Rating: 
Summary: "Mask" a fine depiction of the cult of personality
Review: "The Mask of Apollo" is Mary Renault's warmest, friendliest book--and I don't say that lightly. While Renault wrote books that draw the reader into new worlds, few of her narrators have been what I'd consider ordinary people. While I would love to sit and chat with Alexander or Simonides, I'd probably get tongue-tied and die of embarrassment if I actually got the chance. Nikeratos the actor is a protagonist you can picture taking home for dinner and a beer.Niko is an actor, reared to the craft from childhood, and the title of the book refers to an antique mask (Greek actors wore masks; none went barefaced on stage) of the god Apollo that he keeps at first for luck. Niko himself is a man who always seems to come out well of every situation; when the book opens, he is fatherless and working with a struggling troupe when his grace under pressure (Spartans are seen heading for the town he's in while he's acting in a play, and Niko continues acting to keep the crowd quiet) gives his career a boost. A rival's attempt to kill him some time later ends unsuccessfully, and this leads to his meeting with the man who becomes his hero and his shadow. Dion of Syracuse, nephew to the tyrant Dionysius, is also a disciple of Plato. He is a Sicilian aristocrat, a man who seeks to lessen the tyrant's iron grip on the people of Sicily. Niko is awed by his presence and convictions, but clear-eyed when it comes to seeing how many of Dion's ideas--fed to him by Plato--will impact his craft and the society he moves in for the worst. Without ever saying so, Renault makes a stern criticism of Platonic philosophy, which is one of the beauties of the book. The death of the first Dionysius and the ascendance of his son, the second Dionysius, are told by Niko in a voice by turns cynical and amused. Niko is a keen observer, and drops devastating sarcastic bombs with lethal accuracy. (His "toast" to Dion on discovering Plato's views on the theater is one explosive moment). But Dionysius II turns out to be worse than his father, and Niko finds himself supporting Dion even as he wonders if his friend and idol knows what he's getting into. The climax of the story shows Dion at the moment of his greatest glory--and Niko's wish for him is painful in its prescience. "Mask's" central premise is how the powerful and the performers wear masks to woo an audience. Niko is fortunate; he knows when to woo and when to take the mask off and go home. Never taking his craft for granted, he not only likes his audiences, he understands them. Dion, on the other hand, sees himself as a liberator and teacher. His audience is the mob, and the mob are to be led like sheep. A man of dignity, Dion is willing to let the devotion of his people carry him to the highest rank, but once there he cannot take off his mask and stop playing the role he's set for himself. And so we wonder, who is more corrupt--the tyrant who crushes dissent with an iron fist, or the politician who promises freedom and then scrabbles for the safety promised by the tactics of the old regime? Renault cannot resist tweaking the readers with the end of her book. Niko is nearing the twilight of his career when, after portraying Achilles, he is met backstage by a young prince from Macedon and his best friend. Alexander and Hephaistion make their first appearance, and Niko's sorrowful musing on what might have happened had Plato had Alexander instead of Dion to work with ends the book on a bittersweet note.
Rating:
Summary: "Mask" a fine depiction of the cult of personality
Review: "The Mask of Apollo" is Mary Renault's warmest, friendliest book--and I don't say that lightly. While Renault wrote books that draw the reader into new worlds, few of her narrators have been what I'd consider ordinary people. While I would love to sit and chat with Alexander or Simonides, I'd probably get tongue-tied and die of embarrassment if I actually got the chance. Nikeratos the actor is a protagonist you can picture taking home for dinner and a beer. Niko is an actor, reared to the craft from childhood, and the title of the book refers to an antique mask (Greek actors wore masks; none went barefaced on stage) of the god Apollo that he keeps at first for luck. Niko himself is a man who always seems to come out well of every situation; when the book opens, he is fatherless and working with a struggling troupe when his grace under pressure (Spartans are seen heading for the town he's in while he's acting in a play, and Niko continues acting to keep the crowd quiet) gives his career a boost. A rival's attempt to kill him some time later ends unsuccessfully, and this leads to his meeting with the man who becomes his hero and his shadow. Dion of Syracuse, nephew to the tyrant Dionysius, is also a disciple of Plato. He is a Sicilian aristocrat, a man who seeks to lessen the tyrant's iron grip on the people of Sicily. Niko is awed by his presence and convictions, but clear-eyed when it comes to seeing how many of Dion's ideas--fed to him by Plato--will impact his craft and the society he moves in for the worst. Without ever saying so, Renault makes a stern criticism of Platonic philosophy, which is one of the beauties of the book. The death of the first Dionysius and the ascendance of his son, the second Dionysius, are told by Niko in a voice by turns cynical and amused. Niko is a keen observer, and drops devastating sarcastic bombs with lethal accuracy. (His "toast" to Dion on discovering Plato's views on the theater is one explosive moment). But Dionysius II turns out to be worse than his father, and Niko finds himself supporting Dion even as he wonders if his friend and idol knows what he's getting into. The climax of the story shows Dion at the moment of his greatest glory--and Niko's wish for him is painful in its prescience. "Mask's" central premise is how the powerful and the performers wear masks to woo an audience. Niko is fortunate; he knows when to woo and when to take the mask off and go home. Never taking his craft for granted, he not only likes his audiences, he understands them. Dion, on the other hand, sees himself as a liberator and teacher. His audience is the mob, and the mob are to be led like sheep. A man of dignity, Dion is willing to let the devotion of his people carry him to the highest rank, but once there he cannot take off his mask and stop playing the role he's set for himself. And so we wonder, who is more corrupt--the tyrant who crushes dissent with an iron fist, or the politician who promises freedom and then scrabbles for the safety promised by the tactics of the old regime? Renault cannot resist tweaking the readers with the end of her book. Niko is nearing the twilight of his career when, after portraying Achilles, he is met backstage by a young prince from Macedon and his best friend. Alexander and Hephaistion make their first appearance, and Niko's sorrowful musing on what might have happened had Plato had Alexander instead of Dion to work with ends the book on a bittersweet note.
Rating: 
Summary: the Mask of Apollo
Review: After reading _The King Must Die_ and loving it, I picked up _The Mask of Apollo_, hoping for the same - I just couldn't get it to it. I found the plot too slow, and the characters unlovable. I would rather have read a non-fiction history of the time; this book just couldn't keep my interest, though I am interested in the history of the period. I haven't given up on Mary Renault - I plan to read _The Fire From Heaven_ soon.
Rating: 
Summary: Life in Ancient Greece, theater and Siracuse
Review: As a foreigner reader, I would like to state my view on "The Mask of Apollo". Wonderful book, almost from first to last line. Nikeratos, the protagonist, has a sweet and accurate way of talking about his relationships, and they are among the biggest world has ever seen: Platon (Plato), Aristotle (a dull figure) Alexander, Aristophanes, Dionisyus and Dion of Siracuse. It is a book that tell stories of friendship , love, adventures (no Rambos, please!); of people who lived a life worth living. Renault tries to tell us that ancient Greece was all but dull, the first time men (and women) had the right to exist for themselves, eventhough they were no kings or Pharaohs. Renault's books should be read by everyone who believes in democracy and the surviving of humans on earth.
Rating:
Summary: Fascinating and superb
Review: I began reading Mary Renault's novels at the age of 17, having found her book about Theseus by chance in my school's library. As fast as I could I read all her other Greek novels and have never found another writer who comes close to Renault's fascinating depiction of the ancient world. I have learned so much from her novels; however, not only are they superbly written with magnificent characterisations, they are a joy to read and I have re-read them all many times. This novel's depiction of the Athenian disaster at Syracuse and the subsequent treatment of the Athenian prisoners is superbly drawn but just one high point in the book. Reading through the other reviews, I just wish I had been lucky enough to study this kind of book at school, but do feel a certain level of maturity is required before tackling them. As it was, Mary Renault's novels are a major reason for me undertaking Ancient History at college and she has instilled in me a lifelong love of Greece. I would recommend this and indeed any of her Greek novels without hesitation.
Rating:
Summary: Fascinating and superb
Review: I began reading Mary Renault's novels at the age of 17, having found her book about Theseus by chance in my school's library. As fast as I could I read all her other Greek novels and have never found another writer who comes close to Renault's fascinating depiction of the ancient world. I have learned so much from her novels; however, not only are they superbly written with magnificent characterisations, they are a joy to read and I have re-read them all many times. This novel's depiction of the Athenian disaster at Syracuse and the subsequent treatment of the Athenian prisoners is superbly drawn but just one high point in the book. Reading through the other reviews, I just wish I had been lucky enough to study this kind of book at school, but do feel a certain level of maturity is required before tackling them. As it was, Mary Renault's novels are a major reason for me undertaking Ancient History at college and she has instilled in me a lifelong love of Greece. I would recommend this and indeed any of her Greek novels without hesitation.
Rating: 
Summary: Mask of Apollo only good for the interested in greek history
Review: i thought the mask of apollo was a dull book that was hard to follow i was to read this book for a school project and although i am able to follow most books i found this one most strenous to read. I am not at all interested in greek history and was amazed at all the talk of homosexual affiars. I would not recommend this book for any child under the age of 18 who has no interest in histroy. i would recomend this book to children with devoted interest to history and who are good at reading comprehension and to adults who are interested in greek history.
Rating:
Summary: Mask of Apollo only good for the interested in greek history
Review: Mary Renault has vividly recreated the world of the actor in ancient Greece, set against a backdrop of love, betrayal, and war. As a part-time actor, I thoroughly enjoyed reading the similar traits of actors and practices in ancient Greece that still exist today. Although production methods are very different, personalities and "egos" seem to remain the same. I found plenty of smiles on my face as I devoured this rich, lush novel. A must read for actors, historians, and lovers of good fiction
Rating:
Summary: A TIMELESS STORY
Review: Mary Renault has vividly recreated the world of the actor in ancient Greece, set against a backdrop of love, betrayal, and war. As a part-time actor, I thoroughly enjoyed reading the similar traits of actors and practices in ancient Greece that still exist today. Although production methods are very different, personalities and "egos" seem to remain the same. I found plenty of smiles on my face as I devoured this rich, lush novel. A must read for actors, historians, and lovers of good fiction
Rating:
Summary: Fascinating Greek history/wonderful story of an actor
Review: Mary Renault often used a unique technique to describe historical events and famous characters. She made her protagonists, not the famous people themselves, but lesser-known or completely fictional characters, through whose eyes we see the historical action develop. In The Mask of Appollo, Renault wants to tell the tale of Plato's attempt to educate the son of the tyrant of Syracuse in morals and government. She does so through the eyes of a brilliant actor of the Greek theatre of the times. We thus are given a detiled and fascinating description of an actor's training and life, and also a recreation of famous events and personages. Renault repeats this technique in several other winderful novels such as The Praise Singer" about a poet, and "The Persian Boy" and "Fire from Heaven" (the life of Alexander as seen by Bagoas, a eunuch.
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