Euripides II: Andromache, Hecuba, The Suppliant Women, Electra (The Complete Greek Tragedies)

Euripides II: Andromache, Hecuba, The Suppliant Women, Electra (The Complete Greek Tragedies)

Euripides

Language: English

Pages: 288

ISBN: 0226308782

Format: PDF / Kindle (mobi) / ePub


Euripides 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.

The Quarrel Between Philosophy and Poetry: Studies in Ancient Thought

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

will get reactions in return.° As for your talk, it doesn’t bother me. 745   You stand here like a shadow with a voice, incapable of anything save speech. (Exit Menelaus to the side.) PELEUS Come here, child, take my arm and be my guide; and you, poor woman. You met with a savage storm but have come to a harbor sheltered from the wind. ANDROMACHE 750   Old man, may the gods do well by you and yours, since you have saved my child and my luckless self. But watch out: they may yet lie

defeat, which forms the subject of Euripides’ Suppliant Women, was also treated in Sophocles’ Antigone among others. The second theme of the play is Athens’ acceptance of foreign suppliants and its military and religious protection of them against their enemies. This too is a kind of story popular among fifth-century Athenian audiences. Some years earlier, Euripides himself had treated an analogous legend in his Children of Heracles (written ca. 430 BCE), and Aeschylus in his lost Eleusinians

It will be said that, lacking manly strength, 315   you stood aside in fear and lost a chance to win a crown of glory for the city. They will say you hunted boars, a mean pursuit, and proved a coward at the call of action, the time for spear and helmet. Child of mine, 320   this must not be! Remember your descent! Do you see your country’s Gorgon stare when taunted with lack of resolution? Athens thrives on strenuous action; but those cautious states 325   that do their work in

825   O wretched mothers of children! Behold, a sea of troubles. CHORUS Our nails cut furrows down our cheeks; we have poured dust over our heads. ADRASTUS Oh, oh, ah me! Swallow me, earth! 830   Whirlwind, tear me apart! Blaze of Zeus’s fire, swoop down upon me! CHORUS Bitter the wedding you saw, bitter the word of Phoebus; a Fury, bringer of grief, 835   has abandoned Oedipus’ house and come to yours. THESEUS Before your long lament in front of the army° I would have asked

performers were men, and the actors and chorus members all wore masks. The association of masks with other Dionysian rituals may have affected their use in the theater; but masks had certain practical advantages as well—for example, making it easy to play female characters and to change quickly between roles. In general, the use of masks also meant that ancient acting techniques must have been rather different from what we are used to seeing in the modern theater. Acting in a mask requires a more

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