311 products were found matching your search for euripides in 1 shops:

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.

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.

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.

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.

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.

ANDROMACHE Ah kind companion of my bondage for such thou art to her who erst thy queen is now sunk in misery what are they doing What new schemes are they devising in their eagerness to take away my wretched life

Satyric is the most thinly attested genre of Greek drama, but it appears to have been the oldest and according to Aristotle formative for tragedy.

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.

Set at the end of the Trojan war, "Euripides' Trojan Women" depicts the women of Troy as they wait to be taken into slavery. While choral songs recall the death-throes of the great city, the scenes between the old queen, Hekabe, and the women of her family explore the consequences of the defeat, from the rape of Cassandra, through the triumphant self-exculpation of Helen, to the pitiful death of the child Astyanax, who is thrown from the walls of his ravaged city. Barbara Goff sets the play in its historical, dramatic and literary contexts, and provides a scene-by-scene analysis which brings out the pace and intellectual vigour of the play. The main themes are fully discussed, and the book also introduces readers to the issues that have divided critics, such as the extent to which the play responds to the historical events of the Peloponnesian War. The final chapter, which deals with the reception of the play, offers new insights into several modern works.

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.

The Penn Greek Drama Series presents original literary translations of the entire corpus of classical Greek drama: tragedies, comedies, and satyr plays. It is the only contemporary series of all the surviving work of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander.This volume includes translations Deborah H. Roberts (Ion), J. T. Barbarese (Children of Heracles), Katharine Washburn and David Curzon (The Madness of Heracles), Carolyn Kizer (Iphigenia in Tauris), and Greg Delanty (Orestes).

Buy with confidence! Book is in good condition with minor wear to the pages, binding, and minor marks within 0.75

Frederick Apthorp Paley (1815-1888) published Volume 2 of his English commentary on Euripides in 1858. It contains the Greek text of Euripides' plays Ion, Helena, Andromache, Electra, Bacchae, and Hecuba, each with an introductory essay. Paley's detailed commentary is given at the foot of each page of Greek text. It discusses Euripides' language and style, explaining difficult grammatical structures, syntax and vocabulary; poetic form and Euripides' innovative approach to composing tragedy; textual variation between manuscripts and critical editions; the historical and literary context of each play; and their reception history. Paley's work greatly influenced Euripidean scholarship: for over a century it was a widely used teaching tool in schools and universities. An outstanding piece of classical scholarship and a key text in the history of Euripidean interpretation, it deserves continued consideration by future generations of scholars and students.

Book is in NEW condition. 1.25

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

The surviving text of the fragmentary Phaethon of Euripides depends chiefly on two sources: two pages from a Euripidean manuscript, written about A.D. 500, and a papyrus of the third century B.C., which contains a substantial part of the parodos. These sources are supplemented by a number of citations in classical authors and by a recently published fragmentary hypothesis. Professor Diggle has examined all the manuscript evidence and offers many decipherments. He gives a text of the play and of the hypothesis, an exegetical commentary, prolegomena and appendices, in which he discusses the treatment of the Phaethon myth in classical literature and attempts a reconstruction of the plot of the play.

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.

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.

Eighteen of the ninety or so plays composed by Euripides between 455 and 406 bce survive in a complete form and are included in the preceding six volumes of the Loeb Euripides. A further fifty-two tragedies and eleven satyr plays, including a few of disputed authorship, are known from ancient quotations and references and from numerous papyri discovered since 1880. No more than one-fifth of any play is represented, but many can be reconstructed with some accuracy in outline, and many of the fragments are striking in themselves. The extant plays and the fragments together make Euripides by far the best known of the classic Greek tragedians.This edition, in a projected two volumes, offers the first complete English translation of the fragments together with a selection of testimonia bearing on the content of the plays. The texts are based on the recent comprehensive edition of R. Kannicht. A general Introduction discusses the evidence for the lost plays. Each play is prefaced by a select bibliography and an introductory discussion of its mythical background, plot, and location of the fragments, general character, chronology, and impact on subsequent literary and artistic traditions.

Treating ancient plays as living drama. Classical Greek drama is brought vividly to life in this series of new translations. Students are encouraged to engage with the text through detailed commentaries, including suggestions for discussion and analysis. In addition, numerous practical questions stimulate ideas on staging and encourage students to explore the play's dramatic qualities. Bacchae is suitable for students of both Classical Civilisation and Drama. Useful features include full synopsis of the play, commentary alongside translation for easy reference and a comprehensive introduction to the Greek Theatre. Bacchae is aimed primarily at A-level and undergraduate students in the UK, and college students in North America.