So you will get a sweeping overview of Dylan’s songs and writings, their cultural significance—what personal experiences and concerns, intellectual influences and historical issues called them into being—the methods that produced them, their intertextual relationships with works of other songsters, poets, writers, thinkers—mostly ancient, but a good many modern —all concentrating upon songs that best exemplify Dylan’s grounding and continuing interests in classical, mainly Latin, authors. Thomas also invites us to see classical form and rhetorical techniques in songs that contain no classical allusions, e.g., “Blowin’ in the Wind” (pp. 25-27). And he guides us through the poetic artistry of Virgil and Dylan (pp. 193-225), covering instances where Dylan is lovingly stealing from translations of Virgil (e.g., “Lonesome Day Blues” and Aeneid Book 6, p. 194) and ways in which Dylan’s painstaking reworkings of texts, now traceable in the Dylan archives in Tulsa, are Virgilian (pp. 203-225). Thomas discusses many clear thefts from translations of Ovid and Homer in chapter 8 (pp. 227-265). These riches are provided by a master of classical intertextuality who has longstanding intellectual and spiritual sympathies for Dylan’s art and what Dylan’s songs have meant and continue to mean to humankind, to himself, to you and to me.