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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.

"Euripides and His Age" by Gilbert Murray is a scholarly exploration of the life and works of the renowned ancient Greek playwright, Euripides. Set against the backdrop of Athenian society in the 5th century BCE, Murray delves deep into the sociopolitical context that shaped Euripides' dramatic narratives. The book not only examines the playwright's innovative contributions to Greek tragedy but also his unconventional perspectives on themes such as love, war, and human suffering. Murray's narrative is engaging, blending historical analysis with literary criticism, making it accessible to both scholars and general readers. He highlights how Euripides challenged traditional norms and conventions of his time, paving the way for future theatrical forms. This text serves as an invaluable resource for understanding the complexities of Euripides’ characters and the revolutionary ideas he presented. Overall, "Euripides and His Age" is a compelling homage to a writer who profoundly influenced the trajectory of Western literature.

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.

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.

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.

Written primarily in Greek, 1983 edition

Greek text by Euripides. Edited with Introduction and Commentary by A. M. Dale.

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 by Eleanor Wilner with Inés Azar (Medea), Marilyn Nelson (Hecuba), Donald Junkins (Andromache), and Daniel Mark Epstein (The Bacchae).

Euripides’ Alcestis―perhaps the most anthologized Attic drama--is an ideal text for students reading their first play in the original Greek. Literary commentaries and language aids in most editions are too advanced or too elementary for intermediate students of the language, but in their new student edition, C. A. E. Luschnig and H. M. Roisman remedy such deficiencies.The introductory section of this edition provides historical and literary perspective; the commentary explains points of grammar, syntax, and vocabulary, as well as elucidating background features such as dramatic conventions and mythology; and a discussion section introduces the controversies surrounding this most elusive drama. In their presentation, Luschnig and Roisman have initiated a new method for introducing students to current scholarship. This edition also includes a glossary, an index, a bibliography, and grammatical reviews designed specifically for students of Greek language and culture in their second year of university study or third year of high school. Luschnig and Roisman, who have published numerous articles and books on Greek literature, bring to this volume decades of experience teaching classical Greek. “General readers could well benefit from using this book, as it contains valuable literary discussion and explication of the conventions of Greek drama.”―Daniel H. Garrison, author of Sexual Culture in Ancient GreeceC. A. E. Luschnig, Professor of Classics at the University of Idaho in Moscow, is the author of An Introduction to Ancient Greek and The Gorgon’s Severed Head: Studies in Euripides’ Alcestis, Electra, and Phoenissae. H. M. Roisman, Professor of Classics at Colby College in Waterville, Maine, is the author of Loyalty in Early Greek Epic and Tragedy and Nothing Is As It Seems: The Tragedy of the Implicit in Euripides’ Hippolytus.

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 invaluable edition of Euripedes' Cyclops, the only complete example of satyric drama to survive, provides a full historical and analytic account of the genre, reconstructing its origins, development, and decline; examines the place of satyrs in the Greek religious imagination; and explores the significance of Euripides' divergence from the Homeric model. The commentary surrounding Diggle's standard text focuses on problems of text, language, and interpretation.

Few ancient authors are as challenging as Euripides, and few have provoked so many diverse critical opinions through the ages. This volume aims to bring together some classic essays illustrating the main strands of Euripidean criticism over the last forty years in a form convenient for students. Two of the essays are translated here for the first time, and many others have been revised by their authors. There is a general introduction by the editor surveying the scholarly tradition. All Greek has been translated.

This volume provides a thorough philological and dramatic commentary on Euripides' Phoenissae, the first detailed commentary in English since 1911. An introduction surveys the play, its possible date, features of the original production, the background of Theban myth, the general problem of interpolation, and the textual tradition. The commentary treats the constitution of the text, noteworthy features of diction and style, dramatic technique and structure, and the controversies over possible later additions to the text.

Aphrodite, goddess of love, is offended that Hippolytos, son of King Theseus, has devoted his life not to her worship but to the worship of Artemis and to the hunt. In revenge, Aphrodite makes Queen Phaedra, stepmother of Hippolytos, fall in love with him. Realizing the hopelessness of the situation, Phaedra commits suicide, but not before leaving a note accusing Hippolytos of having encouraged Phaedra's affections. Enraged, Theseus calls on the god Poseidon to kill Hippolytos, which he does. But in his death throes, Hippolytos convinces his father of his innocence. Theseus is destroyed by all of this, and Aphrodite's revenge is complete. Original illustrations silk-screened on handmade paper accompany the retelling of Euripides' gripping tale. This unique, handcrafted book will be a treasured addition to the libraries of those who love the arts of ancient Greece and the art of fine, contemporary bookmaking.

This anthology includes four outstanding translations of Euripides’ plays: Medea, Bacchae, Hippolytus, and Heracles. These translations remain close to the original, with extensive introductions, interpretive essays, and footnotes. This series is designed to provide students and general readers with access to the nature of Greek drama, Greek mythology, and the context of Greek culture, as well as highly readable and understandable translations of four of Euripides most important plays. Focus also publishes each play as an individual volume.

Jason, in exile in Corinth, is marrying the king's daughter. It looks as though his problems are over, though it's hard on Medea, who has betrayed her family for him, followed him all the way from Colchis, killed for him, and borne him two sons.

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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.