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Alcmaeon in Corinth (Ancient Greek: Ἀλκμαίων ὁ διὰ Κορίνθου, Alkmaiōn ho dia Korinthou; also known as Alcmaeon at Corinth, Alcmaeon) is a play by Greek dramatist Euripides. It was first produced posthumously at the Dionysia in Athens, most likely in 405 BCE, in a trilogy with The Bacchae and Iphigenia in Aulis .
Euripides' retelling of this myth is a radical step forward among the Greek tragedies: while in other plays of classical Athens individuals often rail against the disasters that the Fates or the gods have caused to befall them, in this powerful play both Creusa and Ion actually challenge whether the gods have any right to govern the destinies ...
Clinging to the altar of the sea-goddess Thetis for sanctuary, Andromache delivers the play's prologue, in which she mourns her misfortune (the destruction of Troy, the deaths of her husband Hector and their child Astyanax, and her enslavement to Neoptolemos) and her persecution at the hands of Neoptolemos' new wife Hermione and her father Menelaus, King of Sparta.
For achieving his end Euripides' regular strategy is a very simple one: retaining the old stories and the great names, as his theatre required, he imagines his people as contemporaries subjected to contemporary kinds of pressures, and examines their motivations, conduct and fate in the light of contemporary problems, usages and ideals.
Helen (Ancient Greek: Ἑλένη, Helénē) is a drama by Euripides about Helen, first produced in 412 BC for the Dionysia in a trilogy that also contained Euripides' lost Andromeda. The play has much in common with Iphigenia in Tauris , which is believed to have been performed around the same time period.
Rhesus (Ancient Greek: Ῥῆσος, Rhēsos) is an Athenian tragedy that belongs to the transmitted plays of Euripides.Its authorship has been disputed since antiquity, [1] and the issue has invested modern scholarship since the 17th century when the play's authenticity was challenged, first by Joseph Scaliger and subsequently by others, partly on aesthetic grounds and partly on account of ...
Paley agrees with Porson in regarding the rest of the play after Iphigenia's exit [lines 1510 to the end of the play] as the work of an interpolator". [6] A fragment of the play may indicate that Artemis appeared to console Clytemnestra and assure her that her daughter had not been sacrificed after all, but if this is a surviving reference to ...
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 ...