Love, Sex & Tragedy: How the Ancient World Shapes Our Lives

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In Love, Sex & Tragedy Simon Goldhill lifts the veil on our inheritance of classical traditions and offers a witty, engrossing survey of the Greek and Roman roots of everything from our overwhelming mania for "hard bodies" to our political systems. Encompassing Karl Marx, Clark Gable, George W. Bush, Oscar Wilde, and Sigmund Freud, Goldhill takes great delight in tracing both follies and fundamental philosophical questions through the centuries and continents to the birthplace of Western civilization as we know it. Underlying his brisk and learned excursions through history and art is the foundational belief, following Cicero, that learning about the classics makes a critical difference to our self-understanding. Whether we are considering the role of religion in contemporary society, our expectations about the boundaries between public and private life, or even how we spend our free time, recognizing the role of the classics is integral to our comprehension of modern life and our place in it.

"Confident, intelligent and assertive; [ Love, Sex & Tragedy ] stands up for 'classics' without apology, without snobbishness and without conservatism."—Oliver Taplin, Guardian

"Goldhill . . . takes us through the looking glass into antiquity and shows us some of the sights that he thinks most interesting and informative. . . . Anyone who goes on the journey will be amused, surprised, and enlightened."—Mary K. Lefkowitz, New York Sun

"A passionate, witty, and broad-ranging exploration of the ancient foundations of our world. . . . There is a widening gap between our perceptions and the ancient sources. Goldhill closes that gap with this lively and multi-layered challenge to assumptions embedded in modern life."—Lizzie Speller, Observer

345 pages, Paperback

First published January 1,2004

About the author

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Simon David Goldhil is Professor in Greek literature and culture and fellow and Director of Studies in Classics at King's College, Cambridge. He was previously Director of Centre for Research in the Arts, Social Sciences, and Humanities (CRASSH) at the University of Cambridge, succeeding Mary Jacobus in October 2011. He is best known for his work on Greek tragedy.
In 2009, he was elected a fellow of the American Academy of Arts and Sciences. In 2010, he was appointed as the John Harvard Professor in Humanities and Social Sciences at Cambridge, a research position held concurrently with his chair in Greek.
In 2016, he became a fellow of the British Academy. He is a member of the Council of the Arts and Humanities Research Council, the Board of the Consortium of Humanities Centers and Institutes, and is President of the European Institutes for Advanced Study (NetIAS).
Goldhill is a well-known lecturer and broadcaster and has appeared on television and radio in England, Australia, the United States and Canada. His books have been translated into ten languages, and he has been profiled by newspapers in Brazil, Australia and the Netherlands.

Community Reviews

Rating(4.1 / 5.0, 27 votes)
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27 reviews All reviews
April 16,2025
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I took a few breaks reading this book, which I inherited from my grandmother. This is definitely a book for non-classicists who want to learn more about the use of classics in the modern world. I found parts of the book fun and useful, and other parts a little boring. I would recommend for a newcomer interested in the effect of the ancient Mediterranean world on the modern western world.
April 16,2025
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Especially like the first chapters and the description of male-dominated ancient Greek culture.
April 16,2025
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Interesting take on things. I love the ancient world for itself so linking the modern to the ancient isn't my cup of tea per se. But it was worth the read.
April 16,2025
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Although Goldhill is not a remarkable stylist, he nonetheless accomplishes the feat of showing how ancient Greek culture impacts contemporary culture in a few hundred pages.

Packed with historical facts and insightful connections, this book is widely recommendable for its presentation of high subject matter in easily readable prose.
April 16,2025
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this book reads like a high school or college persuasive essay, which is kind of ironic for a book that's trying to get you back in touch with our greek / roman roots / standards / ideals.

i like the examples the author draws upon to prove his points, but, i don't know, i wasn't intrigued or impressed by anything. don't think i'd recommend this to a friend. maybe would use it if i taught a 100 level backgrounds in lit class or something.
April 16,2025
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I read this for part of my senior thesis on sex in the ancient world.
April 16,2025
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My rating is based on the first two sections of the book, which were the only parts I was required to read for class. I intend to go back and read the rest at some point, though, as it's a lively and entertaining book, and one I could see reading outside an academic environment.
April 16,2025
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What I liked about Simon Goldhill’s Love, Sex & Tragedy was that he (mostly) avoids sounding like a curmudgeonly stick-in-the-mud who can’t handle the loss of the classical curriculum in education and the knowledge of Western civilization’s origins. He laments it not because he wants to hear people quoting Homer from memory (in the original Greek) or see glowing comparisons of politicians to Cincinnatus but because he sees little evidence that what’s replaced it is tackling the same issues in as deep a manner. He doesn’t see any counterparts today to Homer, Herodotus and Thucydides, or to Sophocles and Euripides, among others. And this dumbing down of our public discourse infects all aspects of culture – politics, entertainment, social relationships, literature, the arts, etc.

Why study the classics?

I’m going to be lazy and simply quote the author from the last pages of the book, where he concludes:

For thinking hard about the past reveals the buried life of the present, its potential for change, for being different. Looking back critically at where we come from is a revelatory education about the present.

The simplest point that emerges from looking back at how the myths of Greece and Rome have functioned in the history of European culture is this: the past matters. It matters because in psychological, social, intellectual, artistic and political terms the past is formative of the present. It is the person’s or culture’s deep grounding. It matters how the past is understood or told. Stories change lives. They make foundations, they build hopes and they can kill. A self-aware appreciation of the past requires reflecting on the myths and the histories, the story-telling and the critical analysis, which makes sense of the past – and thus the present....

Understanding the past also requires that we understand how previous generations thought of the past, were stimulated and inspired by it, rebelled against it, denied it. Classical antiquity has constantly been reinvented as the privileged model of the past, and it has been thus a force for comprehending – and changing – the present....

If we do not recognize how classical antiquity furnished the imagination, stimulated and structured thought and acted as a banner of artistic and political revolution, our view of our own cultural tradition will be necessarily distorted. (pp. 319-20)


Aside from the general conclusion above, I found several of the specifics the author focuses on interesting. One in particular stood out because of personal interests, and I’ll mention it here so you can get an idea of the issues Goldhill deals with. He spends a great deal of time (two chapters – 26 pages) discussing the Oedipus myth (as transmitted by Sophocles; there were other versions) and how it became and remains a profound analysis of the human condition, helped by Freud making it the basis for his psychology.

Oedipus is the archetypal hero figure trying to discover where he comes from: “Oedipus’ search for himself, his journey to discover where he comes from, is the paradigmatic example of how we must look back for self-knowledge, but also of how disturbing and painful that necessary process can be” (p. 298) and “Most shocking is the play’s insistent and disturbing claim that is it exactly at the moment you think you know where you come from and who you are that you are most open to a tragedy of self-deception” (p. 306). Goldhill sees Oedipus as particularly important in the 21st century when Western civilization struggles ever more desperately to know and to control but only seems to discover ever more uncertainty and ever less control.

I would recommend the book. Even if you don’t agree with the author’s conclusions in parts of the book, it’s still an interesting look at the influence Greece and Rome had and continues to have over our lives.
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