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Euripides has been hailed as a great lyric poet. [66] In Medea, for example, he composed for his city, Athens, "the noblest of her songs of praise". [67] His lyrical skills are not just confined to individual poems: "A play of Euripides is a musical whole...one song echoes motifs from the preceding song, while introducing new ones."
While most ancient Greek and Roman plays have been lost to history, a significant number still survive. These include the comedies of Aristophanes and Menander, the tragedies of Aeschylus, Sophocles and Euripides, and the Roman adaptations of Plautus, Terence and Seneca.
Its ambiguous, tragicomic tone—which may be "cheerfully romantic" or "bitterly ironic"—has earned it the label of a "problem play." [3] Alcestis is, possibly excepting the Rhesus, the oldest surviving work by Euripides, although at the time of its first performance he had been producing plays for 17 years. [4]
Euripides depicted the brutality he witnessed during his life into the play. [5] The play's title is significant and unique due to Greek tragedies either being named after a main character, the chorus or an event within the play. The play does not do this. Because of its title, Children of Heracles stands out. [6]
The surviving fragments of Euripides' play do not make it clear how the recognition between Hypsipyle and her sons was brought about, but two later accounts may have been based on the play. [15] According to the Second Vatican Mythographer , after the sons won the foot-race, at the funeral games, their names and parents were announced, and in ...
Pages in category "Plays by Euripides" The following 35 pages are in this category, out of 35 total. This list may not reflect recent changes. A. Alcestis (play)
Cyclops (Ancient Greek: Κύκλωψ, Kyklōps) is an ancient Greek satyr play by Euripides, based closely on an episode from the Odyssey. [1] It is likely to have been the fourth part of a tetralogy presented by Euripides in a dramatic festival in 5th Century BC Athens, although its intended and actual performance contexts are unknown. [2]
Euripides, Orestes, Oxford, MS. Barocci 120, fol. 32r (early 14th century) Aeschylus' play Eumenides, the third part of his surviving Oresteia trilogy, enshrines the trial and acquittal of Orestes within the foundation of Athens itself, as a moment when legal deliberation surpassed blood vengeance as a means of resolution.
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