This short and lively story places a child on centre stage in the story of Marathon. This instantly makes the situation more relatable for a young reader, with the potential to identify with the protagonist and his cousin and to recognise aspects of the boy's world – his interaction with his family, his participation in education, his interest in events that his age marginalises him from, and the pleasure he takes in being given responsibility. These sorts of elements make the ancient Greek world familiar, which in turn makes it more possible to approach aspects that may by different from the reader's experience of the modern world, such as slavery, fear of physical harm, military invasion, and acute concern for family. The presence of Nycillia ensures that the reader is aware that there were girls as well as boys in antiquity. Although not the protagonist, she participates in the adventure and is shown to have good judgement. There is something unnecessarily sexist about the way that the work concludes with news that everyone in Athens 'thought Nycilla quite remarkably beautiful' (p.68) but this is not the tone of the work as a whole.
Slavery is primarily explored via the family's save, Davus. There is a romantic interpretation of slavery although it does suggest some of its harsher aspects. Davus, Philip tells us, is more of a 'friend' than a slave (p. 21). All of Philip's friends have house-hold slaves and Davus is grateful to belong to the family. He credits Philip's father with having saved his life by choosing to buy his house slave from the Laurion mines (pp. 21–22). There is an attempt here to give Davus' perspective as well as Philip's, but it comes entirely through Philip and does not explore whether Davus would rather be freed and it is entirely implausible that an Athenian would have chosen a mining slave to work in their house. Nonetheless, it is useful to introduce the idea that some forms of slavery (mining or 'galley slave', a stray Roman reference) were worse than others even though this skates over the misery of domestic enslavement. It is also mentioned that Spartans taunt Athenians that slaves and free are indistinguishable in Athens, while Spartans are 'harsh masters' (p. 22). This comes from an ancient tradition (Old Oligarch, 1.10–11) and furthers the idea of varied experiences of slavery as well as establishing a contrast between Athens and Sparta. Philip 'shudders' in horror at the thought of being enslaved by Persians and his own confrontation with the possibility forces him and the young reader to personalise and humanise the experience of enslavement and to collapse the difference between slave and free. The young reader is therefore presented with a romantic view of enslavement within the household of the protagonist while informed of some of slavery's uncomfortable truths.
As well as learning about the Marathon campaign, the reader will hear about further aspects of ancient Greek life. Philip recites Homer on his journey. It is his favourite thing to learn at school 'after the games and gymnastics ('Much better than the geometry and the arithmetic', p. 26, – a personalising detail that arguably reflects modern distinctions between the sciences and the arts, and the author's own preference). There is a strong impression of Athens as a city where discussion and debate are important and the reader becomes aware of the functioning of a citizen assembly. Sculpture and poetry are part of the Athenian way of life. The connection between city and countryside is also brought out through the connection to the extended family in rural Attica. This section also provides insights into the agricultural sphere in antiquity, as Philip's uncle and his friends are concerned about the prospect of damage to their crops.
Religion, so important within ancient culture, is explored throughout. Early on we learnt that Philip is modelling for a statue of Pan (p. 11). When Philip must make his journey through the countryside he is concerned about his exposure to supernatural beings such as Pan; he knows that while Pan can be fun and playful, he can also cause people to feel 'panic' (p. 28). The family hide in the local Cave of Pan (p. 38). A rumour that Pan helped Pheidippides leads to the god's increased popularity (p. 53). This focus on Pan is in keeping with ancient traditions about the battle (Herodotus, 6.105–106) and may either introduce the reader to that god or extend their sense of the god's reputation. Other gods are included. Philip thanks Athena when he sees the Greeks arrive (p. 48). There is reference to the Athenians camping in the woods at a Sanctuary of Heracles (p. 50; Herodotus, 6.116 with 6.108). A festival of Apollo delays the Spartans (Herodotus, 6.106). Philip's brother, Lucius, acknowledges that the Spartans are very religious but sounds 'bitter, almost disgusted' when he talks about their decision (p. 53). This encourages a sceptical reading of the Spartans response, but the issue remains nonetheless open to interpretation by the reader. As is typical of the novel, Roman influence can be seen in the name ' Lucius', (a rare name, 'Loukianos', in Greek).
Readers will get a good sense of the campaign itself. The Persian attack on Euboea, including the burning of the temples and enslavement of the islanders opens the invasion narrative (p. 13; Herodotus, 6.99–101). The campaign is presented as a matter of Persian expansion rather than as expansion plus retribution for the Ionian Revolt, but there is no attempt to vilify the Persians beyond that and this perspective is plausible from an Athenian family. A desire to simplify the narrative may also be behind the decision to exclude reference to Greeks fighting in the Persian army. Philip's family are quick to realise that the Persians are likely to land at Marathon. There is an indirect account of the debates held about the response to invasion. The army is mustered from the citizen body, and that is personalised by having Philip's brothers and cousins included. Pheidippides' run to Sparta features but is not the focus of the story and the narrative does not include the Browning tradition of him running to on to Athens and dying. Miltiades is included as a named character.
There is emphasis on two key issues of the battle: the wait for the Spartans and the hazard of Persian cavalry. It is clear that the Greeks are massively outnumbered, and 'the Greeks' includes the Plataean contingent as well as the Athenians. The army command structure of ten generals and the decision to bestow command days on Miltiades features in the narrative (pp. 51–52; Herodotus, 6.109). The account of the battle itself includes the Persian use of archery, the Greeks' response of running to engage, the use of massed soldiers, the Persian flight to the ships, and the contrast in weapons and armour between the two sides (pp. 61–65; esp. Herodotus, 6.111–115). The children's concern for their brothers intensifies the peril of the moment, especially when one of the brothers cannot initially be found. The children also recognise the danger to themselves and agree to run away if they have to. This conveys the danger of the situation to the reader and communicates the importance of finding safety when necessary. The danger passes, however, and the story finishes on an upbeat note. This ancient Greece is a place of adventure, but also one of familiar warmth and enjoyment. The five page Historical Note gives readers plenty of further information and reminds them that the story is based on real events.
