Bøker av Euripides

Offers a detailed literary and cultural analysis of Euripides' Helen, a work which arguably embodies the variety and dynamism of fifth-century Athenian tragedy more than any other surviving play. The Commentary's notes on language and style make the play fully accessible to readers of Greek at all levels.

One of the greatest of all Greek tragedies - savage, comic and intensely lyrical - The Bacchae powerfully dramatises the conflict between the emotional and rational sides of the human psyche.

A new translation of Euripides' play in which the young hero, a foundling engaged to keep the Temple of Apollo tidy, meets the Queen of Athens. She tells him of "a friend" who was seduced by Apollo and had a baby which she abandoned. After a series of twists and turns, mother and son are reunited.

The four plays newly translated for this volume are among Euripides most exciting works. Iphigenia among the Taurians is a story of escape contrasting Greek and barbarian civilization, set on the Black Sea at the edge of the known world. Bacchae, a profound exploration of the human psyche, deals with the appalling consequences of resistance to Dionysus, god of wine and unfettered emotion. Iphigenia at Aulis centers on the ultimate dysfunctional family as emotion is tested in the crucible of the Greek expedition against Troy. And Rhesus, probably the work of another playwright, is an action-packed Iliad in miniature, dealing with a grisly event in the Trojan War.

Euripides' "Bakkhai" is the staple of the canon of Greek tragedy, as its structure and thematics offer exemplary models of the classic tragic elements. The plot centres around the actions of Pentheus, King of Thebes, who refused to recognize the god Dionysus or permit Thebans to worship him.

The third and last volume of a new edition of all the surviving plays of Euripides, this collection is based on new collations of all the relevant manuscripts and incorporates ideas for the improvement of the text suggested by recent scholars and the editor himself.

Andromache

Merwin and Dimock have provided a new translation for this celebrated tragedy, with a comprehensive introduction, notes on the text, and a glossary of mythical and geographical terms.

This is the final in a series of three volumes of a prose translation of Euripides' most popular plays. In the three great war plays contained in this volume Euripides subjects the sufferings of Troy's survivors to a harrowing examination.

Through their sheer range, daring innovation, flawed but eloquent characters and intriguing plots, the plays of Euripides have shocked and stimulated audiences since the fifth century BC. Phoenician Women portrays the rival sons of King Oedipus and their mother's doomed attempts at reconciliation, while Orestes shows a son ravaged with guilt after the vengeful murder of his mother. In the Bacchae, a king mistreats a newcomer to his land, little knowing that he is the god Dionysus disguised as a mortal, while in Iphigenia at Aulis, the Greek leaders take the horrific decision to sacrifice a princess to gain favour from the gods in their mission to Troy. Finally, the Rhesus depicts a world of espionage between the warring Greek and Trojan camps.

In this sensitive new translation by James Michie and Colin Leach, Euripides' fragile structure of subtlety, in both timing and tone, is beautifully preserved.

The three plays by Euripides in this volume - "Elektra", "Orestes" and "Iphigeneia in Tauris", show the consequences of Agamemnon's "sacrifice" of his daughter at the start of the Trojan War.

Written at the time of the Peloponnesian War (425-420 BC), the three plays in this volume - "Andromache", "Herakles' Children" and "Herakles" - highlight the trivial causes and dire consequences of war.

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.

This translation of the play includes a commentary which deals with textual problems, and wherever possible the editor has sought to explain the text adopted before discussing the reasons for its adoption. There is also an analysis of the lyric metres, and a discussion of the play's subject matter.

Covers three of the most famous tragedies from Ancient Greece, all featuring female protagonists. This title presents a play-by-play introduction, key dates and a guide to pronunciation.

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 ofescape, symbolized in the rescue of Iphigeneia by Artemis, to whom she was about to be sacrificed. Richmond LattimoreΓÇöwho has been called the dean of American translatorsΓÇöhas translated Iphigeneia in Tauris with skill and subtlety, revealing it as one of the most delicately written and beautifully contrived of the Euripidean "romances."

The story of a futile quest for knowledge, this ancient anti-war drama is one of the neglected plays within the corpus of Greek tragedy. Euripides'' shortest tragic work, Rhesos is unique in lacking a prologue, provoking some scholars to the conclusion that the beginning of the play has been lost. In this exciting translation, Rhesos is no longer treated as a derivative Euripidean work, but rather as the tightly-knit tragedy of knowledge it really is. A drama in which profound problems of fate and free will come alive, Rhesos is also an exploration of the perversion of values that come as the result of war. Charged with a striking immediacy, this play is contemporary in the questions it raises, and eternal in its quest for truth.

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 ofart, 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 hebelieved was the decline of the Athenian character.

Euripides' version of the Ancient Greek myth of revenge on a murdering parent. In the Nick Hern Books Drama Classics series.

Peter Burian and Brian Swann re-create Euripides' controversial play in a new translation accompanied by critical introductions, stage directions, a glossary of mythical Greek terms, and a commentary on difficult passages.

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.

Electra

The Greek Tragedy in New Translations series is based on the conviction that only translators who write poetry themselves, or who work in collaboration with poets, can properly re-create the celebrated and timeless tragedies of the great Greek writers. These new translations are more than faithful to the original text, going beyond the literal meaning in order to evoke the poetic intensity and rich metaphorical texture of the Greek language. Euripides was one of the most popular and controversial of all the Greek tragedians, and his plays are marked by an independence of thought, ingenious dramatic devices, and a subtle variety of register and mood. Medea, is a story of betrayal and vengeance. Medea, incensed that her husband Jason would leave her for another after the many sacrifices she has made for him, murders both his new bride and their own children in revenge. It is an excellent example of the prominence and complexity that Euripides gave to female characters. This new translation does full justice to the lyricism of Euripides original work, while a new introduction provides a guide to the play, complete with interesting details about the traditions and social issues that influenced Euripides's world.

Professor Diggle has examined all the manuscript evidence and offers many decipherments. He gives a text of the play and of the hypothesis, a commentary and appendices, and he discusses the treatment of the Phaethon myth in classical literature. He also attempts a reconstruction of the plot of the play.

This up-to-date edition makes Euripides' most famous and influential play accessible to students of Greek reading their first tragedy as well as to more advanced students. The introduction analyzes Medea as a revenge-plot, evaluates the strands of motivation that lead to her tragic insistence on killing her own children, and assesses the potential sympathy of a Greek audience for a character triply marked as other (barbarian, witch, woman). A unique feature of this book is the introduction to tragic language and style. The text, revised for this edition, is accompanied by an abbreviated critical apparatus. The commentary provides morphological and syntactic help for inexperienced students and more advanced observations on vocabulary, rhetoric, dramatic techniques, stage action, and details of interpretation, from the famous debate of Medea and Jason to the 'unmotivated' entrance of Aegeus and the controversial monologue of Medea.