Euripides Euripides

Euripides' classic drama about the often mortifying consequences of the unbridled--and frequently hysterical--celebration of the feast of Dionysus, the God of wine.

One of the most powerful and enduring of Greek tragedies, Medea centers on the myth of Jason, leader of the Argonauts, who has won the dragon-guarded treasure of the Golden Fleece with the help of the sorceress Medea. Having married Medea and fathered her two children, Jason abandons her for a more favorable match, never suspecting the terrible revenge she will take. Euripides' masterly portrayal of the motives fiercely driving Medea's pursuit of vengeance for her husband's insult and betrayal has held theater audiences spellbound for more than twenty centuries. Rex Warner's authoritative translation brings this great classic of world literature vividly to life. Reprint of the John Lane, The Bodley Head Limited, London, 1944 edition.

Four plays which exemplify his interest in flawed, characters who defy the expectations of Greek society The four tragedies collected in this volume all focus on a central character, once powerful, brought down by betrayal, jealousy, guilt and hatred. The first playwright to depict suffering without reference to the gods, Euripides made his characters speak in human terms and face the consequences of their actions. In Medea, a woman rejected by her lover takes hideous revenge by murdering the children they both love, and Hecabe depicts the former queen of Troy, driven mad by the prospect of her daughter’s sacrifice to Achilles. Electra portrays a young woman planning to avenge the brutal death of her father at the hands of her mother, while in Heracles the hero seeks vengeance against the evil king who has caused bloodshed in his family. Philip Vellacott’s lucid translation is accompanied by an introduction, which discusses the literary background of Classical Athens and examines the distinction between instinctive and civilized behaviour.

"This is a new translation of the classic play. It combines a poet's translation with a scholar's introduction and notes." "Among surviving Greek tragedies only Euripides' Trojan Women shows us the extinction of a whole city, an entire people. Despite its grim theme, or more likely because of the centrality of that theme to the deepest fears of our own age, this is one of the relatively few Greek tragedies that regularly finds its way to the stage. Here the power of Euripides' theatrical and moral imagination speaks clearly across the twenty-five centuries that separate our world from his." The theme is really a double one: the suffering of the victims of war, exemplified by the woman who survive the fall of Troy, and the degradation of the victors, shown by the Greeks' reckless and ultimately self-destructive behavior. It offers an enduring picture of human fortitude in the midst of despair. Trojan Women gains special relevance, of course, in times of war. It presents a particularly intense account of human suffering and uncertainty, but one that is also rooted in considerations of power and policy, morality and expedience. Furthermore, the seductions of power and the dangers both of its exercise and of resistance to it as portrayed in Trojan Women are not simply philosophical or rhetorical gambits but part of the lived experience of Euripides' day.

Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. Under the general editorship of Peter Burian and Alan Shapiro, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the plays. This vital translation of Euripides' Electra recreates the prize-winning excitement of the original play. Electra, obsessed by dreams of avenging her father's murder, impatiently awaits the return of her exiled brother Orestes. When he arrives, the play mounts toward its first climax, a tender recognition scene. From that moment on, Electra uses Orestes as her instrument of vengeance. They kill their mother's husband, then their mother herself--and only afterward see the evil inherent in these seemingly just acts. But in his usual fashion, Euripides has imbued myth with the reality of human experience, counterposing suspense and horror with comic realism and down-to-earth comments on life.

Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, The Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. Under the editorship of Herbert Golder and the late William Arrowsmith, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the plays. Produced more frequently on the ancient stage than any other tragedy, Orestes retells with striking innovations the story of the young man who kills his mother to avenge her murder of his father. Though eventually exonerated, Orestes becomes a fugitive from the Furies (avenging spirits) of his mother's blood. On the brink of destruction, he is saved in the end by Apollo, who had commanded the matricide. Powerful and gripping, Orestes sweeps us along with a momentum that starting slowly, builds inevitably to one of the most spectacular climaxes in all Greek tragedy.

Andromache takes place in the aftermath of the Trojan War. Andromache has become a concubine to Achilles' son, Neoptolemus, bearing him a child, Molossus. The captive Andromache is haunted by memories of her former life and by her love for Hector and their son Astyanax, both slain by the Greeks who are now her masters.

A new god has come to Thebes - Dionysus, god of wine and ecstasy - and the women are streaming out of the city to worship him on the mountain, drinking and dancing in wild Bacchic frenzy. The king, Pentheus, is furious, denouncing this so-called 'god' as a charlatan, an insurgent - but no mortal can deny a god and no man can ever stand against Dionysus. How the god exacts his terrible revenge, drawing Pentheus to his own destruction, is as devastating now as it was in the fifth century BC. This stunning translation, by the award-winning poet Robin Robertson, reinvigorates Euripides' masterpiece for contemporary readers, bringing the ancient verse to fervid, brutal life.

Anne Carson writes, “Euripides was a playwright of the fifth century BC who reinvented Greek tragedy, setting it on a path that leads straight to reality TV. His plays broke all the rules, upended convention and outraged conservative critics. The Bakkhai is his most subversive play, telling the story of a man who cannot admit he would rather live in the skin of a woman, and a god who seems to combine all sexualities into a single ruinous demand for adoration. Dionysos is the god of intoxication. Once you fall under his influence, there is no telling where you will end up.”

Written during a period overshadowed by the fierce struggle for supremacy between Sparta and Euripides' native Athens, these five plays are haunted by the shadow of war - and in particular its impact on women. In "Electra" the children of Agamemnon take bloody revenge on their mother for murdering their father after his return from Troy, and "Suppliant Women" depicts the grieving mothers of those killed in battle. The other plays deal with the aftermath of the Trojan War for the defeated survivors, as "Andromache" shows Hector's widow as a trophy of war in the house of her Greek captor, and "Hecabe" portrays a defeated queen avenging the murder of her last-remaining son, while "Trojan Women" tells of the plight of the city's women in the hands of their victors.

Euripides is the most modern of the great Greek tragedians, as the four plays in this volume demonstrate. Ion is concerned with the problem of reconciling religious faith with the facts of human life, whilst The Women of Troy is a plain denunciation of the ruthlessness of war. In Helen Euripides light-heartedly parodied himself, and finally, in his last and probably greatest tragedy, The Bacchae, he dealt with mob violence and mass hysteria. In this second edition Philip Vellacott has entirely re-written the dialogue of The Bacchae and The Women of Troy in verse and has thoroughly revised his introduction.

Archived: Does not meet catalog guidelines

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.

Agamemnon's sacrifice of his daughter in order to ensure the good fortune of his forces in the Trojan War is, despite its heroic background, in many respects a domestic tragedy. Mr. Rudall's new translation retains Euripides' poetic beauty while fashioning a playable dialogue.

A modern translation exclusive to signet From perhaps the greatest of the ancient Greek playwrights comes this collection of plays, including Alcestis, Hippolytus, Ion, Electra, Iphigenia at Aulis, Iphigenia Among the Taurians, Medea, The Bacchae, The Trojan Women , and The Cyclops .

This edition of Euripides' Hecuba was first published in 1946 and is suitable for late school and early university students. The introduction covers the development of tragedy, the ancient Greek theatre, play production, the differences between ancient and modern tragedy, Euripides' life, works and reputation, and finally the Hecuba itself. The Greek text is accompanied by extensive notes and a vocabulary.

This anthology includes four outstanding translations of Euripides' plays: Medea, Hippolytus, Heracles, Bacchae. 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 published each play as an individual edition.

Euripides' "Medea" is one of the great dramatic tragedies from classical antiquity. It is the story of its title character, Medea, the wife of Jason of the Argonauts, who seeks revenge upon her unfaithful husband when he abandons her for a new younger bride. "Medea" broke many of the dramatic conventions of the time when it debuted and it is for this reason that it stands as one of the greatest of all works from the classical age of drama.

Among the legends of ancient Greece, there is perhaps no story more compelling than that of Helen. Her surpassing beauty was said to have launched the Greek fleet of a thousand ships to Troy. No woman was so adored and so hated. She was seen as both prize and scapegoat, the promise of bliss and the assurance of doom. Originally written in 412BC.

Heracles of Euripides by Euripides and M. Halleran. Focus Publishing,1988

Tragedie, som udfra kvindernes synsvinkel skildrer en række episoder fra dagen efter Trojas indtagelse, mens trojanerinderne venter på besked om hvem, der skal være slavinder for hvilke græske helte

در خلاصة نمایشنامه آمده جنگ تروا در یونان به پایان رسیده است. اندروماک همسر زیبای «هکتور» به اسیری برده شده و در جزیره «هلاس» چون غنیمتی از نبرد به فرمانروایی این جزیره «نئوپلتموس» بخشیده شده است. نئوپلتموس او را نادیده گرفته و «هرمیون اسپارتی» دختر «منلائوس» را به همسری برگزیده است. هرمیون، اندروماک را چون رقیبی پنداشته و به همراه پدرش، در آرزوی نابودی او است. اندروماک وحشت‌زده گریخته و در معبد مقدّس تتیس پناه گرفته است، جایی که تتیس الهة دریازاد، برای دیدار با «پلئوس» به آنجا گام نهاده است معبدی که سرنوشت اندروماک در آنجا تعیین می‌شود.

Medea/Hecabe/Electra/Heracles Four devastating Greek tragedies showing the powerful brought down by betrayal, jealousy, guilt and hatred The first playwright to depict suffering without reference to the gods, Euripides made his characters speak in human terms and face the consequences of their actions. In Medea, a woman rejected by her lover takes hideous revenge by murdering the children they both love, and Hecabe depicts the former queen of Troy, driven mad by the prospect of her daughter's sacrifice to Achilles. Electra portrays a young woman planning to avenge the brutal death of her father at the hands of her mother, while in Heracles the hero seeks vengeance against the evil king who has caused bloodshed in his family. Translated with an Introduction by PHILIP VELLACOTT

Euripides' "Medea" is one of the great dramatic tragedies from classical antiquity. It is the story of its title character, Medea, the wife of Jason of the Argonauts, who seeks revenge upon her unfaithful husband when he abandons her for a new younger bride. "Medea" broke many of the dramatic conventions of the time when it debuted and it is for this reason that it stands as one of the greatest of all works from the classical age of drama.

In Herakles, Euripides reveals with great subtlety and complexity the often brutal underpinnings of our social arrangements. The play enacts a thoroughly contemporary dilemma about the relationship between personal and state violence to civic order. Of all of Euripides' plays, this is his most skeptically subversive examination of myth, morality, and power. Depicting Herakles slowly going mad by Hera, the wife of Zeus, this play continues to haunt and inspire readers. Hera hates Herakles because he is one of Zeus' children born of adultery, and in his madness, Herakles is driven to murder his own wife and children and is eventually exiled, by his own accord, to Athens. This new volume includes a fresh translation, an updated introduction, detailed notes on the text, and a thorough glossary.

At once a vigorous translation of one of Euripides' most subtle and witty plays, and a wholly fresh interpretation, this version reveals for the first time the extraordinary formal beauty and thematic concentration of the Alcestis. William Arrowsmith, eminent classical scholar, translator, and General Editor of this highly praised series, rejects the standard view of the Alcestis as a psychological study of the egotist Admetos and his naive but devoted wife. His translation, instead, presents the play as a drama of human existence-in keeping with the tradition of Greek tragedy-with recognizably human characters who also represent masked embodiments of human conditions. The Alcestis thus becomes a metaphysical tragicomedy in which Admetos, who has heretofore led a life without limitations, learns to "think mortal thoughts." He acquires the knowledge of limits-the acceptance of death as well as the duty to live-which, according to Euripides, makes people meaningfully human and capable of both courage and compassion. This new interpretation compellingly argues that, for Euripides, suffering humanizes, that exemption makes a man selfish and childish, and that only the courage to accept both life and death leads to the realization of one's humanity, and, in the case of Alcestis, to heroism.

Peter Burian and Brian Swann recreate Euripides' The Phoenician Women which explores, with all its deeply disturbing ironies, the fateful history of the House of Laios following the tragic fall of Oedipus, King of Thebes. Their lively translation of this controversial play reveals the cohesion and taut organization of a complex dramatic work.

The modern reader may have difficulty conceiving of Iphigeneia in Tauris as tragedy, for the term in our sense is associated with downfall, death, and disaster. But to the ancient Greeks, the use of heroic legend, the tragic diction and meters, and the tragic actors would have defined it as pure tragedy, the happy ending notwithstanding. While not one of his "deep" dramatic works, the play is Euripidean in many respects, above all in its recurrent theme of escape, symbolized in the rescue of Iphigeneia by Artemis, to whom she was about to be sacrificed. Richmond Lattimore--who has been called the dean of American translators--has translated Iphigeneia in Tauris with skill and subtlety, revealing it as one of the most delicately written and beautifully contrived of the Euripidean "romances."

One of the shortest plays in Greek drama, The Children of Herakles offers enough action for two or three plays of normal length. But this very richness and complexity have made the play elusive, subject to dismissive readings, and extraordinarily difficult to translate; in consequence, it has suffered from neglect over the ages. This vibrant new translation makes clear that The Children of Herakles is actually a wonderfully well-crafted work of art, a play offering a wealth of rewards to the modern reader. It is a play about war and the effects of war within the state. Herakles, the legendary hero cursed from birth, was never permitted a triumphant homecoming. Here, his descendants continue the effort to return home, seeking asylum from the persecution of the king who had imposed on Herakles the famous twelve labors. While it pursues concepts of deep moral grandeur, it ends with a denouement of astonishing physical and ethical brutality, and affords Euripides a severe comment on what he believed was the decline of the Athenian character.

Nacida en las fiestas de Dionisio, la tragedia fue evolucionando hasta llegar a su perfección con los tres grandes autores cuyo texto ha pervivido hasta la Esquilo, Sófocles y Eurípides. Esquilo ha sido llamado en ocasiones "padre de l

Medea of Euripides by Euripides