Laches (Λάχης) discusses examples of courage including weapons masters, soldiers who stand firm in battle, ferocious animals and the wise person who endures evils.

As Jowett relates in his brilliant introduction, 95% of Plato's writing is certain and his reputation rests soundly on this foundation. The Alcibiades 1 appears to be a short work by Plato with only two characters: Socrates and Alcibiades. This dialogue has little dramatic verisimilitude but centres on the question of what knowledge one needs for political life. Like the early dialogues, the question is on whether the virtues needed by a statesman can be taught, on the importance of self-knowledge as a starting point for any leader...

Philebus (ΦΙΛΗΒΟΣ) discusses pleasure, wisdom, soul and God.

Lysis (Λύσις) discusses friendship and love between the good and bad.

Menexenus (ΜΕΝΕΞΕΝΟΣ) is thought to have been written by Plato (ΠΛΑΤΩΝ). The dialogue consists of Socrates (ΣΩΚΡΑΤΗΣ) recounting a funeral oration he claims to have learned from the female philosopher Aspasia (ΑΣΠΑΣΙΑ) who may have been wealthy, a courtesan or both.

Euthydemus (Εὐθύδημος) and Dionysodorus the sophists discuss the meaning of words with Socrates.

The apparent sacrifice of Iphigenia at Aulis by her own father Agamemnon was forestalled by the godness Artemis, who by an adroit sleight of hand that fooled all participants, substituted a deer for the daughter. Wafted magically away to the “Friendless Shores” of savage Tauris and installed as chief priestess presiding over the human sacrifice of all luckless foreigners, Iphigenia broods over her “murder” by her parents and longs for some Greeks to be shipwrecked on her shores so she can wreak a vicarious vengeance on them...

Alcestis is the earliest surviving play by Euripides. Alcestis, the devoted wife of King Admetus, has agreed to die in his place, and at the beginning of the play she is close to death. In the first scene, Apollo argues with Thanatos (Death), asking to prolong Alcestis' life, but Thanatos refuses. Apollo leaves, but suggests that a man will come to Pherae who will save Alcestis. Euripides' play is perhaps the most unusual Greek drama ever written: a tragedy that is not a tragedy.

This work may not be by Plato, or his entirely, but Jowett has offered his sublime translation, and seems to lean towards including it in the canon. Socrates tempted by irony to deflate the pretentious know-it-all Hippias, an arrogant polymath, appears to follow humour more than honour in this short dialogue.

Eryxias (ΕΡΥΞΙΑΣ) may not have been written by Plato (ΠΛΑΤΩΝ). The dialogue discusses whether wealth has value and what the aim of philosophy should be.

We have followed the Grammars of Kühner, known as his "Large" and "School" Grammars. [...] Omitting the learned dissertations and numerous details of the original, we have endeavored to furnish to the student, in a concise and simple form, whatever is of general application." (From the Foreword by Charles O'Leary)

Jack O'Neill, an Irishman, has just returned from a month's holiday in The Netherlands. Before he left, he had boasted to his friends that he would learn the Dutch language within a fortnight. On his return, he has to admit that it wasn't quite that easy... He tells his friends stories about his clumsy attempts to speak Dutch, leading to many funny scenes.This audiobook contains both "An Irishman's difficulties with the Dutch language" and its sequel "Jack O'Neill's further adventures in Holland"...

This is a basic grammar, treating of the parts of speech, syntax, versification, pronunciation and punctuation. The listener is warned that there is quite a dated feel about this little grammar as the author, in keeping with the times (1840), is a frightful snob about social classes, scathing about 'vulgar speech' and also sometimes quite rude about American turns of phrase. The author is not remotely as comical as he thinks he is, but it has its moments.

I address myself to the man or woman of talent—those people who have writing ability, but who need instruction in the manipulation of characters, the formation of plots, and a host of other points with which I shall deal hereafter. Although no school could turn out novelists to order there is yet enough common material in all art-work to be mapped out in a course of lessons. I shall show that the two great requisites of novel-writing are (1) a good story to tell, and (2) ability to tell it effectively...