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Responsibility In Hippolytus And Antigone

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The most noteworthy of these are the addition of a third actor, limiting the chorus to fifteen members, and the first use of scene painting. More than anything else, he is known for his mastery of writing tragedy. If you read only one Greek tragedy in your lifetime, choose one of Sophocles' plays. Euripides' work was not very popular during his lifetime. He only won the contests at the Festival of Dionysus four times. However, his work was highly appreciated in the years and centuries after his death. Due to his incredible popularity in later years, a remarkable number of his plays have survived, eighteen in total. Euripides was the most unique of the three great tragedians.

He was the first tragedian to meld tragedy with comic elements to create tragicomedies. Euripides often focused on minor myths for the subjects of his plays. On the rare occasion that he used a major myth, he made drastic changes to it. This could explain his lack of popularity to the Greek crowds at the City Dionysia. He is also the author of the only satyr play to remain completely intact, Cyclops. The Persians B. It deals with the Persian loss to the Greeks at the Battle of Salamis. Seven Against Thebes - The story of Polynices' rise against his brother, Eteocles, to take his inherited share of the Theban kingdom.

Eumenides - The third of the Oresteia trilogy, where Orestes is threatened by the Furies, goddesses of wrath and revenge, after the murder of his mother. The Suppliants unknown - Recounts fifty maidens who were being aggressively courted by fifty men, forcing the maidens into hiding. Prometheus Bound unknown - The story of the Titan, Prometheus, who gave fire to mankind and was punished for it by Zeus, who chained him to a rock to be eaten by birds day after day.

Ajax - Deals with the events following the Trojan War involving the great warrior Ajax. Achilles' armor is given to Odysseus instead of Ajax. Ajax seeks revenge for this treachery. Antigone c. Antigone sets out to give her brother his proper burial. Oedipus the King c. Oedipus seeks to avoid this terrible prophecy, but he does not know his true parents. In seeking them out, his prophecy is fulfilled. He has been recognized as the precursor of New Comedy and also what Aristotle called him: 'the most tragic of poets' Poetics a And not one of these descriptions is entirely false. 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. This view influenced Friedrich Nietzsche , who seems, however, not to have known the Euripidean plays well. The only requirement is a serious treatment. Unique among writers of ancient Athens, Euripides demonstrated sympathy towards the underrepresented members of society. 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. 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 — 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 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. 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. Around 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.

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. 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 , 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 [92] the latter possibly being completed post mortem by the poet's son ; and the very authorship of Rhesus is a matter of dispute. 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 BC, from its parody in Thesmophoriazusae in BC.

References in Euripides' plays to contemporary events provide a terminus a quo , though sometimes the references might even precede a datable event e. Greek tragedy comprised lyric and dialogue, the latter mostly in iambic trimeter three pairs of iambic feet per line. 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 a Euripides employs it here and there in his later plays, [97] 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. 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. 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. 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. 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. From Wikipedia, the free encyclopedia. This article is about the classical Greek tragedian. For the asteroid, see Euripides. Classical Athenian playwright.

Easterling and B. Knox ed. Nestle, Euripides , Stuttgart ; 'Euripides the irrationalist' is from E. Dodds, C. R 43 , pp. And I tell you that those who have no experience of children and parenthood are better off than those who do. Half brackets enclose words not transmitted by the fragment but supplied by the greater tradition see Leiden Conventions. Page, Euripides: Medea , O. Cambridge English Pronouncing Dictionary. Cambridge UP, By Euripides, Introduction. Rev ed. London: Penguin, ISBN Storey, I. Frogs, in Aristophanes IV. Henderson, J. Medea, in Euripides I. Kovacs, D. Introduction, in Sophocles I.

Knox eds , Cambridge University Press , pp. Cropp, K. Lee and D. Sansone eds , Champaign, Ill. Webber, Baltimore , pp. Blackwell Publishing Ltd , p. Hippolytus, in Euripides II. Trojan Women, in Euripides IV. The Classical Journal, Vol. Wilamowitz-Moellendorff, Euripides: Herakles Vol. Boardman, J. Griffin and O. Murray ed. The Fragility of Goodness , pp. Retrieved 30 August Euripides, Vol. I: Cyclops, Alcestis, Medea. Harvard University Press. Collard, C. Antigone and Oedipus, Helen and Paris, Cassandra and Prometheus have all had a hand in shaping western thought about the natures of beauty and freedom, the limits of human knowledge, and the role of law.

In this course we will focus specifically upon the literary characterizations of women found throughout the ancient Greek and Latin worlds. Our primary goals will be:. The emphasis of the course will be on the careful reading and analysis of primary texts in translation. In order to facilitate these goals, students will also need to have some grasp both of the historical conditions in which these texts were written, and of contemporary philosophical receptions of these characters. Accordingly, primary texts will be supplemented with a selection of appropriate secondary literature. Put most simply, successful participation in this class is predicated upon your attendance and your preparation. All reading material is to have been read carefully prior to coming to class and is to be brought to class; students must be prepared to attempt answers to questions posed in class, and to pose their own.

Two absences will be permitted without repercussion on your final grade. Late work will not be accepted. On days when you are absent, it is your responsibility to catch up on missed course notes. Coursework: In this course you will be assessed according to five criteria:. Grading Scale:. A Outstanding, 4.

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