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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This student's edition of Hecuba prepared by Justina Gregory offers the first modern, full-length commentary suitable for classroom use. It includes an introduction, appendix on lyric meters, bibliography, and index.

Euripides of Athens (ca. 485–406 BCE), famous in every age for the pathos, terror, surprising plot twists, and intellectual probing of his dramatic creations, wrote nearly ninety plays. Of these, eighteen (plus a play of unknown authorship mistakenly included with his works) have come down to us from antiquity. In this first volume of a new Loeb edition of Euripides David Kovacs gives us a freshly edited Greek text of three plays and an accurate and graceful translation with explanatory notes.Alcestis is the story of a woman who agrees, in order to save her husband's life, to die in his place. Medea is a tragedy of revenge in which Medea kills her own children, as well as their father's new wife, to punish him for his desertion. The volume begins with Cyclops, a satyr play—the only complete example of this genre to survive. Each play is preceded by an introduction.In a general introduction Kovacs demonstrates that the biographical tradition about Euripides—parts of which view him as a subverter of morality, religion, and art—cannot be relied on. He argues that this tradition has often furnished the unacknowledged starting point for interpretation, and that the way is now clear for an unprejudiced consideration of the plays themselves.

Book by euripides (author) ; ferguson, j. (editor) ; ferguson, john (editor)

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According to Oxford University Press, ""Using to the full the last half century's great accessions to the comparative study of religion, [Dodds] has given a coherent and convincing reconstruction of the Dionysiac background--and, indeed, foreground--of the play, illustrating it with many instructive non-Greek and modern parallels.... Equally instructive and stimulating is the acute analysis of the play's dramatic elements, its characters, scenes, conflicts, actions, speeches.... This edition far surpasses its predecessors in vitality, sympathy, and scope."--W.B. Stanford, Hermathena LXV. Including a comprehensive discussion of the play's background and an incisive assessment of its dramatic structure, this edition makes an outstanding contribution to Euripides scholarship."

This work describes how Euripides provides, in specific plays, a variety of original treatments of well-known views of his contemporaries, the Sophists. The emphasis is on Euripides as the creative virtuoso of dramatic ideas rather than as a philosopher. Euripides' adaptation covers a range of dramatic styles and approaches, from the tragic treatment of the nature in "Hippolytus", to the near parody of Sophistic views on sense-perception in "Helen".

This student's edition of Hecuba prepared by Justina Gregory offers the first modern, full-length commentary suitable for classroom use. It includes an introduction, appendix on lyric meters, bibliography, and index.

The fragmentary plays of Euripides are a body of texts still regularly increasing in number and extent. They are of very great interest in themselves, apart from the significant aid they give to the fuller appreciation of the surviving complete plays.

In nine paperback volumes, the Grene and Lattimore editions offer the most comprehensive selection of the Greek tragedies available in English. Over the years these authoritative, critically acclaimed editions have been the preferred choice of over three million readers for personal libraries and individual study as well as for classroom use."These authoritative translations consign all other complete collections to the wastebasket."—Robert Brustein, The New Republic"This is it. No qualifications. Go out and buy it everybody."—Kenneth Rexroth, The Nation"The translations deliberately avoid the highly wrought and affectedly poetic; their idiom is contemporary....They have life and speed and suppleness of phrase."—Times Education Supplement"These translations belong to our time. A keen poetic sensibility repeatedly quickens them; and without this inner fire the most academically flawless rendering is dead."—Warren D. Anderson, American Oxonian"The critical commentaries and the versions themselves...are fresh, unpretentious, above all, functional."—Commonweal"Grene is one of the great translators."—Conor Cruise O'Brien, London Sunday Times"Richmond Lattimore is that rara avis in our age, the classical scholar who is at the same time an accomplished poet."—Dudley Fitts, New York Times Book Review

The first modern, full-length commentary of Hecuba suitable for classroom use, this edition also contains material directed to more advanced students and to scholars. It includes an introduction, appendix on lyric meters, bibliography, and index.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.15

How can we make sense of the innovative structure of Euripidean drama? And what political role did tragedy play in the democracy of classical Athens? These questions are usually considered to be mutually exclusive, but this book shows that they can only be properly answered together. Providing a new approach to the aesthetics and politics of Greek tragedy, Victoria Wohl argues that the poetic form of Euripides' drama constitutes a mode of political thought. Through readings of select plays, she explores the politics of Euripides' radical aesthetics, showing how formal innovation generates political passions with real-world consequences.Euripides' plays have long perplexed readers. With their disjointed plots, comic touches, and frequent happy endings, they seem to stretch the boundaries of tragedy. But the plays' formal traits―from their exorbitantly beautiful lyrics to their arousal and resolution of suspense―shape the audience's political sensibilities and ideological attachments. Engendering civic passions, the plays enact as well as express political ideas. Wohl draws out the political implications of Euripidean aesthetics by exploring such topics as narrative and ideological desire, the politics of pathos, realism and its utopian possibilities, the logic of political allegory, and tragedy's relation to its historical moment.Breaking through the impasse between formalist and historicist interpretations of Greek tragedy, Euripides and the Politics of Form demonstrates that aesthetic structure and political meaning are mutually implicated―and that to read the plays poetically is necessarily to read them politically.

Hecuba, in slavery after Troy's fall, fails to dissuade Odysseus, whose life she once saved, from sacrificing her daughter to honour his dead friend, Achilles; but the girl dies proudly, true to her royal blood in surmounting degradation.

The theme of Euripides' Alcestis blends the primitive folk-tale of the self-sacrificing bride, Alcestis, and of Heracles' heroic struggles with the ogre Death, with a morality tale of "virtue rewarded", in this case twice rewarded.

Political by its very nature, Greek tragedy reflects on how life should be lived in the polis, and especially the polis that was democratic Athens. Instructional as well, drama frequently concerns itself with the audience's moral education. Euripides and the Instruction of the Athenians draws on these political and didactic functions of tragedy for a close analysis of five plays: Alcestis, Hippolytus, Hecuba, Heracles, and Trojan Women. Clearly written and persuasively argued, this volume addresses itself to all who are interested in Greek tragedy. Nonspecialists and scholars alike will deepen their understanding of this complex writer and the tumultuous period in which he lived. ". . . a lucid presentation of the positive side of Euripidean tragedy, and a thoughtful reminder of the political implications of Greek tragedy." --American Journal of Philology ". . . the principal defect of [this] otherwise excellent study is that it is too short." --Erich Segal, Classical Review ". . . a most stimulating book throughout . . . ." --Greece and Rome Justina Gregory is Professor of Classics, Smith College, where she is head of the department. She has been the recipient of Fulbright and Woodrow Wilson fellowships.

Alcestis is one of Euripides' richest and most brilliant--as well as most controversial--plays. But, apart from D. J. Conacher's student text, no annotated edition in English has appeared for more than fifty years. The present work is designed to aid close reading and to serve as an introduction to the serious study of the play in its various aspects. The introduction covers the background to the story in myth and folktale, its treatment by other writers from antiquity to the present, the critical reception of Euripides' play, and its textual transmission and meters. The notes are designed in particular to help readers who have been learning Greek for a relatively short time. More advanced matter, such as discussion of textual problems, is placed in square brackets at the end of the note.

This is the first major critical study of three late plays of Euripides: Helen, Andromeda, and Iphigenia among the Taurians. Matthew Wright offers a sustained reading of the plays, arguing that they are a thematically connected trilogy. He re-examines central themes such as myth, geography, cultural identity, philosophy, religion, and (crucially) genre. These are not separate topics, but are seen as being joined together to form an intricate nexus of ideas. The book has implications for our view of Euripides and the tragic genre as a whole.

Political by its very nature, Greek tragedy reflects on how life should be lived in the polis, and especially the polis that was democratic Athens. Instructional as well, drama frequently concerns itself with the audience's moral education. Euripides and the Instruction of the Athenians draws on these political and didactic functions of tragedy for a close analysis of five plays: Alcestis, Hippolytus, Hecuba, Heracles, and Trojan Women. Clearly written and persuasively argued, this volume addresses itself to all who are interested in Greek tragedy. Nonspecialists and scholars alike will deepen their understanding of this complex writer and the tumultuous period in which he lived. ". . . a lucid presentation of the positive side of Euripidean tragedy, and a thoughtful reminder of the political implications of Greek tragedy." --American Journal of Philology ". . . the principal defect of [this] otherwise excellent study is that it is too short." --Erich Segal, Classical Review ". . . a most stimulating book throughout . . . ." --Greece and Rome Justina Gregory is Professor of Classics, Smith College, where she is head of the department. She has been the recipient of Fulbright and Woodrow Wilson fellowships.

Text with facing translation, commentary and notes.