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In Book 2 Philodemus rebuts two almost unknown critics, Heracleodorus and Pausimachus, who argued, respectively, that the sound arising from the word-order (synthesis) is the source of poetic excellence, regardless of the content and word-choice, and that the pure sound of the vowels and consonants, which vary in quality, is that source. By putting together fragments from both the summary and the rebuttal of these theorists, we can form a full picture of their thought.  Philodemus led the Augustan reaction against this invasion of literary criticism by musical theory, arguing that form and content are interrelated, and that well-expressed content, not pretty sound, is what makes poetry worthwhile. Book 2 reveals just how much and how inventively Horace drew on the ideas of all three writers in composing his Ars Poetica.  The extensive remains of this scroll, carbonized in the eruption of Vesuvius, were thoroughly jumbled after their rediscovery in the Villa of the Papyri at Herculaneum. This edition painstakingly reconstructs their original sequence according to new methods, while exploiting previously unknown manuscript sources and technologies for ordering and reading the extant pieces. 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S. Kirk, covers Books 13-16, including the Battle for the Ships, the Deception of Zeus and the Death of Patroklos. Three introductory essays discuss the role of Homer's gods in his poetry; the origins and development of the epic diction; and the transmission of the text, from the bard's lips to our own manuscripts. It is now widely recognised that the first masterpiece of Western literature is an oral poem; Professor Janko's detailed commentary aims to show how this recognition can clarify many linguistic and textual problems, entailing a radical reassessment of the work of Homer's Alexandrian editors. The commentary also explores the poet's subtle creativity in adapting traditional materials, whether formulae, typical scenes, mythology or imagery, so as best to move, inspire and entertain his audience, ancient and modern alike. 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Its discoverer suggested that it derived from the lost second book of Aristotle's Poetics, which inaugurated the systematic study of comedy, but it was soon condemned as an ignorant compilation verging on forgery, and thus matters stood until the first publication of \u003ci\u003eAristotle on Comedy\u003c\/i\u003e in 1984. Richard Janko's edition of the text is accompanied by a facing translation, interpretive essays, reconstruction and commentary. 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