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Great Authors of the Western Literary Tradition, 2nd Edition

Taught By Multiple Professors

Course No. 2100

4.4
(37)37 reviews
78% would recommend
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Elizabeth Vandiver, Ph.D.

Professor 1 of 5

Elizabeth Vandiver, Ph.D.

I think many of the stories that we tell ourselves as a society—the stories that encode our hopes, aspirations, and fears—preserve the traces of classical culture and myth and are part of our classical legacy.

InstitutionWhitman College

Alma materThe University of Texas at Austin

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Course Overview

Novelists, poets, dramatists, historians, biographers, essayists, and philosophers—whether famous or anonymous, many of Western culture's greatest figures have been writers. Ranging from the anonymous author of the Epic of Gilgamesh in ancient Mesopotamia to William Faulkner writing about 19th- and 20th-century Mississippi 3,600 years later, Western writers have each played...

84 Lectures

Average 31 minutes each

This lecture introduces both the first two parts of this seven-part course, and the course in general. Professor Vandiver defines the key terms, "Western" and "literature," and describes the course's objectives.
The Epic of Gilgamesh is the earliest surviving work of Western literature. We explore its themes and the parallels between the Mesopotamian flood story as reflected in Gilgamesh and the story of Noah as it appears in Genesis.
We examine the Documentary Hypothesis, which posits four different source documents for the first five books of the Hebrew Bible. Then we compare the Book of Genesis to other Mesopotamian creation stories.
This lecture considers the Books of Deuteronomy, Joshua, Judges, 1 and 2 Samuel, and 1 and 2 Kings, and discusses the theory that these books were edited and reworked to form a unified whole, perhaps around the time of the Babylonian Captivity. We analyze the story of David and Bathsheba.
The Book of Isaiah contains some of the finest poetry in the Bible. We examine its role as a prophetic text during a critical period of Jewish history. Later, Christians read certain passages as foretelling the birth of Christ.
We conclude our treatment of the Hebrew Scriptures by considering one of the most remarkable books of the Bible, the Book of Job—the story of a righteous man who undergoes great suffering through no fault of his own.
Beginning our survey of ancient Greek literature, we study the nature of Homeric epic. Then we turn to the Iliad, paying special attention to its themes of kleos (glory or fame) and time (honor).
We continue our discussion of Homeric epic by looking at the Odyssey, focusing on its portrayal of the human condition through Odysseus's reunion with his wife and son after 20 years of absence.
This lecture considers the development of Greek lyric poetry, taking Sappho and Pindar as outstanding examples—Sappho for her exquisite love poetry and Pindar for his victory odes commemorating athletic competitions.
From speculation on the origin of Greek tragedy, we move to Aeschylus, the first of the three great Athenian tragedians. We focus on his trilogy The Oresteia, discussing how he used myth to reflect on social issues of the day.
Sophocles wrote 123 plays; only seven survive. We concentrate on the play Ajax. The absence of the gods makes Sophocles's work in some ways the most realistic of the three tragedians.
This lecture discusses how Euripides differs from Aeschylus and Sophocles. In particular, we focus on Euripides's unorthodox treatment of the gods, especially in The Bacchae and Hippolytus.
The first great prose narrative in Western literature is the Histories by Herodotus, which describe the Persian invasions of Greece in the 5th century B.C. Professor Vandiver explains the nature and significance of this work.
Many scholars see Thucydides rather than Herodotus as the true father of history. This lecture examines Thucydides's Peloponnesian Wars and looks at the key differences between his methodology and that of Herodotus.
Aristophanes is the only 5th-century comic playwright whose work has in part survived. This lecture pays particular attention to two plays, Clouds and Frogs, that satirize philosophers and tragedians respectively.
This lecture offers an overview of Plato by concentrating on one work, The Republic, and its treatment of literature and poetry. Among other issues, we consider why Plato banishes poets from his ideal state.
Menander wrote a new style of comedy that took its subject matter from the troubles of everyday people. After discussing his plays, we consider other writers from the Hellenistic age and their influence on later Roman authors.
We begin with a brief summary of Rome's cultural borrowings from Greece, and then examine two Roman lyric poets, Catullus and Horace, who used Greek models to transform the poetic possibilities of Latin.
Inspired by the Iliad and the Odyssey, Virgil's Aeneid went on to become one of the most influential texts in Western culture. This lecture examines how Virgil infused his epic with a psychological complexity beyond that of Homer.
Ovid's most important work is the Metamorphoses, which features stories linked as much by themes of love, desire, and sexual passion as by the stated subject of "bodies changed into other forms."
The Roman historians Livy and Tacitus reflect the contrasting styles of their Greek predecessors Herodotus and Thucydides. We also study the immensely influential Roman biographer Plutarch, who wrote in Greek.
This lecture considers the development of the ancient novel, exemplified by the two remarkable extant Roman novels, the fragmentary Satyricon of Petronius and the Metamorphoses of Apuleius.
We examine the four Gospels of the New Testament, whose importance to Western culture cannot be overestimated. As literary works, they pioneered the presentation of common people as subjects for serious rather than comic writing.
We consider Augustine as both one of the last great writers of Roman antiquity and one of the first great writers of Christianity, concentrating on his powerful works Confessions and the City of God.
After introducing this part of the course, Professor Noble begins his study of medieval literature with Beowulf, a stirring tale of monsters and dragons that in our own era inspired the themes and stories of J. R. R. Tolkien.
French literature emerges with stunning rapidity in The Song of Roland, an epic tale of Christians versus Muslims that is the earliest and perhaps finest of the genre called chansons de geste, stories about great exploits.
Probably composed between 1201 and 1207, El Cid is the oldest epic in Spanish. The poet creates a new epic hero who is a more complete and believable character than either Beowulf or Roland.
In this lecture, we study the origins of romance. We turn to the greatest of the German romances, Tristan and Isolt, which immerses us in the Arthurian world of quests, courtly love, mistaken identity, and enchantment.
Though long, complex, and difficult, The Romance of the Rose enjoyed unprecedented popularity in the Middle Ages. In this lecture, we unravel its sustained allegory "in which the entire art of love is contained."
The first of two lectures on Dante considers his life and some of his "minor" works, including La vita nuova, which narrates his love for Beatrice. Also covered are Convivio, De volgari eloquentia, and De monarchia.
We discuss different aspects of The Divine Comedy, which comprises the Inferno, Purgatorio, and Paradiso, especially noting Dante's growing wisdom as he moves from the hideous visage of Satan to the ineffable face of God.
Petrarch is sometimes called the "Father of the Renaissance." We examine his letters, My Secret Book, and beautiful lyric poems called the Canzoniere. A central theme is his attempt to reconcile Humanism and Christianity.
After reviewing Boccaccio's early Italian writings and his Latin works based on classical literature, we turn to his prose masterpiece The Decameron, 100 short stories told by 10 fashionable young people taking refuge from the plague.
We study the celebrated poem in which a hideous Green Knight appears at Arthur's Camelot at Christmas and offers to let anyone cut off his head who will, one year hence, consent to the same fate. Gawain accepts the challenge.
The first of two lectures on Chaucer sets his life in context, discusses the many influences that affected him, and analyzes The Book of the Duchess, The Parliament of Fowls, and the exquisite Troilus and Criseyde.
In The Canterbury Tales, we meet almost every kind and class of person in medieval England. To form a sense of Chaucer's art, this lecture considers the "General Prologue" and then several types of tales.
Professor Herzman begins his exploration of Renaissance literature with Christine de Pizan, believed to be the first European woman to earn her living as a writer. We focus on The Book of the City of Ladies.
We study the great Dutch humanist scholar Erasmus, focusing on his satirical Praise of Folly. Erasmus uses Folly to criticize corruption in Christianity and show the way to live a proper Christian life.
Executed by order of Henry VIII, Thomas More was a high government official and humanist scholar. His best-known work is Utopia, which coined the term "utopia" and served as a powerful critique of contemporary society.
In his ceaseless attempt to understand himself and thereby the human condition, Montaigne invented a new literary form—the essay. We concentrate on his essay titled "On the Education of Children."
Imbued with humanist philosophy, Rabelais' great work Gargantua and Pantagruel combines comedy, satire, obscenity, fantasy, farce, parody, and politics. Fittingly, ribald exuberance has a name: "Rabelaisian."
Born the same year as Shakespeare, Christopher Marlowe died young and is one of the great "what-ifs" of literature. He left us seven superb plays. We look in particular at Dr. Faustus.
The first of two lectures on Shakespeare looks at The Merchant of Venice as a representative comedy, shedding light on the qualities that give Shakespeare a central position in Western literature.
Turning to Shakespearean tragedy, we examine Hamlet, focusing on Shakespeare's genius for multiple plots. In particular, we look at the conflict between Hamlet's introspective world and the Machiavellian court of Claudius.
Lope de Vega was a remarkably gifted and prolific playwright of the Spanish Golden Age. We concentrate on his Fuente Ovejuna, a story of sex, love, and justice that was one of his most popular plays.
Cervantes's Don Quixote has been called both the first novel and the greatest novel. We study it as a work harking back to the world of the chivalric romance and looking forward to the mature modern novel.
After a brief overview of the career and writings of Milton, we concentrate on his Paradise Lost, the most important epic poem written in English. We look closely at Book Nine, narrating the Fall of Adam and Eve.
Pascal is claimed as an important figure by scientists, mathematicians, and philosophers, as well as by literary scholars. This lecture explores his Pensées, or Thoughts, an incomplete but profound work of religious meditation.
Professor Heinzelman begins this part with a discussion of the key terms "Neoclassical" and "Romantic." We then turn to Molière and through Tartuffe explore his representation of Neoclassical values.
Racine's re-creations of classical Greek tragedy are deeply moving representations of psychological conflict. In this lecture, we study Phaedra, an example of Racine's elegant simplicity of style and form.
What kind of life could an intellectual woman live in the 17th and 18th centuries? We study Sister Juana Inés de la Cruz, a Mexican nun, composer, poetess, dramatist, philosopher, and feminist.
Defoe exploited the public's appetite for new stories, publishing narratives about the sexual and commercial entrepreneurs of London, such as Moll Flanders, Roxana, and that essential guide to empire building, Robinson Crusoe.
This lecture focuses on two of Pope's works: An Essay on Criticism and The Rape of the Lock. The first is a poetic essay asserting the values of Neoclassical culture. The second is a mock-epic satire on Pope's social circle.
We use Swift's Gulliver's Travels and The Modest Proposal to analyze the "other" side of Neoclassical thought: the extremism produced by the single-minded pursuit of reason untempered by compassion.
Voltaire's work spans the spectrum of literary genres, from drama and satire to history and philosophy. We examine his satirical masterpiece Candide for its use of wit to expose the self-deceiving dogma of philosophical optimism.
We study several of Rousseau's works, including The Discourse on Inequality and The Social Contract, both of which played an inspirational role in the French and American revolutions.
Johnson wrote widely and prolifically. We look at "The Vanity of Human Wishes" as an example of his poetry. Then we examine some of his essays from "The Rambler" and "The Idler," as well as his "Life of Pope."
Diderot spent 20 years writing and soliciting articles for his Encyclopedia, the creation of which was arguably the defining intellectual event of the 18th century. We explore some of the articles and investigate another of his works, Rameau's Nephew.
For Blake, the Enlightenment heralded a progressive loss of meaning in the world. We study his deceptively simple and deeply ironic poems, "Songs of Innocence" and "Experience."
Born at the height of the Enlightenment, Goethe symbolizes the transition to Romanticism. We concentrate on his Faust as a way to understand the philosophical and aesthetic concerns of the time.
Professor Heffernan opens this part of the course by briefly treating Wordsworth's autobiographical epic, The Prelude. Then he examines at length Wordsworth's first major poem, "Tintern Abbey."
In Pride and Prejudice, Austen makes the traditional fairy-tale romance fit the socioeconomic facts of life in early 19th-century England, but nonetheless contrives a fairy-tale ending.
In Stendhal's Red and Black, the hero is obsessed with the memory of Napoleon's glory, yet impelled to gratify his ambition by social rather than military triumphs. One conquest ultimately leads to disaster.
When Melville started writing Moby-Dick at age 30, he was already well known for his novels about sea life. In telling the tale of a maimed sea captain obsessed with revenge on a great white whale, he brings to modern fiction the mythic power of ancient epic.
In "Song of Myself," Whitman inaugurates the reign of free verse in American poetry and re-conceives the tradition of autobiographical writing reaching back to Rousseau's Confessions.
In writing Madame Bovary, Flaubert struggled to make his prose as poetic as possible while realistically depicting the commonplace life of a bourgeois adulteress.
In Great Expectations, Dickens transforms the familiar story of the foundling. Narrator Pip is an abused orphan whose innate gentility is "recognized" and nurtured by a mysterious benefactor, but his dream of wealth and marriage to the beautiful Estella becomes a nightmare of frustrated expectations.
Dostoevsky's Crime and Punishment tells the story of a man who believes that his exemption from moral law gives him the right to murder an old woman for her money. In the end, however, he accepts and even wills his own punishment.
Anna Karenina, Tolstoy's psychologically complex novel of domestic life, shows why a socially distinguished woman who has left her unfeeling husband for a dashing and devoted Count takes her own life.
Like Tom Sawyer, Huckleberry Finn tells the story of a boy's adventure, but this time Twain fuses the adventure with the history of the struggle to break the chain of slavery in America, and dramatizes the conflict between Northern and Southern morality.
In Tess of the d'Urbervilles, Hardy challenges us to see how a "pure" woman can remain so while losing her virginity to a seducer, living with him as his mistress, and ultimately killing him.
Wilde's wittiest play, The Importance of Being Earnest, dramatizes the varieties of suspense in courtship and resolves them in the end with a brilliant pun. A British law against homosexuality turned the ending of Wilde's own life into a tragedy.
James wrote a series of novels that chiefly aim to dramatize the interaction of American energy and innocence with the sophisticated but often
In Heart of Darkness, based on his experience in the Congo, Conrad reveals the insane rapacity of European traders bent on "civilizing" the African natives whom they exploit.
Yeats's early poems seek to reconfirm "the ancient supremacy of the imagination." In his late work, he became a visionary struggling to make order out of the "mere anarchy" war had loosed upon the world.
In Proust's oceanic novel, In Search of Lost Time, the narrator explores childhood memories awakened by the taste of pastry dipped in tea. In a rich tradition of autobiographical narrative, Proust paints an extraordinarily complex picture of social life in France at the turn of the 19th century.
In his autobiographical first novel, A Portrait of the Artist as a Young Man, Joyce creates one of the three leading characters of his later novel, Ulysses. By tracing the life of Stephen Dedalus—his fictional self—from infancy to early manhood, Joyce reveals the genesis of his own art.
In The Trial, a respectable banker is arrested for no reason, subjected to endless delays by an incomprehensible legal system, and executed without being tried. Josef exemplifies the Modernist focus on the isolated self, cut off from all traditional sources of support—emotional, institutional, legal, moral, or spiritual.
Woolf produced a remarkable body of fiction, essays, and criticism. In Mrs. Dalloway, she tells the story of a single day in the life of Clarissa Dalloway, a prominent London hostess giving an elegant party.
By turns grotesque, tragic, and comic, Faulkner's As I Lay Dying tells the story of a family taking a corpse to a burial ground on a journey menaced by fire and flood. It is narrated from 15 points of view.
At the outset of World War II, Brecht wrote the sympathetic Mother Courage to dramatize the effect of the Thirty Years' War in 17th-century Europe. An unmarried mother of three sons and a brain-damaged daughter makes her living off the war from a wagon she hauls herself.
In The Plague, which he wrote during World War II, Camus narrates a doctor's struggle against bubonic plague. The novel may be read as symbolizing the seemingly inexorable recurrence of war. Exemplifying the dogged faith of his landmark essay, The Myth of Sisyphus, Camus' doctor strives to heal in the face of futility.
In Waiting for Godot, a play with no action in the conventional sense, Beckett depicts the human condition as one of interminable waiting for something that never comes.
Looking back on 3,000 years of literary history, is there a way to make sense of it all? This lecture shows how literature treats war, love, and humankind's relation to God in three basic literary forms: lyric, narrative, and drama.

What's Included?

Instant Audio

$639.95$59.95

  • Download 84 audio lectures to your computer or mobile app
  • Downloadable PDF of the course guidebook
  • FREE audio streaming of the course from our website and mobile apps

DVD

$799.95$119.95

  • 84 lectures on 8 DVDs
  • 616-page printed course guidebook
  • Downloadable PDF of the course guidebook

Reviews

37 Reviews This action will navigate to reviews.
78% of reviewers recommend

Reviews

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  1. 2 out of 5 stars.

    Too cursory and non-literatry

    I subscribed to this class to get a better grasp on literature. It might be good for historians as a cursory overview but provided little in depth understanding of the actual works themselves. My preference is that when Great Courses takes a single narrow work like Ulysses and provides an indepth analysis. This course created more frustration than satisfaction. After listening to a lecture, I found I had little understanding of the works and authors themselves simply because so little time was dedicated to a single author. How do you summarize Ovid in 30 minutes? You can't.

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  2. 5 out of 5 stars.

    Very Worthwhile

    If you're looking for a solid survey course on the great authors of the Western literary tradition, I feel certain you'll be very pleased with this offering.

    As those of you who've taken literature courses from TGC know, the five professors who have assignments here are among the best in the stable. The teaching is really fine.

    If, on the other hand, you're looking for an in-depth treatment of a particular period, genre, or author, you may be disappointed. For, to cover the great span of time they've chosen, the course can at most give each lesson a good treatment on the surface with a modestly effective dive into one or perhaps two of an author's works.

    This course endeavors to give learners a sure and strong exposure to the best Western writers throughout history. The idea is that you then can pick those you want to study in greater depth and/or read or study their works at a later time.

    This was just a superb experience for me. The survey was excellent. I had a nice review of many of the writers. And, I now have a list of 5-7 writers I will explore further.

    Superb experience!

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  3. 4 out of 5 stars.

    Most are excellent, a few skip

    This course offers great breadth of exposure from some really great professors. I would, however, recommend skipping lecture 25 to 36 and investing in other Great Courses series, such as Professor Voth's History of World Literature, which covers some of the same works with much more skill.

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  4. 3 out of 5 stars.

    Features Unidentifiable At This Time

    I have recently received Great Authors ....... Tradition. The 80 plus sessions will take a considerable time to go through. It is not reasonable for you to ask for a review in such a short time after sending it to me. The three stars are given arbitrarily as this is a required field. Please disregard this rating. Ask me to do this review again in three months.

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  5. 5 out of 5 stars.

    The Best Great Course!

    I adore this set of lectures. Absolutely adore. I still go back and listen to some of favorites when I have spare time. And it’s led to me expanding my library substantially. I’m trying to catch up on many of the works. But even without that, just being introduced to some of these works has been worthwhile. Strongly, strongly recommended.

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  6. 5 out of 5 stars.

    Very good course

    Very helpful, informative & very very long! One needs some patience to go through it. I managed by listening to other courses, in between lessons.

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  7. 5 out of 5 stars.

    Great Authors, Wester Tradition 2nd Ed

    As usual, the course is informative, challenging and interesting. Having taught Western Lit in Hawaii, California and China, I find most of the lessons well focused and well taught. My complaint is a general one: What about Asian lit? A course on Asian Lit (Chinese Lit) or a Comparative Course, examining both Asian and Western lis, would be fantastic. The Great Courses, (I have purchased more than fifty!), would be greatly enhanced by an infusion of courses on Asian and world history, lit, and philosophy courses. Not taught by Western professors, who are inadvertently euro-centric and mispronounce Asian languages. This dearth is the great flaw of an otherwise great mental adventure.

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  8. 3 out of 5 stars.

    disappointing

    too much extraneous info; often seemed too heavily focused on sociology & religion rather than the authors & their writings. some truly questionable choices - especially #s 5, 6, 23, 29, 37, 45, 51 & 59

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    1. Oh, please. To expect a survey series on the Western literary canon to ignore the Bible ("some truly questionable choices," indicating Job, Isaiah, and the New Testament gospels) is tantamount to wanting a history of science that ignores Galileo, Newton, and Einstein.

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1–8 of 37 Reviews  

Questions & Answers

37 Reviews This action will navigate to reviews.

Questions

1–10 of 11 Questions  

  1. Does the downloadable guidebook include the 700 visuals that the DVD lectures contain?

    1 answer

    1. No, it does not.

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  2. In the What's Included tab, it says, "All 48 lectures." Is that all?? Or are all the lectures included?

    1 answer

    1. Thank you for pointing out this mistake. All 84 lectures are included. I have asked our Website to make the correction.

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  3. How is the second edition of this course different from the original 84 lecture course?

    1 answer

    1. The second edition came out in 2005 and is a completely different course with different professors, subject matter and lecture titles. We stopped selling the 1st edition when the 2nd edition was released.
      -Elizabeth VanDiver teaches lectures 1 - 24, covering Near Eastern and Mediterranean Literature and Literature of the Classical World.
      -Thomas F.X. Noble teaches lectures 25 - 36, covering Literature of the Middle Ages
      -Ronald Herzmann teaches lectures 37 - 48, covering Literature of the Renaissance
      -Susan Page Heinzelmann teaches lectures 49 - 60, covering Neoclassic Literature and the 18th century
      -James Herrernan teaches lectures 61-84, covering Literature of the 19th and 20th centuries

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  4. How does the 2nd edition differ from the 1st addition? Do you have a list of the professors for each lecture?

    1 answer

    1. The second edition came out in 2005 and is a completely different course with different professors, subject matter and lecture titles. We stopped selling the 1st edition when the 2nd edition was released.
      -Elizabeth VanDiver teaches lectures 1 - 24, covering Near Eastern and Mediterranean Literature and Literature of the Classical World.
      -Thomas F.X. Noble teaches lectures 25 - 36, covering Literature of the Middle Ages
      -Ronald Herzmann teaches lectures 37 - 48, covering Literature of the Renaissance
      -Susan Page Heinzelmann teaches lectures 49 - 60, covering Neoclassic Literature and the 18th century
      -James Herrernan teaches lectures 61-84, covering Literature of the 19th and 20th centuries

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  5. Are there captions on the DVDs?

    1 answer

    1. Thank you for your question. No, the DVDs for this course do not have captions.

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  6. Will this course be available on Great Courses Plus

    1 answer

    1. Thank you for your question. We do not currently have plans to make this course available on The Great Courses Plus.

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  7. Will this course ever be Online Video streaming? I see that it's format is still the same, when the very same question was asked by another customer 4 yrs back... Thank you!

    1 answer

    1. Thank you for your question.

      Although, we are unable to provide this course in Video Download or Video Streaming we do offer this course on DVD, CD and Audio Download. This courses has images within the lectures that we were unable to obtain the licenses for to allow for Video Streaming. We hope that you are able to use one of the other 3 formats. If you prefer a digital format please contact customer service at 1.800.832.2412 and we will be more than happy to discuss similar courses you may be interested in.

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  8. Will the video greatly add to the content and understanding vs. the audio only?

    1 answer

    1. This course has about 700 visuals throughout, which seems like a big number, but interspersed through its 84 lectures this still can be considered a visually modest course. The visuals include artistic and photographic representations of authors, characters, scenes, plays, and maps, as well as showing the professors themselves while they present.

      Often, the decision to go with audio or video comes down to what best fits the lifestyle of you or the recipient. For those who spend a lot of time outdoors or on the road, audio is an excellent option while those who consider themselves visual learners who benefit the most from a feeling of interactivity, the visual version is preferable.

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  9. Is each lecture taken from an existing course, or are the lectures unique to this course?

    1 answer

    1. They are unique.

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  10. Transcript: is it possible to get digital transcripts of the courses one orders?

    1 answer

    1. Thank you for your question. Many of our courses do have digital transcripts available. At the present time this particular course does not have a digital transcript as an option, although it does have a physical transcript book you can order.

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