- Table View
- List View
Euripides: Alcestis (Companions to Greek and Roman Tragedy)
by Niall W. SlaterIn the Alcestis, the title character sacrifices her own life to save that of her husband, Admetus, when he is presented with the opportunity to have someone die in his place. Alcestis compresses within itself both tragedy and its apparent reversal, staging in the process fascinating questions about gender roles, family loyalties, the nature of heroism, and the role of commemoration.Alcestis is Euripides's earliest complete work and his only surviving play from the period preceding the outbreak of the Peloponnesian War. Currently dominant post-structuralist models of Greek tragedy focus on its 'oppositional' role in the discourse of war and public values. This study challenges not only this politicised model of tragic discourse but also both traditional masculinist and more recent feminist readings of the discourse and performance of gender in this remarkable play. The play survived in the performance repertoire of antiquity into the Roman period. Euripides' version strongly influenced the reception of the myth through the middles ages into the Renaissance, and the story enjoyed a lively afterlife through opera. Alcestis' contested reception in the last two centuries charts our changing understanding of tragedy.Niall Slater's study explores the reception and afterlife of the play, as well as its main themes, the myth before the play, the play's historical and social context and the central developments in modern criticism.
Euripides: Alcestis (Companions to Greek and Roman Tragedy)
by Niall W. SlaterIn the Alcestis, the title character sacrifices her own life to save that of her husband, Admetus, when he is presented with the opportunity to have someone die in his place. Alcestis compresses within itself both tragedy and its apparent reversal, staging in the process fascinating questions about gender roles, family loyalties, the nature of heroism, and the role of commemoration.Alcestis is Euripides's earliest complete work and his only surviving play from the period preceding the outbreak of the Peloponnesian War. Currently dominant post-structuralist models of Greek tragedy focus on its 'oppositional' role in the discourse of war and public values. This study challenges not only this politicised model of tragic discourse but also both traditional masculinist and more recent feminist readings of the discourse and performance of gender in this remarkable play. The play survived in the performance repertoire of antiquity into the Roman period. Euripides' version strongly influenced the reception of the myth through the middles ages into the Renaissance, and the story enjoyed a lively afterlife through opera. Alcestis' contested reception in the last two centuries charts our changing understanding of tragedy.Niall Slater's study explores the reception and afterlife of the play, as well as its main themes, the myth before the play, the play's historical and social context and the central developments in modern criticism.
Euripides: Suppliant Women (Companions to Greek and Roman Tragedy)
by Ian C. StoreyEuripides' "Suppliant Women" is an unfairly neglected master work by the most controversial of the three great tragedians of Ancient Greece. It dramatises the story of one of the proudest moments in Athenian mythical history: the intervention of Theseus in support of international law to force the burial of the Argives who were killed during their attack on Thebes. But Euripides adds new characters to the story and presents the myth in a different and sometimes ambiguous light. A sense of uncertainty and undercutting pervades this play, which dramatises the sufferings of the innocent in war and then at the end foretells more war. As well as presenting a scene-by-scene analysis, this book will discuss the date and background of the play, whether people and events from contemporary Athens can be glimpsed in the drama; the problems of staging, and finally the story in later tradition.
Euripides: Suppliant Women (Companions to Greek and Roman Tragedy)
by Ian C. StoreyEuripides' "Suppliant Women" is an unfairly neglected master work by the most controversial of the three great tragedians of Ancient Greece. It dramatises the story of one of the proudest moments in Athenian mythical history: the intervention of Theseus in support of international law to force the burial of the Argives who were killed during their attack on Thebes. But Euripides adds new characters to the story and presents the myth in a different and sometimes ambiguous light. A sense of uncertainty and undercutting pervades this play, which dramatises the sufferings of the innocent in war and then at the end foretells more war. As well as presenting a scene-by-scene analysis, this book will discuss the date and background of the play, whether people and events from contemporary Athens can be glimpsed in the drama; the problems of staging, and finally the story in later tradition.
Euripides (Understanding Classics)
by Isabelle TorranceSophocles, Aeschylus and Euripides are often described as the greatest tragedians of the ancient world. Of these three pivotal founders of modern drama, Euripides is characterized as the interloper and the innovator: the man who put tragic verse into the mouths of slaves, women and the socially inferior in order to address vital social issues such as sex, class and gender relations. It is perhaps little wonder that his work should find such resonance in the modern day.In this concise introduction, Isabelle Torrance engages with the thematic, cultural and scholarly difficulties that surround his plays to demonstrate why Euripides remains a figure of perennial relevance. Addressing here issues of social context, performance theory, fifth-century philosophy and religion, textual criticism and reception, the author presents an astute and attractively-written guide to the Euripidean corpus – from the widely read and celebrated Medea to the lesser-known and deeply ambiguous Alcestis.
Euripides (Understanding Classics)
by Isabelle TorranceSophocles, Aeschylus and Euripides are often described as the greatest tragedians of the ancient world. Of these three pivotal founders of modern drama, Euripides is characterized as the interloper and the innovator: the man who put tragic verse into the mouths of slaves, women and the socially inferior in order to address vital social issues such as sex, class and gender relations. It is perhaps little wonder that his work should find such resonance in the modern day.In this concise introduction, Isabelle Torrance engages with the thematic, cultural and scholarly difficulties that surround his plays to demonstrate why Euripides remains a figure of perennial relevance. Addressing here issues of social context, performance theory, fifth-century philosophy and religion, textual criticism and reception, the author presents an astute and attractively-written guide to the Euripidean corpus – from the widely read and celebrated Medea to the lesser-known and deeply ambiguous Alcestis.
Euripides: Orestes
by Matthew Wright"Orestes" was one of Euripides' most popular plays in antiquity. Its plot, which centres on Orestes' murder of his mother Clytemnestra and its aftermath, is exciting as well as morally complex; its presentation of madness is unusually intense and disturbing; it deals with politics in a way which has resonances for both ancient and modern democracies; and, it has a brilliantly unexpected and ironic ending. Nevertheless, "Orestes" is not much read or performed in modern times. Why should this be so? Perhaps it is because "Orestes" does not conform to modern audiences' expectations of what a 'Greek tragedy' should be. This book makes "Orestes" accessible to modern readers and performers by explicitly acknowledging the gap between ancient and modern ideas of tragedy. If we are to appreciate what is unusual about the play, we have to think in terms of its impact on its original audience. What did they expect from a tragedy, and what would they have made of "Orestes"?
Euripides: Orestes (Duckworth Companions To Greek And Roman Tragedy Ser.)
by Matthew Wright"Orestes" was one of Euripides' most popular plays in antiquity. Its plot, which centres on Orestes' murder of his mother Clytemnestra and its aftermath, is exciting as well as morally complex; its presentation of madness is unusually intense and disturbing; it deals with politics in a way which has resonances for both ancient and modern democracies; and, it has a brilliantly unexpected and ironic ending. Nevertheless, "Orestes" is not much read or performed in modern times. Why should this be so? Perhaps it is because "Orestes" does not conform to modern audiences' expectations of what a 'Greek tragedy' should be. This book makes "Orestes" accessible to modern readers and performers by explicitly acknowledging the gap between ancient and modern ideas of tragedy. If we are to appreciate what is unusual about the play, we have to think in terms of its impact on its original audience. What did they expect from a tragedy, and what would they have made of "Orestes"?
Euripides' Alcestis: A New Translation
by Ted HughesAlcestis is the story of a king, Admetus, who is able to escape death because his wife, Alcestis, has volunteered to die in his place. Ted Hughes's version goes beyond translation to an inspired rethinking of the story in terms of his own vision of human suffering.Although he started working on this piece in 1993, he did not finish until a few months before his death in 1998. It is the culmination of an extraordinarily productive period of work, which saw the publication of Tales from Ovid (1997), Birthday Letters (1998) and The Oresteia (1999).
Euripides and the Politics of Form
by Victoria WohlHow 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 the Politics of Form
by Victoria WohlHow 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: Andromache (Companions to Greek and Roman Tragedy)
by Hanna M. RoismanThe book is written mainly for students to enable them better to appreciate and enjoy Euripides' Andromache. Its presentation seeks to combine depth of analysis with clarity and accessibility. It discusses Greek theatre and performance, the myth behind the play, and the literary, intellectual, and political context in which it was written and first performed. The book provides analyses of the various characters, and highlights the play's ambiguities and complexities. What makes Andromache of special interest is the fact that, of the 32 extant tragedies, it might have been originally produced outside Athens. This in turn leads the discussion of how the play's scrutiny of the Spartan characters affected the off-stage audience. Andromache is the only play that portrays the human toll caused by the Trojan War to both the Trojan and the Greek sides. After the Fall of Troy, Andromache, former wife of Hector, has been given to Neoptolemus, Achilles' son, as a war-prize. Andromache bore Neoptolemus a son, Molossus, before Neoptolemus married Hermione, the daughter of Menelaus and Helen. While Neoptolemus is away, Menelaus and Hermione attempt to kill Andromache and Molossus, causing a rift between the two families who were the major players in the War: the house of Atreus and the house of Peleus, father of Achilles. Although Neoptolemus is murdered, the play ends with a prophecy for the future of the line of descent of Peleus and Thetis in the form of the blessed kingdom of Molossia.
Euripides: Andromache (Companions to Greek and Roman Tragedy)
by Hanna M. RoismanThe book is written mainly for students to enable them better to appreciate and enjoy Euripides' Andromache. Its presentation seeks to combine depth of analysis with clarity and accessibility. It discusses Greek theatre and performance, the myth behind the play, and the literary, intellectual, and political context in which it was written and first performed. The book provides analyses of the various characters, and highlights the play's ambiguities and complexities. What makes Andromache of special interest is the fact that, of the 32 extant tragedies, it might have been originally produced outside Athens. This in turn leads the discussion of how the play's scrutiny of the Spartan characters affected the off-stage audience. Andromache is the only play that portrays the human toll caused by the Trojan War to both the Trojan and the Greek sides. After the Fall of Troy, Andromache, former wife of Hector, has been given to Neoptolemus, Achilles' son, as a war-prize. Andromache bore Neoptolemus a son, Molossus, before Neoptolemus married Hermione, the daughter of Menelaus and Helen. While Neoptolemus is away, Menelaus and Hermione attempt to kill Andromache and Molossus, causing a rift between the two families who were the major players in the War: the house of Atreus and the house of Peleus, father of Achilles. Although Neoptolemus is murdered, the play ends with a prophecy for the future of the line of descent of Peleus and Thetis in the form of the blessed kingdom of Molossia.
Euripides: Children of Heracles (Companions to Greek and Roman Tragedy)
by Florence YoonThis book is an accessible guide through the many twists and turns of Euripides' Children of Heracles, providing several frameworks through which to understand and appreciate the play. Children of Heracles follows the fortunes of Heracles' family after his death. Euripides confronts characters and audience alike with an extraordinary series of plot twists and ethical challenges as the persecuted family of refugees struggles to find asylum in Athens before taking revenge on its enemy Eurystheus. It is a fast-paced story that explores the nature of power and its abuse, focusing on the appropriate treatment and behaviour of the powerless and the obligations and limitations of asylum. The audience must continually re-evaluate the play's moral dimensions as the characters respond to complications that range from the fantastic to the frighteningly realistic.Yoon situates Children of Heracles in its literary context, showing how Euripides constructs a unique kind of tragic plot from a wide range of conventions. It also explores the centrality of the dead Heracles and the leading role given to the socially powerless and the dramatically marginal. Finally, it discusses the historical contexts of the play's original performance and its political resonance both then and now.
Euripides: Children of Heracles (Companions to Greek and Roman Tragedy)
by Florence YoonThis book is an accessible guide through the many twists and turns of Euripides' Children of Heracles, providing several frameworks through which to understand and appreciate the play. Children of Heracles follows the fortunes of Heracles' family after his death. Euripides confronts characters and audience alike with an extraordinary series of plot twists and ethical challenges as the persecuted family of refugees struggles to find asylum in Athens before taking revenge on its enemy Eurystheus. It is a fast-paced story that explores the nature of power and its abuse, focusing on the appropriate treatment and behaviour of the powerless and the obligations and limitations of asylum. The audience must continually re-evaluate the play's moral dimensions as the characters respond to complications that range from the fantastic to the frighteningly realistic.Yoon situates Children of Heracles in its literary context, showing how Euripides constructs a unique kind of tragic plot from a wide range of conventions. It also explores the centrality of the dead Heracles and the leading role given to the socially powerless and the dramatically marginal. Finally, it discusses the historical contexts of the play's original performance and its political resonance both then and now.
Euripides: Electra (Companions to Greek and Roman Tragedy)
by Rush RehmThis new introduction to Euripides' fascinating interpretation of the story of Electra and her brother Orestes emphasizes its theatricality, showing how captivating the play remains to this day. Electra poses many challenges for those drawn to Greek tragedy – students, scholars, actors, directors, stage designers, readers and audiences. Rush Rehm addresses the most important questions about the play: its shift in tone between tragedy and humour; why Euripides arranged the plot as he did; issues of class and gender; the credibility of the gods and heroes, and the power of the myths that keep their stories alive. A series of concise and engaging chapters explore the functions of the characters and chorus, and how their roles change over the course of the play; the language and imagery that affects the audience's response to the events on stage; the themes at work in the tragedy, and how Euripides forges them into a coherent theatrical experience; the later reception of the play, and how an array of writers, directors and filmmakers have interpreted the original. Euripides' Electra has much to say to us in our contemporary world. This thorough, richly informed introduction challenges our understanding of what Greek tragedy was and what it can offer modern theatre, perhaps its most valuable legacy.
Euripides: Electra (Companions to Greek and Roman Tragedy)
by Rush RehmThis new introduction to Euripides' fascinating interpretation of the story of Electra and her brother Orestes emphasizes its theatricality, showing how captivating the play remains to this day. Electra poses many challenges for those drawn to Greek tragedy – students, scholars, actors, directors, stage designers, readers and audiences. Rush Rehm addresses the most important questions about the play: its shift in tone between tragedy and humour; why Euripides arranged the plot as he did; issues of class and gender; the credibility of the gods and heroes, and the power of the myths that keep their stories alive. A series of concise and engaging chapters explore the functions of the characters and chorus, and how their roles change over the course of the play; the language and imagery that affects the audience's response to the events on stage; the themes at work in the tragedy, and how Euripides forges them into a coherent theatrical experience; the later reception of the play, and how an array of writers, directors and filmmakers have interpreted the original. Euripides' Electra has much to say to us in our contemporary world. This thorough, richly informed introduction challenges our understanding of what Greek tragedy was and what it can offer modern theatre, perhaps its most valuable legacy.
Euripides I: Alcestis, Medea, The Children of Heracles, Hippolytus (The Complete Greek Tragedies)
by EuripidesEuripides I contains the plays “Alcestis,” translated by Richmond Lattimore; “Medea,” translated by Oliver Taplin; “The Children of Heracles,” translated by Mark Griffith; and “Hippolytus,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides I: Alcestis, Medea, The Children of Heracles, Hippolytus (The Complete Greek Tragedies)
by EuripidesEuripides I contains the plays “Alcestis,” translated by Richmond Lattimore; “Medea,” translated by Oliver Taplin; “The Children of Heracles,” translated by Mark Griffith; and “Hippolytus,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides I: Alcestis, Medea, The Children of Heracles, Hippolytus (The Complete Greek Tragedies)
by EuripidesEuripides I contains the plays “Alcestis,” translated by Richmond Lattimore; “Medea,” translated by Oliver Taplin; “The Children of Heracles,” translated by Mark Griffith; and “Hippolytus,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides I: Alcestis, Medea, The Children of Heracles, Hippolytus (The Complete Greek Tragedies)
by EuripidesEuripides I contains the plays “Alcestis,” translated by Richmond Lattimore; “Medea,” translated by Oliver Taplin; “The Children of Heracles,” translated by Mark Griffith; and “Hippolytus,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides I: Alcestis, Medea, The Children of Heracles, Hippolytus (The Complete Greek Tragedies)
by EuripidesEuripides I contains the plays “Alcestis,” translated by Richmond Lattimore; “Medea,” translated by Oliver Taplin; “The Children of Heracles,” translated by Mark Griffith; and “Hippolytus,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides I: Alcestis, Medea, The Children of Heracles, Hippolytus (The Complete Greek Tragedies)
by EuripidesEuripides I contains the plays “Alcestis,” translated by Richmond Lattimore; “Medea,” translated by Oliver Taplin; “The Children of Heracles,” translated by Mark Griffith; and “Hippolytus,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides II: Andromache, Hecuba, The Suppliant Women, Electra (The Complete Greek Tragedies)
by EuripidesEuripides II contains the plays “Andromache,” translated by Deborah Roberts; “Hecuba,” translated by William Arrowsmith; “The Suppliant Women,” translated by Frank William Jones; and “Electra,” translated by Emily Townsend Vermeule. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
Euripides II: Andromache, Hecuba, The Suppliant Women, Electra (The Complete Greek Tragedies)
by EuripidesEuripides II contains the plays “Andromache,” translated by Deborah Roberts; “Hecuba,” translated by William Arrowsmith; “The Suppliant Women,” translated by Frank William Jones; and “Electra,” translated by Emily Townsend Vermeule. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.