#101 - Genesis 1, 2, 3
Examines the creation stories of Chapters 1 and 2, emphasizing differences of language, style, and purpose and the question of what it means to be made in the image of God. The discussion of Chapter 3 focuses on the enduring vitality of the story of Adam and Eve and their fall from grace.

#102 - The Book of Job
Does suffering by innocent humans deny the concept of a just god? A discussion of the story of Job focuses on the knotty philosophical question of theodicy; Job's personal evolution from despair to faith; and whether orthodoxy, in whatever form, keeps believers from the authentic pursuit of meaning.

#103 - Homer, The Iliad (Part 1 of 2)
Focuses on the characteristics of epic, the tragedy of Achilles, the nature of the Homeric hero, the relation between humans and gods, and honor as a motivating principle.

#104 - Homer, The Iliad (Part 2 of 2)
This ancient Greek epic is both a celebration of and a protest against war.

#105 - Sophocles, Oedipus the King
Discussion focuses on the nature of tragedy, the concept of moira (fate) vs. tuche (chance), Sophocles' religious conservatism, and his speculation about human nature. What—besides his own destruction—does Oedipus gain? What does it mean to be human? How should one live? Does Oedipus suffer justly? Is the play a celebration of the tragic hero?

#106 - Sophocles, Antigone
A discussion of this ancient Greek tragedy focuses on the question of whether a citizen's first duty is to the law of the state or to his or her religion. Who is the tragic protagonist of the play? Are Creon and Antigone equally right and equally wrong, or does Sophocles favor one over the other? An interview with Seymour Simon, a former Illinois Supreme Court justice, explores the contemporary relevance of the play and the issues it raises.

#107 - Virgil, The Aeneid (Part 1 of 3)
Focuses on Aeneas as a distinctly Roman hero, Virgil's purpose in writing the epic, the ambivalence of his vision as he both celebrates Rome's greatness and measures its staggering cost, and his indebtedness to Homer. The discussion focuses particularly on Books II, The Fall of Troy; IV, The Tragedy of Dido; and VI, The Symbolic Death and Resurrection of the Hero. Yale University Professor Maynard Mack, editor of the Norton Anthology of Classical Literature, and Professor A.D. Nuttall of New College, Oxford share their insights.

#108 - Virgil, The Aeneid (Part 2 of 3)
Continues the discussion of Aeneas as a distinctly Roman hero, Virgil's purpose in writing the epic, the ambivalence of his vision as he both celebrates Rome's greatness and measures its staggering cost, and his indebtedness to Homer. The discussion focuses particularly on Books II, The Fall of Troy; IV, The Tragedy of Dido; and VI, The Symbolic Death and Resurrection of the Hero. Yale University Professor Maynard Mack, editor of the Norton Anthology of Classical Literature, and Professor A.D. Nuttall of New College, Oxford share their insights.

#109 - Virgil, The Aeneid (Part 3 of 3)
Continues the discussion of Aeneas as a distinctly Roman hero, Virgil's purpose in writing the epic, the ambivalence of his vision as he both celebrates Rome's greatness and measures its staggering cost, and his indebtedness to Homer. The discussion focuses particularly on Books II, The Fall of Troy; IV, The Tragedy of Dido; and VI, The Symbolic Death and Resurrection of the Hero. Yale University Professor Maynard Mack, editor of the Norton Anthology of Classical Literature, and Professor A.D. Nuttall of New College, Oxford share their insights.

#110 - Dante, The Inferno (Part 1 of 2)
A discussion of the epic Italian poem—a first-person account of a visit to Hell—centers on the nature of allegory, the law of symbolic retribution, and the structure of Dante's Hell as it reflects the Thomistic nature of the soul. How should one read Inferno for the first time? To what extent is Dante a new epic hero and his journey a new epic "action"? What is Inferno about, and what was Dante's purpose in writing it? Professor Zyg Baranski of the University of Reading offers his own interpretations.

#111 - Dante, The Inferno (Part 2 of 2)
Continues the discussion of the epic Italian poem, a first-person account of a visit to Hell, with commentary on the nature of allegory, the law of symbolic retribution, and the structure of Dante's Hell as it reflects the Thomistic nature of the soul. How should one read Inferno for the first time? To what extent is Dante a new epic hero and his journey a new epic "action"? What is Inferno about, and what was Dante's purpose in writing it? Professor Zyg Baranski of the University of Reading offers his own interpretations.

#112 - Shakespeare, Hamlet (Part 1 of 2)
In Western culture, Hamlet is regarded as "the" play—the Mount Everest of plays. What accounts for this unique prestige? How modern a play is Hamlet, and what political issues does it raise? Feminist and existential readings of the play examine its attitude toward the maternal body and the lessons it offers about how to act in the world when one cannot know anything with certainty. The video interview is with Professor Mick Hattaway of the University of Sheffield, author of a critical text on Hamlet.

#113 - Shakespeare, Hamlet (Part 2 of 2)
Continues the discussion of the high esteem in which Shakespeare's masterwork is held in Western culture and the various ways in which it has been interpreted.

#114 - Molière, Tartuffe
A discussion of Tartuffe as a representative play of the French neoclassical period—especially its plot, language, characterizations, and theme. What is the play about? Why is Orgon so blind to Tartuffe's true nature? Is Tartuffe himself comic or macabre? Is Orgon "mad," as Dorine calls him? What does "madness" mean in the context of this play? And what is the meaning of its deus ex machina ending? Dr. David Raybin of Eastern Illinois University shares his insights.

#115 - Milton, Paradise Lost (Part 1 of 2)
An examination of Milton's epic focuses on his purpose in singling out the myth of Adam and Eve for such extended attention, the definitions of heroism and innocence, the role of knowledge in the epic, and what it means to "be lowly wise." Dr. Rachel Falconer of the University of Sheffield discusses the question of Eve as champion of Paradise Lost.

#116 - Milton, Paradise Lost (Part 2 of 2)
Continues the examination of Milton's epic, focusing on his purpose in singling out the myth of Adam and Eve for such extended attention, the definitions of heroism and innocence, the role of knowledge in the epic, and what it means to "be lowly wise." Dr. Rachel Falconer of the University of Sheffield discusses the question of Eve as champion of Paradise Lost.

#117 - Voltaire, Candide
Is Candide "Job in modern dress," as Frederick the Great asserted? What is the theme of the play? What is Voltaire's attitude toward metaphysical speculation? Toward work? Discussion also focuses on the concept of the garden in the work, particularly the three symbolic gardens that rapidly succeed one another at the very end. Professor Robert Morrissey of the University of Chicago talks about Candide as a reflection of humankind's existential dilemma of finding meaning in a mad and evil world.

#118 - Goethe, Faust
Discussion focuses on Faust as representative of European Romanticism—its stress on individualism, limitless aspiration, gothicism, and attitude toward knowledge. Particular attention is paid to the "Two souls inhabit my breast" speech and the grasshopper as a symbol of Faust's personal and philosophical dilemma.

#119 - Flaubert, Madame Bovary (Part 1 of 2)
A discussion of realism in Flaubert and his use of point of view in Madame Bovary. Was Flaubert a feminist, or at least sympathetic to women's concerns? Is Bovary really about Emma or about Charles? Would Emma ever be satisfied with any man? Did Flaubert want the reader to be sympathetic to her? Are we meant to judge Emma or to understand her? Is she a victim of fate or circumstances? Of bad luck? Of her convent upbringing? In short, to what extent is Emma responsible for her own downfall? And why does Charles suffer so much? Is the novel meant to be instructive? The video interview is with Dr. Alison Finch of Jesus College, Oxford.

#120 - Flaubert, Madame Bovary (Part 2 of 2)
Continues the discussion on realism in Madame Bovary, author Gustav Flaubert's attitude toward women, and the character of Emma.

#121 - Dostoevsky, Crime and Punishment
Discussion focuses on Dostoevsky's unique contribution to the novel form, his interest in the obscure and confused motivations of human action, the concept of multiple personality, and the themes of suffering and spiritual regeneration. What is the main idea behind the novel? Do the main characters represent embodied ideas? Is the epilogue difficult to accept, artistically or psychologically? Professor Ed Wasiolek of the University of Chicago is interviewed.

#122 - Tolstoy, The Death of Ivan Ilych
Discussion focuses on the concept of memento mori—forcing a consciousness of death in order to force an examination of a life—as well as the tone of Tolstoy's story and the meaning of the imagery at the end. Is Ivan's fate a blessing or a curse? What is the role of Gerasim? The "friends"? The family? Professor Ed Wasiolek of the University of Chicago shares his insights.

#123 - Kafka, The Metamorphosis
Discusses the story, in which a man awakens to find himself transformed into a cockroach, as a modern parable, suggesting that the reality to which Gregor awakens is the truth of his life. What does this truth consist of? In what ways can Kafka's story be compared to The Death of Ivan Ilych? What is the story about? What is its theme? Where is its climax? How do prose style, tone, use of detail, and point of view contribute to its effect? And to what extent does the "rage to be normal" lead us to treat those different from us as non-humans?

#124 - Course Overview
Takes a look back over the works featured in the series for enduring themes and concerns. On-screen class members choose their favorite works and explain their choices.

#201 - Molière: The Misanthrope
A comedy of manners revealing the hypocrisy that the author saw in the French court. The play suggests that one should be neither painfully frank nor insincere, but should find a balance where truth can be conveyed with tact. It was written in Alexandrines—couplets of six beats—and translated into English iambic pentameter with rhymed couplets. The strong beat and rhyming of the dialogue flow well and enhance the presumed wit of the characters.

#202 - Chekhov: Uncle Vanya
Set on a provincial Russian estate, Anton Chekhov's play Uncle Vanya parallels the wasteful destruction of land with the emotional deterioration of the people who live there. An aging professor announces his plans to sell the estate and live off the proceeds in the city. But he'll do so over the dead body of his brother-in-law, Vanya, who has paid the mortgage for 25 years so that his unmarried niece, Sonya, can inherit the land. The local doctor laments the destruction of the forest and the disappearance of wildlife. Sonya longs for the doctor, the doctor has eyes for Yelena, and happiness eludes them all.

#203 - Bertolt Brecht
A documentary portrait of this bold theatrical innovator and his work examines Brecht's roots and the theatrical and social background of his formative years and analyzes the development of his vision of drama: episode instead of Aristotelian plot, the use of nonliterary devices, new techniques in character portrayal, and new aims for the very concept of theater.

#204 - Beckett: Waiting for Godot
Excerpts from, and discussion of, Samuel Beckett's most famous play, which centers on two men waiting for a mysterious messenger who never shows.