For some reason, this proved to be the least popular of Mary Renault's works. This has nothing to do with its quality, but more I suspect with the unfamiliarity of the main character, Simonides (6th Cent BCE), some of whose work still survives. Also unfamiliar is the concept of praise-singing. In early Greece, competitors in the main games (not just the Olympics; there were many others)were escorted home in great honour, often accompanied by choral odes, specially commissioned for the event. Mentioned in The Praise Singer is Simonides' later contemporary, Pindar, probably the finest such composer known. One copy of his (Pindar's) work survived and was discovered only relatively recently. It's spectacular work, in places reaching the spiritual level. The only regrets are that the remaining work is incomplete and, more so, that the music accompanying the odes hasn't survived. And it was from others, such as Simonides himself, that Pindar would have learned his craft. Another point about Simonides: he was the author of the brief, but spine-tingling epitaph dedicated to the 300 Spartans and their king, who held back the Persian invasion of Greece in 480 BCE for just long enough for a stronger defence to be arranged farther south. As with Mary Renault always, this isn't dry history, but told in the first person as if through a modern voice-recorder.