Table of Contents
Cover
Title Page
Notes on Contributors
Acknowledgments
List of Abbreviations
PART I: Text, Author, and Tradition
CHAPTER 1: Introduction
1 Euripides
2 New Approaches
3 This Volume
4 Conclusion
CHAPTER 2: Text and Transmission
1 The Earliest Copies
2 From Alexandria to Late Antiquity
3 The Middle Ages
4 The Lost Plays
5 Modern Editions
CHAPTER 3: The Euripidean Biography
1 What We Know
2 The Poetic Career
3 Ancient Biographical Traditions
4 Misogyny and Misanthropy
5 Popularity
6 A Death in Macedon
7 Summary
CHAPTER 4: Euripides and the Development of Greek Tragedy
1 Life in the Theater
2 Women Bad and Good
3 Language and Composition
4 Coming to the End
5 Conclusion
PART II: Early Plays (438–416 BCE)
CHAPTER 5: Alcestis
1 The
Alcestis
and Genre
2 Structure, Characterization, and Major Themes in the
Alcestis
3 Gender
4 Incongruous Feelings? Pity and
Eros
in the
Alcestis
CHAPTER 6: Medea
1 Medea as Barbarian?
2 Medea as Woman
3 Medea as Avenger: The Ending of the Play
CHAPTER 7: Children of Heracles
1 The Legend of the Heraclidae and Athenian Patriotism
2 Supplication and Athenian Idealism
3 Political Paralysis and Transformation
4 Reversals of Power
CHAPTER 8: Hippolytus
1 Second Attempts and Second Thoughts
2 Phaedra
3 Hippolytus
4 Theseus
5 The Role of the Gods
6 Finding Sympathy
CHAPTER 9: Andromache
1 Synopsis
2 Date and Production
3 Euripides and the Myth
4 “If gods do wrong . . .”
5 Reading
Andromache
6 Staging
Andromache
7 Final Thoughts
CHAPTER 10: Hecuba
1
Hecuba
’s Historical Context and Reception
2
Hecuba
’s Binary Structure
3
Hecuba
’s Divine Machinery
4
Hecuba
’s Moral Ontology
5 The Ethical Positions of Hecuba’s Principal Characters
6 Conclusion:
Hecuba
’s Transformations as Expressions of its Moral Landscape
CHAPTER 11: Suppliant Women
1 Myth and Plot
2 The Chorus
3 Aethra
4 Recovery of the Bodies
5 Suicide of Evadne
CHAPTER 12: Electra
1 Synopsis
2 Date
3 The Myth
4 Dramatic Treatments of the Myth
5 Setting
6 The Farmer’s Hut
7 Themes
CHAPTER 13:
Heracles
1
Heracles
in Pieces
2 A Hero’s Return
3 Heracles in Pieces
4 Of God to Man
PART III: Later Plays (After 416 BCE)
CHAPTER 14: Trojan Women
1 Background
2 Anti‐War
3 Women as Victim or Heroic
4 The Love Charm
5 Neither Simply Anti‐war nor Simply Feminist
6 Mortal and Immortal
CHAPTER 15: Iphigenia in Tauris
1 The Myths
2 The Play within the Euripidean Corpus
3 Rescue/Escape/Safety
CHAPTER 16: Ion
1 Autochthony and Identity
2 Psychological Readings: The Role of the Son
3 Psychological Readings: the Role of the Mother
4 Men and Gods
5 Food for the Soul
6 Conclusion
CHAPTER 17: Significant Inconsistencies in Euripides’
Helen
1 A Twisted Plot
2 Diverse Interpretations
3 Paradoxes and Discrepancies
4 Formal Anomalies, and a Most Unusual Chorus
5 Final Indeterminacy
CHAPTER 18: Phoenician Women
1 Synopsis
2 Date and Trilogy
3 Staging and Features of the Fifth‐Century Premiere
4
Phoenician Women
and Theban Myth
5 On and Off Stage: Space and the
Phoenician Women
6 Final Thoughts
CHAPTER 19: Orestes
1 Electra and Helen Exchange Pleasantries, and Then . . .
2 Agonizing with Orestes
3 More Plotting, Helen Killed (?), Hermione Taken Hostage, the Friends Encircled, the House of Atreus Set on Fire, Apollo Intervenes
4 A Tragedy for All Ages
CHAPTER 20: Iphigenia at Aulis
1 Plot
2 Characters and Changes of Mind
3 Chorus
4 Marriage and Sacrifice
5 War, Slavery, Politics
6 A Self‐Conscious Drama
CHAPTER 21: Bacchae
1 Recent Trends in Scholarship on the
Bacchae
2 Foreign Cult
3 Sex, Drugs, and Kettledrums
PART IV: Satyr, Spurious, and Fragmentary Plays
CHAPTER 22: Cyclops
1 Satyr Drama: “Tragedy at Play”
2
Cyclops
and Major Themes of Satyric Drama
3 Setting the Scene
4 Burgeoning
Philia
: Odysseus and the Satyrs vs Polyphemos
5 With(out) a Little Help from his Friends, or Odysseus’ Revenge
6
Cyclops
and Satyrs: An Overview
CHAPTER 23: Rhesus
1 What Happens in
Rhesus
?
2 The Rhesus Myth before
Rhesus
3 Stagecraft and Dramaturgy: Accomplishments and Failures
4 Language and Style: A Derivative Play
5 Did Euripides Write the
Rhesus
we Have?
CHAPTER 24: Fragments and Fragmentary Plays
1 A Few Facts and Figures
2 The Nature of the Evidence and how it has Survived
3 Collecting, Editing, and Studying the Fragments
4 List of Euripides’ Known Plays, with (Mostly Approximate) Dates
5 Reconstruction of Fragmentary Plays: Possibilities and Limits
6 What and how do Fragments add to the Appreciation of Euripides?
7 Some Individual Phenomena:
Pairs of Name‐Plays
; Satyr‐Plays; Unassigned Fragments
8 Illustrative Case‐Studies:
Ino, Palamedes, Phoenix
; the Oedipus‐myth
9 Supplementary Note 2015
PART V: Form, Structure, and Performance
CHAPTER 25: Form and Structure
1 Aristotelian Basics
2 Formal Structures: Basic Units, Special Scene‐Types, Microstructures, Other Features
3 Narrative Patterns in Euripides
4 The Interplay of Formal Structures and Narrative Patterns
5 Clear Partition and Alternation between Actors’ Scenes and Choral Parts
6 Blending or Interlacing of Actors’ Scenes and Choral Parts
7 Initial Exposition of the Principal Character and His/Her Situation
8 Intense Distress, Violent Backstage Action, Plot Acceleration
9 Conclusion
CHAPTER 26: The Theater of Euripides
1 Theater Industry and Audiences
2 Social Change and Innovation in Euripides
3 Formal Matters
4 “Metatheater” and Stage Machinery: Theater in Construction
5 Plum Roles in Euripidean Drama
6 Theater Beyond Euripides
CHAPTER 27: The Euripidean Chorus
1 Varieties of Choral Experience
2 Choral Sympathies
3 Wider Contexts
4 The Chorus as a Tragic Theme
5 Musical History
CHAPTER 28: Euripides and the Sound of Music
1 The Music of Attic Drama
2 Music in Euripides’ Tragedies
3 Euripides and the New Music
4 The
Orestes
Musical Papyrus
5 The Sound of Music
PART VI: Topics and Approaches
CHAPTER 29: Euripides and his Intellectual Context
1 Literacy and the Alphabet
2 Specialized Skills
3 Relativism and Humanism
4 Anthropology and Progress
5 Agency and Responsibility
CHAPTER 30: Myth
1 Tradition, Innovation, and Multiplicity
2 The Selection and Deployment of Myths
3 “Skepticism” and “Heterodoxy” in Context
4 What Makes Euripides’ Myths Distinctive?
CHAPTER 31: Euripides and Religion
1 The Gods
2 Impiety and Perjury
3 Ritual
4 Deformed Rituals
5 False Rituals
6 Syncretism
7 Priestesses
8 Conclusion
CHAPTER 32: Gender
1 Critical Responses
2 Gender in Context
PART VII: Reception
CHAPTER 33: Euripides, Aristophanes, and the Reception of “Sophistic” Styles
1 Euripides, Agathon, and the Bumsy Style
2 Socrates and Euripides
3 Styles and “Styles”
4 Literary Critical Practices and Places
5 Euripides, Plato, and Later Reception
Acknowledgments
CHAPTER 34: Euripides in the Fourth Century BCE
1 Euripides’ Supposed Unpopularity
2 Fourth‐century Performances of Euripides
3 Evidence for Euripides’ Influence on Fourth‐century Tragedy
4 Conclusions
CHAPTER 35: Euripides and Senecan Drama
1 Seneca on Euripides
2
Madness of Hercules
3
Trojan Women
4
Phoenician Women
5
Medea
6
Phaedra
7 Conclusion
CHAPTER 36: All Aboard the Bacchae Bus
1 Criticism and Translation
2 Performances
3 Published Adaptations
Index
End User License Agreement
Guide
Cover
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