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Although readers continue to believe that in his dramas Euripides was questioning the nature and sometimes even the existence of the gods, and that through his dramas he sought to reveal the flaws in the traditional religious beliefs of his own time, this book argues that instead of seeking to undermine ancient religion, Euripides is describing with a brutal realism what the gods are like, and reminding his mortal audience of the limitations of human understanding.

Euripides --- Religion. --- Greece

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"'Orestes' was one of Euripides' most popular plays in antiquity. Its plot, which centres on Orestes' murder of his mother Clytemnestra and its aftermath, is exciting as well as morally complex; its presentation of madness is unusually intense and disturbing; it deals with politics in a way which has resonances for both ancient and modern democracies; and, it has a brilliantly unexpected and ironic ending. Nevertheless, 'Orestes' is not much read or performed in modern times. Why should this be so? Perhaps it is because 'Orestes' does not conform to modern audiences' expectations of what a 'Greek tragedy' should be. This book makes 'Orestes' accessible to modern readers and performers by explicitly acknowledging the gap between ancient and modern ideas of tragedy. If we are to appreciate what is unusual about the play, we have to think in terms of its impact on its original audience. What did they expect from a tragedy, and what would they have made of 'Orestes'?"--Bloomsbury Publishing "Orestes" was one of Euripides' most popular plays in antiquity. Its plot, which centres on Orestes' murder of his mother Clytemnestra and its aftermath, is exciting as well as morally complex; its presentation of madness is unusually intense and disturbing; it deals with politics in a way which has resonances for both ancient and modern democracies; and, it has a brilliantly unexpected and ironic ending. Nevertheless, "Orestes" is not much read or performed in modern times. Why should this be so? Perhaps it is because "Orestes" does not conform to modern audiences' expectations of what a 'Greek tragedy' should be. This book makes "Orestes" accessible to modern readers and performers by explicitly acknowledging the gap between ancient and modern ideas of tragedy. If we are to appreciate what is unusual about the play, we have to think in terms of its impact on its original audience. What did they expect from a tragedy, and what would they have made of "Orestes"?

Greek drama (Tragedy) --- Greek drama --- Euripides.

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Four major works by Euripides all set in Athens: 'Hippoltos', an interpretation of the tragedy of Phaidra; 'Suppliant Women', an examination of the human psyche; 'Ion', an enactment of the changing relations between the human & divine orders; & 'The Children of Herakles', a tale of the descendants of Herakles & their journey home.

Greek Drama --- Drama --- Mythology, Greek --- Euripides

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This volume is an accessible yet in-depth narratological study of Euripides’ Alcestis - the earliest extant play of Euripides and one of the most experimental masterpieces of Greek tragedy, not only standing in place of a satyr-play but also preserving at least some of its typical features. Commencing from the widely-held view, so lamentably ignored within the domain of Classics, that a narratology of drama should be predicated upon the notion of narrative as verbal, as well as visual, rendition of a story, this unique volume contextualizes the play in terms of its reception by the original audience, locating the intricate narrative tropes of the plot in the dynamics of fifth-century Athenian mythology and religion.

Greek drama (Tragedy) --- Tragédie grecque --- History and criticism --- Histoire et critique --- Euripides. --- Greece --- Grèce --- Religion --- Tragédie grecque --- Grèce --- Euripides -- Criticism and interpretation. --- Euripides -- Technique. --- Religion. --- Euripides --- Greek tragedy. --- narratology.

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Los personajes de la tragedia ática han sido ampliamente estudiados desde perspectivas en las que, a menudo, sus palabras y actos se explican a partir de nuestras nociones modernas sobre la mente humana y la personalidad, y desde valoraciones éticas y juicios morales ajenos a la Grecia clásica. El ensayo Rescatando a Helena se propone contemplar la caracterización de Helena en la tragedia homónima de Eurípides desde una perspectiva en la que la inteligibilidad humana del personaje no procede del supuesto descubrimiento de su conciencia interna o de su psique individual, sino de la adecuada subordinación de la caracterización de Helena a la acción de la obra en la que dicha caracterización está orgánicamente integrada. En vez de aislar al personaje del contexto dramático al que pertenece, como si estuviese dotado de una identidad idiosincrática, mi ensayo no intenta descubrir quién es realmente Helena leyendo entre líneas por debajo de la superficie textual, sino cómo sus palabras y acciones logran conmover eficazmente al auditorio original de la obra. Frente a nuestras lecturas eruditas y reflexivas de los textos conservados, los espectadores del siglo V a. C. acudían al Teatro de Dioniso para ver y oír las acciones y las palabras de los personajes trágicos dentro de un espectáculo más amplio que incluía música y danza. Es decir, la tragedia ática era ante todo una experiencia emocional, no una ocasión para la introspección psicológica o la reflexión filosófica. Transcending the dialectic between appearance and reality, Euripides succeeded in giving human intelligibility to a new Helena, who never loved Paris nor fled with him. Menelaus' wife must vindicate to her newfound husband that she is the real Helena, quite different from the ghost that the hero brought with him from Troy. The volume analyzes the various resources of re-characterization of Helena in Euripides' tragedy.

LITERARY CRITICISM / Ancient & Classical. --- Ancient Greek. --- Euripides. --- Helena. --- tragedy.