Then she met Yankee Major Adam O'Roarke. What ecstasy to be in the arms of a strong handsome man! What magic to be taken to the heights of desire! But each time she looked into his deep blue eyes she remembered that he was the enemy -- and she would never be free to love as she chose... A war between two hearts Adam O'Roarke had seen enough bloodshed and fighting. He was tired, lonely and in desperate need of the soft creamy flesh of a woman. And what he found was more precious than a treasure: beautiful, blonde-haired Honor Landau. Innocently she unleashed his fiery passion. Unknowingly she captured his heart. He vowed that when the war was over he would find a way to possess her forever. Until then he would savor the rapture of his seductive Rebel Temptress

    In all but one of the extant Sophoclean dramas, a heroic figure who is compounded of the same literary elements faced a situation which is essentially the same. The demonstration of this recurrent pattern is made not through character-analysis, but through a close examination of the language employed by both the hero and those with whom he contends. The two chapters attempt to present what might, with a slight exaggeration, be called the "formula" of Sophoclean tragedy.A great artist may repeat a structural pattern but he never really repeats himself. In the remaining four chapters, a close analysis of three plays, the Antigone, Philoctetes, and Oedipus at Colonus, emphasizes the individuality and variety of the living figures Sophocles created on the same basic armature. This approach to Sophoclean drama is (as in the author's previous work on the subject) both historical and critical; the universal and therefore contemporary appeal of the plays is to be found not by slighting or dismissing their historical context, but by an attempt to understand it all in its complexity. "The play needs to be seen as what it was, to be understood as what it is."

    

    A distinctive feature of Greek culture was an awareness of the power of words, and an interest in the interrelationships between persuasion (peitho), deception and violence. These issues figured with some prominence in Greek plays. Dr Buxton maintains that certain aspects of classical tragedy become clearer if we recognise what peitho meant to the Greeks. In the first part of his book, he attempts to 'excavate' the concept of peitho, uncovering its various associations in different areas of experience - politics, rhetoric, love, morality and philosophy. Armed with what he has discovered, he turns in the second part to an analysis of selected plays by Aischylos, Sophokles and Euripides in which persuasion plays a major role.