|Born||c. 480 BC|
|Died||c. 406 BC (aged approximately 74)|
Euripides [lower-alpha 1] (c. 480 – c. 406 BC) was a tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom any plays have survived in full. Some ancient scholars attributed ninety-five plays to him, but the Suda says it was ninety-two at most. Of these, eighteen or nineteen have survived more or less complete ( Rhesus is suspect).  There are many fragments (some substantial) of most of his other plays. More of his plays have survived intact than those of Aeschylus and Sophocles together, partly because his popularity grew as theirs declined   —he became, in the Hellenistic Age, a cornerstone of ancient literary education, along with Homer, Demosthenes, and Menander. 
Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. He also became "the most tragic of poets", [nb 1] focusing on the inner lives and motives of his characters in a way previously unknown.   He was "the creator of ... that cage which is the theatre of Shakespeare's Othello , Racine's Phèdre , of Ibsen and Strindberg," in which "imprisoned men and women destroy each other by the intensity of their loves and hates".  But he was also the literary ancestor of comic dramatists as diverse as Menander and George Bernard Shaw. 
His contemporaries associated him with Socrates as a leader of a decadent intellectualism. Both were frequently lampooned by comic poets such as Aristophanes. Socrates was eventually put on trial and executed as a corrupting influence. Ancient biographies hold that Euripides chose a voluntary exile in old age, dying in Macedonia,  but recent scholarship casts doubt on these sources.
Traditional accounts of the author's life are found in many commentaries, and include details such as these: He was born on Salamis Island around 480 BC, with parents Cleito (mother) and Mnesarchus (father), a retailer from the deme of Phlya.  On receiving an oracle that his son was fated to win "crowns of victory", Mnesarchus insisted that the boy should train for a career in athletics. But the boy was destined for a career on the stage (where he was to win only five victories, one of these posthumously). He served for a short time as both dancer and torch-bearer at the rites of Apollo Zosterius. His education was not confined to athletics, studying also painting and philosophy under the masters Prodicus and Anaxagoras. He had two disastrous marriages, and both his wives—Melite and Choerine (the latter bearing him three sons)—were unfaithful. He became a recluse, making a home for himself in a cave on Salamis (the Cave of Euripides, where a cult of the playwright developed after his death). "There he built an impressive library and pursued daily communion with the sea and sky".[ citation needed ] The details of his death are uncertain. It was traditionally held that he retired to the "rustic court" of King Archelaus in Macedonia, where he died in 406 BC,  but modern scholarship is sceptical of these claims.[ citation needed ] It is possible that in reality he never visited Macedonia at all,  or if he did, he might have been drawn there by King Archelaus with incentives that were also offered to other artists. 
Such biographical details derive almost entirely from three unreliable sources: 
The next three sections expand on the claims of each of these sources, respectively.
Euripides was the youngest in a group of three great tragedians, who were almost contemporaries: his first play was staged thirteen years after Sophocles' debut, and three years after Aeschylus's Oresteia . The identity of the trio is neatly underscored by a patriotic account of their roles during Greece's great victory over Persia at the Battle of Salamis —Aeschylus fought there, Sophocles was just old enough to celebrate the victory in a boys' chorus, and Euripides was born on the very day of the battle.  The apocryphal account, that he composed his works in a cave on Salamis island, was a late tradition, probably symbolizing the isolation of an intellectual ahead of his time.  Much of his life, and his whole career, coincided with the struggle between Athens and Sparta for hegemony in Greece, but he did not live to see the final defeat of his city. It is said that he died in Macedonia after being attacked by the Molossian hounds of King Archelaus, and that his cenotaph near Piraeus was struck by lightning—signs of his unique powers, whether for good or ill (according to one modern scholar, his death might have been caused instead by the harsh Macedonian winter).[ clarification needed ]  In an account by Plutarch, the catastrophic failure of the Sicilian expedition led Athenians to trade renditions of Euripides' lyrics to their enemies in return for food and drink (Life of Nicias 29). Plutarch also provides the story that the victorious Spartan generals, having planned the demolition of Athens and the enslavement of its people, grew merciful after being entertained at a banquet by lyrics from Euripides' play Electra: "they felt that it would be a barbarous act to annihilate a city which produced such men" (Life of Lysander). 
Tragic poets were often mocked by comic poets during the dramatic festivals Dionysia and Lenaia, and Euripides was travestied more than most. Aristophanes scripted him as a character in at least three plays: The Acharnians , Thesmophoriazusae and The Frogs . But Aristophanes also borrowed, rather than merely satirized, some of the tragedian's methods; he was himself ridiculed by Cratinus, another comic poet, as:
a quibbler of words, a maker of maxims,
|—Cratinus F 342 ||—Storey |
According to another comic poet, Teleclides, the plays of Euripides were co-authored by the philosopher Socrates: 
Μνησίλοχός ἐστ᾿ ἐκεῖνος, <ὃς> φρύγει τι δρᾶμα καινόν
Mnesilochus is the man <who> is roasting a new play for
|—Teleclides, F41-42 ||—Storey |
Aristophanes alleged that the co-author was a celebrated actor, Cephisophon, who also shared the tragedian's house and his wife,  while Socrates taught an entire school of quibblers like Euripides:
χαρίεν οὖν μὴ Σωκράτει
So what's stylish is not to sit
|—Aristophanes, Frogs [1490–99] ||—Henderson |
In The Frogs, written when Euripides and Aeschylus were dead, Aristophanes has the god Dionysus venturing down to Hades in search of a good poet to bring back to Athens. After a debate between the shades of Aeschylus and Euripides, the god brings Aeschylus back to life, as more useful to Athens, for his wisdom, rejecting Euripides as merely clever. Such comic 'evidence' suggests that Athenians admired Euripides even while they mistrusted his intellectualism, at least during the long war with Sparta. Aeschylus had written his own epitaph commemorating his life as a warrior fighting for Athens against Persia, without any mention of his success as a playwright; and Sophocles was celebrated by his contemporaries for his social gifts, and contributions to public life as a state official; but there are no records of Euripides' public life except as a dramatist—he could well have been "a brooding and bookish recluse".  He is presented as such in The Acharnians, where Aristophanes shows him to be living morosely in a precarious house, surrounded by the tattered costumes of his disreputable characters (and yet Agathon, another tragic poet, is discovered in a later play, Thesmophoriazusae , to be living in circumstances almost as bizarre). Euripides' mother was a humble vendor of vegetables, according to the comic tradition, yet his plays indicate that he had a liberal education and hence a privileged background. 
Euripides first competed in the City Dionysia, the famous Athenian dramatic festival, in 455 BC, one year after the death of Aeschylus; and did not win first prize until 441 BC. His final competition in Athens was in 408 BC. The Bacchae and Iphigenia in Aulis were performed in 405 BC, and first prize was awarded posthumously. He won first prize only five times.
His plays, and those of Aeschylus and Sophocles, indicate a difference in outlook between the three—a generation gap probably due to the Sophistic enlightenment in the middle decades of the 5th century: Aeschylus still looked back to the archaic period, Sophocles was in transition between periods, and Euripides was fully imbued with the new spirit of the classical age.  When Euripides' plays are sequenced in time, they also reveal that his outlook might have changed, providing a "spiritual biography", along these lines:
However, about 80% of his plays have been lost, and even the extant plays do not present a fully consistent picture of his 'spiritual' development (for example, Iphigenia in Aulis is dated with the 'despairing' Bacchae, yet it contains elements that became typical of New Comedy).  In the Bacchae, he restores the chorus and messenger speech to their traditional role in the tragic plot, and the play appears to be the culmination of a regressive or archaizing tendency in his later works (for which see Chronology below). Believed to have been composed in the wilds of Macedonia, Bacchae also dramatizes a primitive side to Greek religion, and some modern scholars have interpreted this particular play biographically, therefore, as:
One of his earliest extant plays, Medea, includes a speech that he seems to have written in defence of himself as an intellectual ahead of his time (spoken by Medea): 
σκαιοῖσι μὲν γὰρ καινὰ προσφέρων σοφὰ
δόξεις ἀχρεῖος κοὐ σοφὸς πεφυκέναι·
τῶν δ᾿ αὖ δοκούντων εἰδέναι τι ποικίλον
κρείσσων νομισθεὶς ἐν πόλει λυπρὸς φανῇ.
ἐγὼ δὲ καὐτὴ τῆσδε κοινωνῶ τύχης [298–302]. 
If you bring novel wisdom to fools, you will be regarded as useless, not wise; and if the city regards you as greater than those with a reputation for cleverness, you will be thought vexatious. I myself am a sharer in this lot. 
Athenian tragedy in performance during Euripides' lifetime was a public contest between playwrights. The state funded it and awarded prizes. The language was metrical, spoken and sung. The performance area included a circular floor (called orchestra) where the chorus could dance, a space for actors (three speaking actors in Euripides' time), a backdrop or skene, and some special effects: an ekkyklema (used to bring the skene's "indoors" outdoors) and a mechane (used to lift actors in the air, as in deus ex machina). With the introduction of the third actor (attributed to Aeschylus by Themistius; to Sophocles by Aristotle),  acting also began to be regarded as a skill worth prizes, requiring a long apprenticeship in the chorus.[ citation needed ] Euripides and other playwrights accordingly composed more and more arias for accomplished actors to sing, and this tendency became more marked in his later plays:  tragedy was a "living and ever-changing genre"  (cf. previous section, and Chronology; a list of his plays is below).
The comic poet Aristophanes is the earliest known critic to characterize Euripides as a spokesman for destructive, new ideas associated with declining standards in both society and tragedy (see Reception for more). But fifth-century tragedy was a social gathering for "carrying out quite publicly the maintenance and development of mental infrastructure", and it offered spectators a "platform for an utterly unique form of institutionalized discussion".  The dramatist's role was not only to entertain but also educate fellow citizens—he was expected to have a message.  Traditional myth provided the subject matter, but the dramatist was meant to be innovative, which led to novel characterizations of heroic figures  and use of the mythical past as a tool for discussing present issues.  The difference between Euripides and his older colleagues was one of degree: his characters talked about the present more controversially and pointedly than those of Aeschylus and Sophocles, sometimes even challenging the democratic order. Thus, for example, Odysseus is represented in Hecuba (lines 131–32) as "agile-minded, sweet-talking, demos-pleasing", i.e. similar to the war-time demagogues that were active in Athens during the Peloponnesian War.  Speakers in the plays of Aeschylus and Sophocles sometimes distinguish between slaves who are servile by nature and those servile by circumstance, but Euripides' speakers go further, positing an individual's mental, rather than social or physical, state as a true indication of worth.  For example, in Hippolytus , a love-sick queen rationalizes her position and, reflecting on adultery, arrives at this comment on intrinsic merit:
ἐκ δὲ γενναίων δόμων
τόδ᾿ ἦρξε θηλείαισι γίγνεσθαι κακόν·
ὅταν γὰρ αἰσχρὰ τοῖσιν ἐσθλοῖσιν δοκῇ,
ἦ κάρτα δόξει τοῖς κακοῖς γ᾿ εἶναι καλά.
[...] μόνον δὲ τοῦτό φασ᾿ ἁμιλλᾶσθαι βίῳ,
γνώμην δικαίαν κἀγαθὴν ὅτῳ παρῇ [409–427]. 
This contagion began for the female sex with the nobility. For when those of noble station resolve on base acts, surely the base-born will regard such acts as good. [...] One thing only, they say, competes in value with life, the possession of a heart blameless and good. 
Euripides' characters resembled contemporary Athenians rather than heroic figures of myth.
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.— Moses Hadas 
As mouthpieces for contemporary issues, they "all seem to have had at least an elementary course in public speaking".  The dialogue often contrasts so strongly with the mythical and heroic setting that it can seem like Euripides aimed at parody. For example, in The Trojan Women , the heroine's rationalized prayer elicits comment from Menelaus:
ΕΚΑΒΗ: [...] Ζεύς, εἴτ᾿ ἀνάγκη φύσεος εἴτε νοῦς βροτῶν,
προσηυξάμην σε· πάντα γὰρ δι᾿ ἀψόφου
βαίνων κελεύθου κατὰ δίκην τὰ θνήτ᾿ ἄγεις.
ΜΕΝΕΛΑΟΣ: τί δ᾿ ἔστιν; εὐχὰς ὡς ἐκαίνισας θεῶν [886–889]. 
Hecuba: [...] Zeus, whether you are the necessity of nature or the mind of mortal men, I address you in prayer! For proceeding on a silent path you direct all mortal affairs toward justice!
Menelaus: What does this mean? How strange your prayer to the gods is! 
Athenian citizens were familiar with rhetoric in the assembly and law courts, and some scholars believe that Euripides was more interested in his characters as speakers with cases to argue than as characters with lifelike personalities.  They are self-conscious about speaking formally, and their rhetoric is shown to be flawed, as if Euripides were exploring the problematical nature of language and communication: "For speech points in three different directions at once, to the speaker, to the person addressed, to the features in the world it describes, and each of these directions can be felt as skewed".  For example, in the quotation above, Hecuba presents herself as a sophisticated intellectual describing a rationalized cosmos, but the speech is ill-suited to her audience, the unsophisticated listener Menelaus, and is found to not suit the cosmos either (her grandson is murdered by the Greeks). In Hippolytus , speeches appear verbose and ungainly, as if to underscore the limitations of language. 
Like Euripides, both Aeschylus and Sophocles created comic effects, contrasting the heroic with the mundane, but they employed minor supporting characters for that purpose. Euripides was more insistent, using major characters as well. His comic touches can be thought to intensify the overall tragic effect, and his realism, which often threatens to make his heroes look ridiculous, marks a world of debased heroism: "The loss of intellectual and moral substance becomes a central tragic statement".  Psychological reversals are common and sometimes happen so suddenly that inconsistency in characterization is an issue for many critics,  such as Aristotle, who cited Iphigenia in Aulis as an example (Poetics 1454a32). For others, psychological inconsistency is not a stumbling block to good drama: "Euripides is in pursuit of a larger insight: he aims to set forth the two modes, emotional and rational, with which human beings confront their own mortality."  Some think unpredictable behaviour realistic in tragedy: "everywhere in Euripides a preoccupation with individual psychology and its irrational aspects is evident....In his hands tragedy for the first time probed the inner recesses of the human soul and let passions spin the plot."  The tension between reason and passion is symbolized by his characters' relationship with the gods:  For example, Hecuba's prayer is answered not by Zeus, nor by the law of reason, but by Menelaus, as if speaking for the old gods. And the perhaps most famous example is in Bacchae where the god Dionysus savages his own converts.[ clarification needed ] When the gods do appear (in eight of the extant plays), they appear "lifeless and mechanical".  Sometimes condemned by critics as an unimaginative way to end a story, the spectacle of a "god" making a judgement or announcement from a theatrical crane might actually have been intended to provoke scepticism about the religious and heroic dimension of his plays.   Similarly, his plays often begin in a banal manner that undermines theatrical illusion.[ citation needed ] Unlike Sophocles, who established the setting and background of his plays in the introductory dialogue, Euripides used a monologue in which a divinity or human character simply tells the audience all it needs to know to understand what follows. 
Aeschylus and Sophocles were innovative, but Euripides had arrived at a position in the "ever-changing genre" where he could easily move between tragic, comic, romantic, and political effects. This versatility appears in individual plays and also over the course of his career. Potential for comedy lay in his use of 'contemporary' characters, in his sophisticated tone, his relatively informal Greek (see In Greek below), and in his ingenious use of plots centred on motifs that later became standard in Menander's New Comedy (for example the 'recognition scene'). Other tragedians also used recognition scenes, but they were heroic in emphasis, as in Aeschylus's The Libation Bearers , which Euripides parodied in Electra (Euripides was unique among the tragedians in incorporating theatrical criticism in his plays).  Traditional myth with its exotic settings, heroic adventures, and epic battles offered potential for romantic melodrama as well as for political comments on a war theme,  so that his plays are an extraordinary mix of elements.[ citation needed ]The Trojan Women, for example, is a powerfully disturbing play on the theme of war's horrors, apparently critical of Athenian imperialism (it was composed in the aftermath of the Melian massacre and during the preparations for the Sicilian Expedition),  yet it features the comic exchange between Menelaus and Hecuba quoted above, and the chorus considers Athens, the "blessed land of Theus", to be a desirable refuge—such complexity and ambiguity are typical both of his "patriotic" and "anti-war" plays. 
Tragic poets in the fifth century competed against one another at the City Dionysia, each with a tetralogy of three tragedies and a satyr play. The few extant fragments of satyr plays attributed to Aeschylus and Sophocles indicate that these were a loosely structured, simple, and jovial form of entertainment. But in Cyclops (the only complete satyr-play that survives), Euripides structured the entertainment more like a tragedy and introduced a note of critical irony typical of his other work. His genre-bending inventiveness[ citation needed ] is shown above all in Alcestis , a blend of tragic and satyric elements. This fourth play in his tetralogy for 438 BC (i.e., it occupied the position conventionally reserved for satyr plays) is a "tragedy", featuring Heracles as a satyric hero in conventional satyr-play scenes: an arrival, a banquet, a victory over an ogre (in this case, death), a happy ending, a feast, and a departure for new adventures.  Most of the big innovations in tragedy were made by Aeschylus and Sophocles, but "Euripides made innovations on a smaller scale that have impressed some critics as cumulatively leading to a radical change of direction". 
Euripides is also known for his use of irony. Many Greek tragedians make use of dramatic irony to bring out the emotion and realism of their characters or plays, but Euripides uses irony to foreshadow events and occasionally amuse his audience.[ citation needed ] For example, in his play Heracles, Heracles comments that all men love their children and wish to see them grow. The irony here is that Heracles will be driven into madness by Hera and will kill his children. Similarly, in Helen, Theoclymenus remarks how happy he is that his sister has the gift of prophecy and will warn him of any plots or tricks against him (the audience already knows that she has betrayed him). In this instance, Euripides uses irony not only for foreshadowing but also for comic effect—which few tragedians did. Likewise, in the Bacchae, Pentheus's first threat to the god Dionysus is that if Pentheus catches him in his city, he will 'chop off his head', whereas it is Pentheus who is beheaded at the end of the play.
The spoken language of the plays is not fundamentally different in style from that of Aeschylus or Sophocles—it employs poetic meters, a rarefied vocabulary, fullness of expression, complex syntax, and ornamental figures, all aimed at representing an elevated style.  But its rhythms are somewhat freer, and more natural, than that of his predecessors, and the vocabulary has been expanded to allow for intellectual and psychological subtleties. Euripides has been hailed as a great lyric poet.  In Medea , for example, he composed for his city, Athens, "the noblest of her songs of praise".  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."  For some critics, the lyrics often seem dislocated from the action, but the extent and significance of this is "a matter of scholarly debate".  See Chronology for details about his style.
Euripides has aroused, and continues to arouse, strong opinions for and against his work:
He was a problem to his contemporaries and he is one still; over the course of centuries since his plays were first produced he has been hailed or indicted under a bewildering variety of labels. He has been described as 'the poet of the Greek enlightenment' and also as 'Euripides the irrationalist'; [nb 2] as a religious sceptic if not an atheist, but on the other hand, as a believer in divine providence and the ultimate justice of divine dispensation. He has been seen as a profound explorer of human psychology and also a rhetorical poet who subordinated consistency of character to verbal effect; as a misogynist and a feminist; as a realist who brought tragic action down to the level of everyday life and as a romantic poet who chose unusual myths and exotic settings. He wrote plays which have been widely understood as patriotic pieces supporting Athens' war against Sparta and others which many have taken as the work of the anti-war dramatist par excellence, even as attacks on Athenian imperialism. He has been recognized as the precursor of New Comedy and also what Aristotle called him: 'the most tragic of poets' (Poetics 1453a30). And not one of these descriptions is entirely false. — Bernard Knox 
Aeschylus gained thirteen victories as a dramatist; Sophocles at least twenty; Euripides only four in his lifetime; and this has often been taken as indication of the latter's unpopularity. But a first place might not have been the main criterion for success (the system of selecting judges appears to have been flawed), and merely being chosen to compete was a mark of distinction.  Moreover, to have been singled out by Aristophanes for so much comic attention is proof of popular interest in his work.  Sophocles was appreciative enough of the younger poet to be influenced by him, as is evident in his later plays Philoctetes and Oedipus at Colonus .  According to Plutarch, Euripides had been very well received in Sicily, to the extent that after the failure of the Sicilian Expedition, many Athenian captives were released, simply for being able to teach their captors whatever fragments they could remember of his work.  Less than a hundred years later, Aristotle developed an almost "biological' theory of the development of tragedy in Athens: the art form grew under the influence of Aeschylus, matured in the hands of Sophocles, then began its precipitous decline with Euripides.  However, "his plays continued to be applauded even after those of Aeschylus and Sophocles had come to seem remote and irrelevant";  they became school classics in the Hellenistic period (as mentioned in the introduction) and, due to Seneca's adaptation of his work for Roman audiences, "it was Euripides, not Aeschylus or Sophocles, whose tragic muse presided over the rebirth of tragedy in Renaissance Europe." 
In the seventeenth century, Racine expressed admiration for Sophocles, but was more influenced by Euripides (Iphigenia in Aulis and Hippolytus were the models for his plays Iphigénie and Phèdre).  Euripides' reputation was to take a beating in the early 19th century, when Friedrich Schlegel and his brother August Wilhelm Schlegel championed Aristotle's 'biological' model of theatre history, identifying Euripides with the moral, political, and artistic degeneration of Athens.  August Wilhelm's Vienna lectures on dramatic art and literature went through four editions between 1809 and 1846; and, in them, he opined that Euripides "not only destroyed the external order of tragedy but missed its entire meaning". This view influenced Friedrich Nietzsche, who seems, however, not to have known the Euripidean plays well.  But literary figures, such as the poet Robert Browning and his wife Elizabeth Barrett Browning, could study and admire the Schlegels, while still appreciating Euripides as "our Euripides the human" (Wine of Cyprus stanza 12).  Classicists such as Arthur Verrall and Ulrich von Wilamowitz-Moellendorff reacted against the views of the Schlegels and Nietzsche, constructing arguments sympathetic to Euripides,  which involved Wilamowitz in this restatement of Greek tragedy as a genre: "A [Greek] tragedy does not have to end 'tragically' or be 'tragic'. The only requirement is a serious treatment."  In the English-speaking world, the pacifist Gilbert Murray played an important role in popularizing Euripides, influenced perhaps by his anti-war plays.  Today, as in the time of Euripides, traditional assumptions are constantly under challenge, and audiences therefore have a natural affinity with the Euripidean outlook,  which seems nearer to ours, for example, than the Elizabethan.[ clarification needed ]  As stated above, however, opinions continue to diverge, so that modern readers might actually "seem to feel a special affinity with Sophocles";  one recent critic might dismiss the debates in Euripides' plays as "self-indulgent digression for the sake of rhetorical display";  and one spring to the defence: "His plays are remarkable for their range of tones and the gleeful inventiveness, which morose critics call cynical artificiality, of their construction." 
Unique among writers of ancient Athens, Euripides demonstrated sympathy towards the underrepresented members of society.   His male contemporaries were frequently shocked by the heresies[ clarification needed ] he put into the mouths of characters, such as these words of his heroine Medea: 
[...] ὡς τρὶς ἂν παρ᾿ ἀσπίδα
στῆναι θέλοιμ᾿ ἂν μᾶλλον ἢ τεκεῖν ἅπαξ [250–251]. 
I would rather stand three times with a shield in battle than give birth once. 
The textual transmission of the plays, from the 5th century BC, when they were first written, until the era of the printing press, was a largely haphazard process. Much of Euripides' work was lost and corrupted; but the period also included triumphs by scholars and copyists, thanks to whom much was recovered and preserved. Summaries of the transmission are often found in modern editions of the plays, three of which are used as sources for this summary. [nb 3]
The plays of Euripides, like those of Aeschylus and Sophocles, circulated in written form. But literary conventions that we take for granted today had not been invented—there was no spacing between words; no consistency in punctuation, nor elisions; no marks for breathings and accents (guides to pronunciation, and word recognition); no convention to denote change of speaker; no stage directions; and verse was written straight across the page, like prose. Possibly, those who bought texts supplied their own interpretative markings. Papyri discoveries have indicated, for example, that a change in speakers was loosely denoted with a variety of signs, such as equivalents of the modern dash, colon, and full-stop. The absence of modern literary conventions (which aid comprehension), was an early and persistent source of errors, affecting transmission. Errors were also introduced when Athens replaced its old Attic alphabet with the Ionian alphabet, a change sanctioned by law in 403–402 BC, adding a new complication to the task of copying. Many more errors came from the tendency of actors to interpolate words and sentences, producing so many corruptions and variations that a law was proposed by Lycurgus of Athens in 330 BC "that the plays of Aeschylus, Sophocles and Euripides should be written down and preserved in a public office; and that the town clerk should read the text over with the actors; and that all performances which did not comply with this regulation should be illegal."  The law was soon disregarded, and actors continued to make changes until about 200 BC, after which the habit ceased. It was about then that Aristophanes of Byzantium compiled an edition of all the extant plays of Euripides, collated from pre-Alexandrian texts, furnished with introductions and accompanied by a commentary that was "published" separately. This became the "standard edition" for the future, and it featured some of the literary conventions that modern readers expect: there was still no spacing between words; little or no punctuation; and no stage directions; but abbreviated names denoted changes of speaker; lyrics were broken into "cola" and "strophai", or lines and stanzas; and a system of accentuation was introduced.
After this creation of a standard edition, the text was fairly safe from errors, besides slight and gradual corruption introduced with tedious copying. Many of these trivial errors occurred in the Byzantine period, following a change in script (from uncial to minuscule), and many were "homophonic" errors—equivalent, in English, to substituting "right" for "write"; except that there were more opportunities for Byzantine scribes to make these errors, because η, ι, οι and ει, were pronounced similarly in the Byzantine period.
Around 200 AD, ten of the plays of Euripides began to be circulated in a select edition, possibly for use in schools, with some commentaries or scholia recorded in the margins. Similar editions had appeared for Aeschylus and Sophocles—the only plays of theirs that survive today.  Euripides, however, was more fortunate than the other tragedians,[ clarification needed ] with a second edition of his work surviving, compiled in alphabetical order as if from a set of his collect works; but without scholia attached. This "Alphabetical" edition was combined with the "Select" edition by some unknown Byzantine scholar, bringing together all the nineteen plays that survive today. The "Select" plays are found in many medieval manuscripts, but only two manuscripts preserve the "Alphabetical" plays—often denoted L and P, after the Laurentian Library at Florence, and the Bibliotheca Palatina in the Vatican, where they are stored. It is believed that P derived its Alphabet plays and some Select plays from copies of an ancestor of L, but the remainder is derived from elsewhere. P contains all the extant plays of Euripides, L is missing The Trojan Women and latter part of The Bacchae.
In addition to L, P, and many other medieval manuscripts, there are fragments of plays on papyrus. These papyrus fragments are often recovered only with modern technology. In June 2005, for example, classicists at the University of Oxford worked on a joint project with Brigham Young University, using multi-spectral imaging technology to retrieve previously illegible writing (see References). Some of this work employed infrared technology—previously used for satellite imaging—to detect previously unknown material by Euripides, in fragments of the Oxyrhynchus papyri, a collection of ancient manuscripts held by the university.  
It is from such materials that modern scholars try to piece together copies of the original plays. Sometimes the picture is almost lost. Thus, for example, two extant plays, The Phoenician Women and Iphigenia in Aulis, are significantly corrupted by interpolations  (the latter possibly being completed post mortem by the poet's son); and the very authorship of Rhesus is a matter of dispute.  In fact, the very existence of the Alphabet plays, or rather the absence of an equivalent edition for Sophocles and Aeschylus, could distort our notions of distinctive Euripidean qualities—most of his least "tragic" plays are in the Alphabet edition; and, possibly, the other two tragedians would appear just as genre-bending as this "restless experimenter", if we possessed more than their "select" editions. 
See Extant plays below for listing of "Select" and "Alphabetical" plays.
Original production dates for some of Euripides' plays are known from ancient records, such as lists of prize-winners at the Dionysia; and approximations are obtained for the remainder by various means. Both the playwright and his work were travestied by comic poets such as Aristophanes, the known dates of whose own plays can serve as a terminus ad quem for those of Euripides (though the gap can be considerable: twenty-seven years separate Telephus, known to have been produced in 438 BC, from its parody in Thesmophoriazusae in 411 BC.). References in Euripides' plays to contemporary events provide a terminus a quo, though sometimes the references might even precede a datable event (e.g. lines 1074–89 in Ion describe a procession to Eleusis, which was probably written before the Spartans occupied it during the Peloponnesian War).  Other indications of dating are obtained by stylometry.
Greek tragedy comprised lyric and dialogue, the latter mostly in iambic trimeter (three pairs of iambic feet per line). Euripides sometimes 'resolved' the two syllables of the iamb (˘¯) into three syllables (˘˘˘), and this tendency increased so steadily over time that the number of resolved feet in a play can indicate an approximate date of composition (see Extant plays below for one scholar's list of resolutions per hundred trimeters). Associated with this increase in resolutions was an increasing vocabulary, often involving prefixes to refine meanings, allowing the language to assume a more natural rhythm, while also becoming ever more capable of psychological and philosophical subtlety. 
The trochaic tetrameter catalectic—four pairs of trochees per line, with the final syllable omitted—was identified by Aristotle as the original meter of tragic dialogue (Poetics 1449a21). Euripides employs it here and there in his later plays,  but seems not to have used it in his early plays at all, with The Trojan Women being the earliest appearance of it in an extant play—it is symptomatic of an archaizing tendency in his later works.  
The later plays also feature extensive use of stichomythia (i.e. a series of one-liners).  The longest such scene comprises one hundred and five lines in Ion (lines 264–369). In contrast, Aeschylus never exceeded twenty lines of stichomythia; Sophocles' longest such scene was fifty lines, and that is interrupted several times by αντιλαβή [nb 5] ( Electra , lines 1176–1226). 
Euripides' use of lyrics in sung parts shows the influence of Timotheus of Miletus in the later plays—the individual singer gained prominence, and was given additional scope to demonstrate his virtuosity in lyrical duets, as well as replacing some of the chorus's functions with monodies. At the same time, choral odes began to take on something of the form of dithyrambs reminiscent of the poetry of Bacchylides, featuring elaborate treatment of myths.  Sometimes these later choral odes seem to have only a tenuous connection with the plot, linked to the action only in their mood. The Bacchae, however, shows a reversion to old forms,  possibly as a deliberate archaic effect, or because there were no virtuoso choristers in Macedonia (where it is said to have been written). 
|Play||Date BC||Prize||Lineage||Resolutions||Genre (and notes)|
|Alcestis||438||2nd||S||6.2||tragedy with elements of a satyr play|
|Heracleidae||c. 430||A||5.7||political/patriotic drama|
|Andromache||c. 425||S||11.3||tragedy (not produced in Athens) |
|The Suppliants||c. 423||A||13.6||political/patriotic drama|
|Electra||c. 420||A||16.9||engages "untragically" with the traditional myth and with other dramatizations of it |
|The Trojan Women||415||2nd||S||21.2||tragedy|
|Iphigenia in Tauris||c. 414||A||23.4||romantic drama|
|Ion||c. 413 ||A||25.8||romantic drama|
|Phoenician Women||c. 410||2nd||S||25.8||tragedy (extensive interpolations)|
|Bacchae||405||1st||S||37.6||tragedy (posthumously produced)|
|Iphigenia in Aulis||405||1st||A||34.7||tragedy (posthumously produced with extensive interpolations); also known as Iphigenia at Aulis|
|Rhesus||?||S||8.1||tragedy (authorship disputed)|
|Cyclops||?||A||satyr play (the only fully extant example of this genre)|
The following plays have come down to us in fragmentary form, if at all. They are known through quotations in other works (sometimes as little as a single line); pieces of papyrus; partial copies in manuscript; part of a collection of hypotheses (or summaries); and through being parodied in the works of Aristophanes. Some of the fragments, such as those of Hypsipyle , are extensive enough to allow tentative reconstructions to be proposed.
A two-volume selection from the fragments, with facing-page translation, introductions, and notes, was published by Collard, Cropp, Lee, and Gibert;   as were two Loeb Classical Library volumes derived from them;   and there are critical studies in T. B. L. Webster's older The Tragedies of Euripides,  based on what were then believed to be the most likely reconstructions of the plays.
The following lost and fragmentary plays can be dated, and are arranged in roughly chronological order:
The following lost and fragmentary plays are of uncertain date, and are arranged in English alphabetical order.
Aeschylus was an ancient Greek tragedian, and is often described as the father of tragedy. Academic knowledge of the genre begins with his work, and understanding of earlier Greek tragedy is largely based on inferences made from reading his surviving plays. According to Aristotle, he expanded the number of characters in the theatre and allowed conflict among them. Formerly, characters interacted only with the chorus.
Sophocles was an ancient Greek tragedian, known as one of three from whom at least one play has survived in full. His first plays were written later than, or contemporary with, those of Aeschylus; and earlier than, or contemporary with, those of Euripides. Sophocles wrote over 120 plays, but only seven have survived in a complete form: Ajax, Antigone, Women of Trachis, Oedipus Rex, Electra, Philoctetes and Oedipus at Colonus. For almost fifty years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens which took place during the religious festivals of the Lenaea and the Dionysia. He competed in thirty competitions, won twenty-four, and was never judged lower than second place. Aeschylus won thirteen competitions, and was sometimes defeated by Sophocles; Euripides won four.
Tragedy is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain [that] awakens pleasure", for the audience. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.
In Greek mythology, Itys is a minor mythological character, the son of Tereus, a king of Thrace, by his Athenian wife Procne. Itys was murdered by his own mother and served to be consumed during dinner by his father, as part of a revenge plan against Tereus over him assaulting and raping Philomela, Procne's sister. His immediate family were all transformed into birds afterwards, and in some versions Itys too joins them in the avian kingdom. Itys' story survives in several accounts, the most extensive and famous among them being Ovid's Metamorphoses. His myth had been known since at least the sixth century BC.
A Greek chorus, or simply chorus, in the context of ancient Greek tragedy, comedy, satyr plays, and modern works inspired by them, is a homogeneous, non-individualised group of performers, who comment with a collective voice on the dramatic action. The chorus consisted of between 12 and 50 players, who variously danced, sang or spoke their lines in unison, and sometimes wore masks.
The Dionysia was a large festival in ancient Athens in honor of the god Dionysus, the central events of which were the theatrical performances of dramatic tragedies and, from 487 BC, comedies. It was the second-most important festival after the Panathenaia. The Dionysia actually consisted of two related festivals, the Rural Dionysia and the City Dionysia, which took place in different parts of the year. They were also an essential part of the Dionysian Mysteries.
Greek tragedy is a form of theatre from Ancient Greece and Greek inhabited Anatolia. It reached its most significant form in Athens in the 5th century BC, the works of which are sometimes called Attic tragedy.
Ancient Greek literature is literature written in the Ancient Greek language from the earliest texts until the time of the Byzantine Empire. The earliest surviving works of ancient Greek literature, dating back to the early Archaic period, are the two epic poems the Iliad and the Odyssey, set in an idealized archaic past today identified as having some relation to the Mycenaean era. These two epics, along with the Homeric Hymns and the two poems of Hesiod, Theogony and Works and Days, constituted the major foundations of the Greek literary tradition that would continue into the Classical, Hellenistic, and Roman periods.
The satyr play is a form of Attic theatre performance related to both comedy and tragedy. It preserves theatrical elements of dialogue, actors speaking verse, a chorus that dances and sings, masks and costumes. Its relationship to tragedy is strong; satyr plays were written by tragedians, and satyr plays were performed in the Dionysian festival following the performance of a group of three tragedies. The satyr play’s mythological-heroic stories and the style of language are similar to that of the tragedies. Its connection with comedy is also significant – it has similar plots, titles, themes, characters, and happy endings. The remarkable feature of the satyr play is the chorus of satyrs, with their costumes that focus on the phallus, and with their language, which uses wordplay, sexual innuendos, references to breasts, farting, erections, and other references that do not occur in tragedy. As Mark Griffith points out, the satyr play was "not merely a deeply traditional Dionysiac ritual, but also generally accepted as the most appropriate and satisfying conclusion to the city’s most complex and prestigious cultural event of the year."
Philip Humphrey Vellacott was an English classical scholar, known for his numerous translations of Greek tragedy.
The Cambridge Greek Play is a play performed in Ancient Greek by students and alumni of the University of Cambridge, England. The event is held once every three years and is a tradition which started in 1882 with the Ajax of Sophocles.
Rhesus is an Athenian tragedy that belongs to the transmitted plays of Euripides. Its authorship has been disputed since antiquity, 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 peculiarities in the play's vocabulary, style and technique. The conventional attribution to Euripides remains controversial.
Patricia Elizabeth Easterling, FBA is an English classical scholar, recognised as a particular expert on the work of Sophocles. She was Regius Professor of Greek at the University of Cambridge from 1994 to 2001. She was the 36th person and the first — and, so far, only — woman to hold the post.
Edith Hall, is a British scholar of classics, specialising in ancient Greek literature and cultural history, and professor in the Department of Classics and Centre for Hellenic Studies at King's College, London. She is a Fellow of the British Academy. From 2006 until 2011 she held a Chair at Royal Holloway, University of London, where she founded and directed the Centre for the Reception of Greece and Rome until November 2011. She resigned over a dispute regarding funding for classics after leading a public campaign, which was successful, to prevent cuts to or the closure of the Royal Holloway Classics department. She also co-founded and is Consultant Director of the Archive of Performances of Greek and Roman Drama at Oxford University, Chair of the Gilbert Murray Trust, and Judge on the Stephen Spender Prize for poetry translation. Her prizewinning doctoral thesis was awarded at Oxford. In 2012 she was awarded a Humboldt Research Prize to study ancient Greek theatre in the Black Sea, and in 2014 she was elected to the Academy of Europe. She lives in Cambridgeshire.
The representation of women in Athenian tragedy was performed exclusively by men and it is likely that it was performed solely for men as well. The question whether or not women were admitted at theatre is widely contested and tends to polarise fronts. Even though Henderson excludes women from all public poetry: “drama, like all public poetry in the classical period, was written, produced and performed only by men, and the dramatic festivals were organized and controlled by the demos, the sovereign corporation of adult male citizens”, he does not rule out female spectators.
Marianne McDonald is a scholar and philanthropist. Marianne is involved in the interpretation, sharing, compilation, and preservation of Greek and Irish texts, plays and writings. Recognized as a historian on the classics, she has received numerous awards and accolades because of her works and philanthropy. As a playwright, she has authored numerous modern works, based on ancient Greek dramas in modern times. As a teacher and mentor, she is highly sought after for her knowledge of and application of the classic themes and premises of life in modern times. In 2013, she was awarded the Distinguished Professor of Theatre and Classics, Department of Theatre, Classics Program, University of California, San Diego. In 1994, she was inducted into the Royal Irish Academy, being recognized for her expertise and academic excellence in Irish language history, interpretation and the preservation of ancient Irish texts. As a philanthropist, Marianne partnered with Sharp to enhance access to drug and alcohol treatment programs by making a $3 million pledge — the largest gift to benefit behavioral health services in Sharp’s history. Her donation led to the creation of the McDonald Center at Sharp HealthCare. Additionally, to recognize her generosity, Sharp Vista Pacifica Hospital was renamed Sharp McDonald Center.
Theristai, is a lost satyr play by Attic playwright Euripides. It was initially performed at the Dionysia in Athens in 431 BCE along with the tragedies Medea, Philoctetes and Dictys. The tetralogy finished in 3rd place, behind tetralogies by Euphorion, who won 1st prize, and Sophocles.
Philoctetes is a tragedy by the Athenian poet Euripides. It was probably first produced in 431 BCE at the Dionysia in a tetralogy that included the extant Medea and was awarded third prize. It is now lost except for a few fragments. Much of what we know of the plot is from the writings of Dio Chrysostom, who compared the Philoctetes plays of Aeschylus, Euripides and Sophocles and also paraphrased the beginning of Euripides' play.
Ian C. Johnston is a Canadian author and translator, a retired university-college instructor and a professor emeritus at Vancouver Island University.
Reginald Pepys Winnington-Ingram, was a British classicist, an authority on Greek tragedy and ancient Greek music.
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