youth, just like the story's Theseus does, which certainly has to do with the intelligent way Renault wrote the book. There are admittedly a few convoluted sentences, but nothing one can't figure out; and that didn't disqualify it in my mind at all. This is a good book by any but the worst priggish standards, and I wouldn't be surprised if it becomes something of a classic.

For fans of ancient Greek myths this is well worth reading - I loved it and it is very compelling read. It is told in first person style by Theseus himself and Renault has clearly done her research on the period and on Ancient Greek and Cretan culture and legends.
The book de-mythologises the story of Theseus and carries it off with great conviction. No longer is the god of the sea, Poseidon an active participant in the tale, but rather the myth of his parenting of Theseus explained in a convincing manner. In this same way the other vital keys to the tale have mortal and plausible explanations.
For those who don't know the myth, the story of Theseus is explained in the notes, as are the basis for many of her selections for what Theseus looked like, and the art of bull jumping which was popular in Cretan art in this period. While I do enjoy the Greek myths it was a nice to read something that gave a possible explanation to the stories.
Renault writes well, and I would certainly be interested in following up any more of her novels.

there are many reviews of ms. renault's work here already, so i will keep this very brief: the reason mary renault is my favorite author is that she can bring the emotional and human quality of her characters to the surface. she makes these long dead people with strange names come alive. she gives them a quotidian life. she makes them human, and humane. true, her knowledge of the ancient greeks is encyclopedic. true, her descriptions are wonderous, but her deep empathy for the people in her novels is what separates her from other historical writers. she also handles homoeroticism/homosocial behavior with a sweetness and sensitivity that demonstrates the value of the delicate bonds that men should be encouraged to explore and nurture. her compassion for the human experience is sometimes overwhelming.

This story is based on the mythology of Theseus and written like the stories of Greek heroes. It was very well done and if your study mythology at all in school it will ring somewhat true. I found that although it started a little slow once he heads to Crete it becomes hard to put down. If this style of story is to your liking I would recommend it.

Although Mary Renault was writing in the 1950's in The King Must Die (KMD) she manages to delve into the cultures and lanauges of ancient Greece in such a way that her novel about the life, trials and triumphs of King Theseus of Athens is as timeless as the myths about him.

Instead of creating a personal account of the myths of Greece, Renault took on the etiological aspects of the stories about Theseus and explains them in a way that the modern, analytical mind can be comfortable with.

Yes, the religious elements and influence (of the sea god, Poseidon, and the Earth goddess, Dia) are still profound, but we see real-life explanations that could very well have been the source of the myth.

The minotaur of Crete becomes an illegitimate son of the too-proud Queen, the Labryinth is a maze-like palace meant to keep royal blood from being mixed with 'outsiders' and, throughout it all, the essence of every person's moira (destiny) is related to the rituals that mean 'the king must die.'

Every aspect of the book leads into a sense of give and take, life and death, sink or float. The kings give their lives for their people the same way the Earth Mother's harvest feeds the people (with the kings' blood being the 'seed' that causes her to flower).

The most appealing aspect of this book is that the myths of ancient Greece and the long-gone gods are reanimated so that we are able to see the true religion of the era. Libations, questions and sacrifice mean the gods' favor and "play-acting" at the reverance inevitably means death.

Renault should be commended for an interesting, thought-provoking novel that had me dreaming of gods, kings, queens, and "wine-dark" seas for days on end.

Historical novels are written with various purposes in mind. For some, the setting is a vehicle for the plot. For others, the setting is the main driver itself. A good example of the first kind is "A Tale of Two Cities" by Charles Dickens, and a good example of the second is "Chesapeake" by James Michener. But Mary Renault's novel "The King Must Die" fits neither model.

Renault has instead taken a Greek myth and changed it in a way to make it entirely plausible. Certainly some of the history is no longer in line with what modern historians believe. The biggest example of this is the matriarchy in Eleusis; the academic obsession with matriarchies seems to have most notably appeared with Friedrich Engels and later been adopted by a generation of his followers. But now few, if any credible modern historians believe in ancient Greek or pre-Greek matriarchies. Despite this, Renault's novel is overall well-researched and largely up-to-date.

The protagonist, Theseus, is an unusual epic hero. Although he has many of the traits common to such heroes, he also has another distinguishing feature: his sexuality. Sex and sexual relations play a central role in this novel and help to illuminate one of its main themes, the shifting roles of men and women. In fact, this is possibly the dominant thread of the whole novel.

But although there is much that is interesting in this novel, I can't recommend it without reservations. Although I can plainly see that other reviewers disagree, I found Renault's writing unpleasant to read. She uses passive voice and subordinate clauses with more passion than I've ever seen before. Frustratingly, this slows the story's pace, which is unfortunate since it is otherwise very good at drawing in the reader's attention.

If you're looking for historical fiction about ancient Greece, I recommend "The King Must Die", but with hesitation. Perhaps it would be best to read the first few pages on the store's preview and decide for yourself.

We took several Mary Renault books to Greece a few weeks ago to give a framework to the archeological sites we were to visit. The books are an extraordinary bridge from our time to ancient times, as well as wonderful character studies.

The greatest talent a historical novelist can possess is the ability to recreate the past. By that standard, this is the best historical novel I've ever read: in the middle of page 1, I was transported to the 1200s B.C., following first-person narrator Theseus through the realistic adventures that will mutate into myths and transform him into one of the greatest heroes of the Mycenaean age. The book is a great portrait of a heroic personality, and Renault renders the Labyrinth, the Minotaur, and the "sport" of bulldancing in spellbinding prose. Almost as good is the author's rendition of the Peloponnesian War, THE LAST OF THE WINE.

This is the best retelling of any Greek mythology character. The book is even better than C.S. Lewis' Till We Have Faces (retelling of Cupid and Psyche). What I love most about the book is how Renault explained why Theseus had to to what he did to Ariadne. That part of Theseus' story had always baffled and angered me. But Renault made it bittersweet and convincing.

I have loved this book for years. It was probably the one that set me on the path of historical novels. And though it is not totally correct in all aspects, it is wonderfully written. She is a great story-teller, and I would recommend this book to anyone.

The King Must Die gives some excellent background in the religions of the old matriarchal societies and considering when all the events would have actually occurred, Renault's tale is solid. The clearest portion comes out as each year the king was sacrificed to the earth mother to ensure good crops for the next year. As well, there are theories on the bull dance which create an extraordinary feeling and atmosphere putting the reader side by side with Theseus.
I was extremely amazed at the driving force contained in the characteristics and actions of Theseus. For instance, bull leaping was an extremely dangerous task and obligation, which is part of the danger and excitement which Theseus thrives in. A clear proof that Theseus had a strong will and determination, and sense of repsonsibility, I believe taht he very much feels committed to keeping his fellow slaves from Athens alive, in a team for a dance that they must do together in the bull ring.
However, putting into consideration Theseus as a person and following his actions, it may be slightly difficult for a woman to appreciate it becuase of the life he leads. Some of Theseus' attributes that may attract the male gender include being specially selected by the gods for an exalted purpose, being the unknown son of a king, being sought out by powerful and beautiful women, being a popular hero with other males, successful conquests of animals, and leading successful battles with men. The main bond that is looked upon, is one between a father and son, something any woman will most likely never be familiar with. In contrast, if looked at from another view, Theseus may seem self-centered, too aggressive, and a master of conceit. His personality can get completely distorted into one who must conquer all at any expense, and this may cause him to slowly drifft away from his true cause, as destined by the gods. Theseus consecutive victories not only support that he can be far from human, but show that he has basically never seen or had to deal with utter defeat, something vital in the true shaping of an individual.
Because there was so much of a contrast between the hearty actions and the language and setting during The King Must Die, when there was no action I found myself getting bored and easily distracted. Concentration is the key to fully appreciating this saga, for the style of Renault's writing at times turns from the reader and is merely different. This causes an easy way to be unsympathetic and uncaring towards any one of the characters.
After reading and observing The King Must Die, I realized how much placing the book in these ancient times gives one a fresh perspective on our world. As far as the proper roles for men and women, I feel that the way the two groups relate to each other is a completely different manner today. This is predominantly because of the rising of women in society, as well as women being seen as more individual and of more importance in the ways and purpose of life.

Readers of all ages interested in romance, historical fiction and Greek mythology will love this novel! My second time reading it was as captivating as the first. Renault retells the myth of Theseus adding a human touch and a sense of irony throughout. We see that he is really a man; savvy, and possessing extraordinary luck - he is a very likeable persona. He is somewhat of a womanizer, though this can be overlooked; for him to be any other way would be an anachronism. The story is realistic and touching - it will satisfy any intelligent reader with a taste for all types of fiction. Don't miss the sequel!

This is book was my introduction into the genius of Mary Renault. I am now an avid seeker of all her books. The depth of her knowledge of historical facts, paired with her knowledge of ancient mythology, lays a great foundation for this story. But her secret to excellence is her rich storytelling -- closer to a translation of Homer than modern prose. It lends a sense of mystery and intrigue that keeps you thirsty for more. Theseus, and Bronze Age Greece, springs to life.

An interesting novel based on Greek myth. Made the myths much more relevant and interesting. Like Ms. Renault's writing - stories built around myth and facts and not just a disguised romance novel like so many so-called historical novels. Will read more of her work.

I reread this book last week. I was again struck by its excellence. This is an attempt to retell the Theseus myth in a way that holds to the essentials of the story but still manages to make it believable.

The story contained in "The King Must Die" relates the myth of Theseus in a way that takes into account all of what was known and supposed (when Renault was writing) about the time period that such a story may have taken place (the Mycenean age in Greece). The learning displayed, the guesses about the cultural mix of peoples in Greece (Hellenes, Minyans a.k.a. the peoples of the shore, and the Minoans) and the clash of religions is remarkable, to say the least. For those who have a grounding in these areas, the book will seem exactly that: remarkable.

The synthesis Renault creates between such far flung learning as Ventris and Chadwick's Documents in Mycenean Greek, archeological finds of generations, (from Schliemann and Evans to her present - see her bibliography and authors's note), and a wide reading of myth and critical theory of myth (Graves particularly) is nothing short of breathtaking. For those who simply have a passing acquaintance with the story of Theseus, or merely approach it from a single source (Plutarch, for instance), or those who are put off by the mores which Theseus shows in the narrative of his life, much of this learning will be missed.

In reading through this book the reader well-grounded in myth will see Renault explicating many other myths (e.g., Orpheus and Eurydice, Agamemnon and Clytemnestra, Orpheus' moving of stones with the power of music, the origin of the Mysteries of Eleusis, etc.) even while she does not name them. The recreation of the Mycenean world is interesting at least, compelling at times and resonates with Homer at others.

The book is not for everyone. Theseus is a man and he looks at the world as one.

If he didn't notice what women looked like it would be rather surprising. Renault's views on this are also stated in her author's note "a well-defined personality emerges...of a light-weight...brave and aggressive... highly sexed and rather promiscuous" man. It is not suprising he tells us about the breasts that he sees.

Even so, Renault is quite modest in her references to sex by the standards of many more recent authors (e.g. Jean Auel's Clan of the Cave Bear series). If the word breast offends, I suppose it is only right to say that a number of them appear. There are times when the mention is certainly not gratuitous though (see below)

All in all an excellent book. If you read it with an open mind, you will have a much better idea about what Theseus' world may have been like for him. If you already know something about the Mycenean age, you will see what you know fleshed out.

If you like this book you will probably also enjoy the continuation of the story in

The Bull From the Sea. But that is another review.

Reading further you will find some of the story given away. Readers who want to

avoid this should stop here. Some of these are responses to previous reviews as well.

The story by itself is an effort to make some logical sense out of the fantastical story that is the myth of Theseus. Those who long for the bandits of the Isthmus to be the super beings of myth simply want the Theseus myth retold. They are looking for another story. It is as if they bought ketchup and complained it was not mustard. You may just as easily complain about the Theseus that Plutarch presents. Each author has a particular point of view they are trying to put forth.

Another reader has complained that Renault is inconsistent in her treatment of the story as rational at times and irrational at others, particularly pointing out that Theseus seems to have a real connection to Poseidon. Here, I think, the reader has

forgotten that the narrator is Theseus himself. Any connection is implied by Theseus. It is Theseus who constantly and consistently believes in the gods, and on occasion feels that the god speaks to him. Would we complain if a story, narrated by Moses, was told rationally, except for the part where he talks to God?

The passage quoted by the young conservative female about Theseus' constant mentioning of breasts is a description of Ariadne as Theseus sees her for the first time. In describing her he makes reference to the fact that Ariadne looks exactly

like the 10 foot tall depiction of the great mother goddess, right down to the gold tipped breasts. If you have ever seen depictions of Minoan Mother goddesses, you will know that they appear just as that: bare breasted. It would not be surprising for Theseus to mention such a striking resemblance.

Another reader complains of Theseus' invulnerability while men around him drop like flies. Theseus survives, but he is hardly untouched. This is not quite fair.

Consider his encounter with the "She Boar" near Eleusis. His back is mangled.

His encounter with Kerkyon - Theseus feels as though he will lose but the crowd turns against Kerkyon and Kerkyon loses heart and hope. He has terrible wounds in the bull ring in Crete too. Theseus is nearly killed in his first war, but a follower takes the spear for him. Cleitus saves Alexander the Great from a certain death blow at Granicus River. Alexander nearly dies many more times but survives a decade of battle despite putting himself in harm's way all the time. That is historical fact (or as close as we can come to it). Theseus could easily have

been taken care of by his men in much the same way.

Renault has a marvelous way of combining modern sensibility with mythological wonder. She narrates with an empirical, 20th-century eye, but interprets from an ancient perspective. Her recreation of the Theseus' myth is very believable.
Advice to younger readers: Learn the Bullfinch version of the story first, then read the book. Renault offers an excellent lesson on interpretation, but might be confusing otherwise.

A classic. Mary Renault's writing remains a pleasure to read, after almost 60 years, I read this as a teenager, and 40 some years later I enjoyed it as much as the first time.A brilliant interpretation of the legend of Theseus;.

the avid description of life at that time was amazing. those who feel the book progresses to slowly need to stop and realize that it's in Renault's mastery of her work that makes this book great. once you are captivated, you can't let go. if a reader is at all interested in greek mythology, this is a must. adventure, battle, suspense and a twist of romance.

"The King Must Die", as presented by Mary Renault, bids fair to be recognized as the greatest novel ever written about the life, morality and challenges of the era of ancient Greece. An astute reader will discover that Theseus does not kill a monster, but executes King Minos on private order by the King himself. An educator or mentor, with a knowledge of exegesis, can bring into focus a clash between the new and enlightened burgeoning democracy of Athens and the persistent pagan rituals of the then-dominant Crete.
Theseus rescues Crete from gluttonous conspirators, and hopes to take Princess Ariadne back to Athens as his bride. It is not to be.
We suggest that a tutor also read the sequel "A Bull From The Sea", to appreciate the ongoing struggle, by Prince/King Theseus to modernize the Aegean and point the way to our challenges today.

This is Renault's retelling of the story of Theseus and his rise to power as king of Athens. It is loosely based on Greek mythology, but the events have been fleshed out and modified to tell a compelling story. In this way, it is somewhat similar to CS Lewis's Till We Have Faces: A Myth Retold.

Overall, I found the book to be an interesting take on the Theseus myth, and it was certainly entertaining. However, where the book fails is its writing style. Renault is not descriptive enough for my tastes, and I was not left feeling as if I had actually lived the tale. Likewise, her prose was neither poetic nor profound, which could have helped to make up for the lack of descriptiveness. It was worth it for the unique twists that she gave to the Theseus story, but it is not a particularly well written book.

I read this book for my Themes In Literature class (a fancy title for a mythology class), and I must say that out of all the books I've ever had to read for school, it is one of my favorites (along with The Giver). I tend more towards Science Fiction and Fantasy books, so I really enjoyed being handed this book. Greek and Roman history intrigues me. This rendition of the Theseus myth brought the story more to life for me and caught my fascination.

My old paperback copy of this wonderful novel (with a list price of fifty cents!) quotes the Chicago Tribune: "Miss Renault's skill in making the past vivid has never been topped." It's still true, I think. Paging through Theseus' adventures, I've been struck once again by the perfect fusion of vividness and simplicity that Renault managed in her narrative style. There's nothing else quite like her description of a bull-dance or a boar-hunt, and her deliciously understated eroticism is as pleasing to me now as it was forty years ago. -- C. B. Rykken ([email protected])