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Euripides' Electra (Ancient Greek: Ἠλέκτρα, Ēlektra) is a tragedy probably written in the mid 410s BC, likely before 413 BC.A version of the myth of the house of Atreus, Euripides' play reworks important aspects of the story found in Aeschylus' Oresteia trilogy (especially the second play, Libation Bearers) and also in Sophocles' Electra, although the relative dating of Euripides' and ...
Euripides has been hailed as a great lyric poet. [76] In Medea, for example, he composed for his city, Athens, "the noblest of her songs of praise". [77] 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."
Electra, play by Sophocles; Electra, play by Euripides; Orestes, play by Euripides; Electra, a lost play by Quintus Tullius Cicero of which nothing is known but the name and that it was "a tragedy in the Greek style" Electra (1901) a play by Benito Pérez Galdós; Elektra, a 1903 play by Hugo von Hofmannsthal, based on the Sophocles play
Electra (Euripides play) H. Hecuba (play) Helen (play) Herakles (Euripides) Hippolytus (play) Hippolytus Veiled; Hypsipyle (play) I. Ion (play) Iphigenia in Aulis;
Electra, also Elektra or The Electra [1] (Ancient Greek: Ἠλέκτρα, [2] Ēlektra), is a Greek tragedy by Sophocles. Its date is not known, but various stylistic similarities with the Philoctetes (409 BC) and the Oedipus at Colonus (406 BC) lead scholars to suppose that it was written towards the end of Sophocles' career.
Aeschylus Sophocles Euripides Ancient Greek tragedies were most often based upon myths from the oral traditions, exploring human nature, fate, and the intervention of the gods. They evoke catharsis in the audience, a process through which the audience experiences pity and fear, and through that emotional engagement, purges these emotions.
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. As such, the fact ...
Agamemnon (Thomson play) Aithiopes; Ajax (play) Akrisios; Alcestis (play) Alcmaeon in Corinth; Alcmaeon in Psophis; Amphitryon (Dryden play) Amphitryon (Molière play) Amphitryon (Plautus play) Amphitryon 38; Andromache (play) Andromeda (play) Antigone (Euripides play) Antigone (Sophocles play) Archelaus (play)