1298:
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 403â402 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
1163:
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
1370:
1195:, 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
974:
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
1122:
406:âAeschylus 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
984:
886:
also educate fellow citizensâhe 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,
634:
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 dramatistâhe could well have been "a brooding and bookish recluse". He is presented as such in
361:
1261:
example, than the
Elizabethan. 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."
376:
40:
9761:
870:). 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. 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
9771:
1029:
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. 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.
9781:
5459:
1146:, 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
1009:
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
1140:, 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
1349:
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" playsâoften denoted L and P, after the
320:. 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
1109:, 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 effectâwhich few tragedians did. Likewise, in the
1050:(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.
1179:
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
3005:"Among many women, you might find a small class who are not uneducated. And I tell you that those who have no experience of children and parenthood are better off than those who do."âMedea lines 1087â91. (Half brackets enclose words not transmitted by the fragment but supplied by the greater tradition (see
1097:(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".
900:. 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
2171:
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
1495:
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
1348:
recorded in the margins. Similar editions had appeared for
Aeschylus and Sophoclesâthe only plays of theirs that survive today. Euripides, however, was more fortunate than the other tragedians, with a second edition of his work surviving, compiled in alphabetical order as if from a set of his collect
1178:
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
885:
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
2901:
The epithet "the most tragic of poets" was mastered by
Aristotle, probably in reference to a perceived preference for unhappy endings, but it has wider relevance: "For in his representation of human suffering Euripides pushes to the limits of what an audience can stand; some of his scenes are almost
1307:
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
1230:
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
1162:
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';
1417:
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 qualitiesâmost of his least "tragic" plays are in the Alphabet edition; and, possibly, the other
1008:
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
633:
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
1293:
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 or corrupted; but the period also included triumphs by scholars and copyists, thanks to whom much was
1032:
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
1028:
where the god Dionysus savages his own converts. 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
1019:
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
1297:
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 inventedâthere was no spacing between words; no consistency in punctuation, nor elisions; no marks for breathings and accents (guides to
1255:
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 tragedy does not have to end 'tragically' or be 'tragic'. The only requirement is a serious treatment." In the
252:
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
973:
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
931:
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
1260:
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
1302:
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
5440:
1535:
in the later playsâthe 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
1024:." 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
1308:
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.
1100:
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. For example, in his play
336:, 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". The details of his death are uncertain. It was traditionally held that he retired to the "rustic court" of King
942:
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
922:
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
1341:), and many were "homophonic" errorsâequivalent, in English, to substituting "right" for "write"; except that there were more opportunities for Byzantine scribes to make these errors, because η, Îč, ÎżÎč and ΔÎč, were pronounced similarly in the Byzantine period.
1264:
Unique among writers of ancient Athens, Euripides demonstrated sympathy towards the underrepresented members of society. His male contemporaries were frequently shocked by the heresies he put into the mouths of characters, such as these words of his heroine
1062:), 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 refugeâsuch complexity and ambiguity are typical both of his "patriotic" and "anti-war" plays.
1490:
per line). Euripides sometimes 'resolved' the two syllables of the iamb (ËÂŻ) into three syllables (ËËË), 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
1332:
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
1037:
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
340:, where he died in 406 BC. Some modern scholars however claim that in reality Euripides may have 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.
1357:
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
232:
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 declinedâhe became, in the
845:
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
426:
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
648:, 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.
1083:(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 is shown above all in
835:
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
1381:
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
1020:
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
795:, 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
261:. He also became "the most tragic of poets", 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
414:
was struck by lightningâsigns 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). In an account by
555:
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:
392:
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
332:. He had two disastrous marriages, and both his wivesâMelite and Choerine (the latter bearing him three sons)âwere unfaithful. He became a recluse, making a home for himself in a cave on Salamis (
881:
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
1312:
1105:, 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
1089:, 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
281:," 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
1522:(lines 264â369). In contrast, Aeschylus never exceeded twenty lines of stichomythia; Sophocles' longest such scene was fifty lines, and that is interrupted several times by αΜÏÎčλαÎČÎź (
1548:, 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).
1113:, 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.
964:: 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!
1077:. 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
1544:, 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
1405:
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,
1199:
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."
300:. 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
1054:, 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
2181:
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
783:
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,
1167:
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' (
220:, 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
2691:
2240:
1294:
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.
691:. When Euripides' plays are sequenced in time, they also reveal that his outlook might have changed, providing a "spiritual biography", along these lines:
5551:
Euripidis opera omnia ex editionibus praestantissimis fideliter recusa, latina interpretatione, scholiis antiquis et eruditorum observationibus illustrata
5517:
2579:
2405:
5615:
638:, where Aristophanes shows him to be living morosely in a precarious house, surrounded by the tattered costumes of his disreputable characters (and yet
2381:
9820:
2432:
2356:
803:
also dramatizes a primitive side to Greek religion, and some modern scholars have interpreted this particular play biographically, therefore, as:
6908:
1413:, are significantly corrupted by interpolations (the latter possibly being completed post mortem by the poet's son); and the very authorship of
1344:
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
2628:
2228:
896:(lines 131â32) as "agile-minded, sweet-talking, demos-pleasing", i.e. similar to the war-time demagogues that were active in Athens during the
6195:
1439:; and approximations are obtained for the remainder by various means. Both the playwright and his work were travestied by comic poets such as
3794:. Kovacs, D. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. pp. 165â67.
3766:. Kovacs, D. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. pp. 164â66.
3495:. Henderson, J. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 231.
3467:. Henderson, J. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 230.
3426:. Storey, I. C. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 305.
3398:. Storey, I. C. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 304.
3357:. Storey, I. C. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 413.
3329:. Storey, I. C. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 412.
2614:
5486:
4493:. Kovacs, D. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 307.
4465:. Kovacs, D. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 306.
3876:. Kovacs, D. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 101.
3848:. Kovacs, D. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 100.
3603:. Kovacs, D. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 311.
3575:. Kovacs, D. (ed. and trans.). Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 310.
2754:
679:
His plays, and those of Aeschylus and Sophocles, indicate a difference in outlook between the threeâa generation gap probably due to the
9835:
8508:
6773:
2740:
1418:
two tragedians would appear just as genre-bending as this "restless experimenter", if we possessed more than their "select" editions.
6585:
5649:
1136:
The spoken language of the Euripidean plays is not fundamentally different in style from that of Aeschylus or Sophoclesâit employs
4940:
1507:
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
1390:, using multi-spectral imaging technology to retrieve previously illegible writing (see References). Some of this work employed
821:, includes a speech that he seems to have written in defence of himself as an intellectual ahead of his time (spoken by Medea):
6300:
5337:
5029:
4982:
4901:
4876:
3500:
3472:
3431:
3403:
3362:
3334:
1435:
Original production dates for some of Euripides' plays are known from ancient records, such as lists of prize-winners at the
473:. But Aristophanes also borrowed, rather than merely satirized, some of the tragedian's methods; he was himself ridiculed by
312:
Traditional accounts of the author's life are found in many commentaries, and include details such as these: He was born on
7896:
5544:
1303:
disregarded, and actors continued to make changes until about 200 BC, after which the habit ceased. It was about then that
1129:
398:. The identity of the trio is neatly underscored by a patriotic account of their roles during Greece's great victory over
9850:
6901:
5958:
5595:
6234:
8518:
8208:
7901:
7835:
1252:
906:, a love-sick queen rationalizes her position and, reflecting on adultery, arrives at this comment on intrinsic merit:
6242:
1511:
being the earliest appearance of it in an extant playâit is symptomatic of an archaizing tendency in his later works.
1191:. According to Plutarch, Euripides had been very well received in Sicily, to the extent that after the failure of the
9830:
7906:
7881:
5318:
5299:
5257:
5238:
5210:
5188:
5166:
5126:
5107:
5080:
5001:
4851:
4826:
4498:
4470:
4390:
4385:. Sophocles. Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 1.
3881:
3853:
3799:
3771:
3636:
3631:. Sophocles. Cambridge, Massachusetts; London, England: Loeb Classical Library, Harvard University Press. p. 9.
3608:
3580:
3292:
9715:
8464:
7891:
7886:
2318:
9840:
8358:
8218:
8213:
7490:
5434:
5363:
4249:
1223:
5536:
2504:
The following lost and fragmentary plays are of uncertain date, and are arranged in English alphabetical order.
1503:
per line, with the final syllable omittedâwas identified by Aristotle as the original meter of tragic dialogue (
324:
Zosterius. His education was not confined to athletics, studying also painting and philosophy under the masters
9742:
8383:
7797:
6894:
6841:
6766:
6219:
5514:
9737:
9294:
8787:
8303:
8223:
7921:
7631:
6578:
6211:
5642:
5496:
2863:
9825:
9710:
8239:
7693:
6261:
6162:
5897:
5140:(in Italian). Naples: Dipartimento di Filologia Classica dell'UniversitĂ degli Studi di Napoli Federico II.
1033:
lay in his use of 'contemporary' characters, in his sophisticated tone, his relatively informal Greek (see
5936:
1235:, who seems, however, not to have known the Euripidean plays well. But literary figures, such as the poet
8765:
8373:
8249:
7911:
7865:
7820:
7596:
7285:
6203:
1243:, could study and admire the Schlegels, while still appreciating Euripides as "our Euripides the human" (
687:, Sophocles was in transition between periods, and Euripides was fully imbued with the new spirit of the
301:
258:
9304:
5502:
Useful summaries of Euripides' life, works, and other relevant topics of interest at TheatreHistory.com.
2192:
The following lost and fragmentary plays can be dated, and are arranged in roughly chronological order:
676:
were performed in 405 BC, and first prize was awarded posthumously. He won first prize only five times.
9426:
9299:
8432:
8427:
8403:
8313:
7830:
6928:
5723:
5292:
Euripides and the poetics of sorrow: art, gender, and commemoration in Alcestis, Hippolytus, and Hecuba
1754:
1240:
1231:"not only destroyed the external order of tragedy but missed its entire meaning". This view influenced
718:
422:
led Athenians to trade renditions of Euripides' lyrics to their enemies in return for food and drink (
9784:
9727:
8683:
8486:
8471:
8393:
8328:
7648:
7543:
7017:
6951:
6759:
6293:
5841:
5411:
5387:
1304:
8295:
8275:
7473:
7131:
810:
the poet's attempt to ward off the charge of impiety that was later to overtake his friend Socrates;
226:
says it was ninety-two at most. Of these, eighteen or nineteen have survived more or less complete (
8481:
8444:
8378:
8044:
7931:
6571:
5730:
5635:
1387:
9815:
9810:
9764:
8888:
8688:
8673:
8476:
8459:
8439:
8408:
8308:
8244:
7860:
7845:
7815:
7776:
7653:
7505:
7007:
6803:
6623:
6490:
5951:
5401:
5377:
5098:. Methuen Classical Greek Dramatists. J. Michael Walton, introduction. London: Methuen. pp.
3130:
2255:
1227:
316:
around 480 BC, with parents Cleito (mother) and Mnesarchus (father), a retailer from the deme of
6227:
5490:
9722:
8725:
8496:
8454:
8388:
8353:
7805:
7789:
7485:
7426:
7275:
7270:
6155:
6112:
2854:
2182:
337:
6055:
1518:(i.e. a series of one-liners). The longest such scene comprises one hundred and five lines in
1369:
1093:
as a satyric hero in conventional satyr-play scenes: an arrival, a banquet, a victory over an
9845:
9774:
9003:
8993:
8983:
8968:
8658:
8398:
8368:
8323:
8318:
7949:
7916:
7718:
7623:
7609:
7265:
7136:
7100:
6444:
6412:
6377:
6360:
5506:
1121:
431:: "they felt that it would be a barbarous act to annihilate a city which produced such men" (
353:'autobiographical' clues gleaned from his extant plays (a mere fraction of his total output).
333:
4544:
1461:, though sometimes the references might even precede a datable event (e.g. lines 1074â89 in
9246:
9240:
9226:
8710:
8668:
8640:
8525:
8338:
7568:
7364:
6868:
6712:
6286:
5911:
5772:
5737:
5695:
2544:
1814:
1638:
1532:
1383:
1354:
927:
Euripides' characters resembled contemporary Athenians rather than heroic figures of myth.
712:
664:; and did not win first prize until 441 BC. His final competition in Athens was in 408 BC.
5501:
1158:
Euripides has aroused, and continues to arouse, strong opinions for and against his work:
854:
could dance, a space for actors (three speaking actors in Euripides' time), a backdrop or
8:
9377:
9347:
8735:
8630:
8625:
8062:
7377:
7290:
7260:
7214:
6977:
6739:
6516:
6436:
6428:
6178:
6137:
5974:
5876:
5827:
5820:
5751:
5586:
5578:
5574:
5570:
5566:
5562:
5558:
5554:
5269:
2656:
2477:
2216:
1870:
1784:
1524:
1232:
1192:
1059:
1046:
988:
980:, speeches appear verbose and ungainly, as if to underscore the limitations of language.
748:
419:
282:
122:
5606:
1447:
for those of Euripides (though the gap can be considerable: twenty-seven years separate
1040:
9805:
9594:
9491:
9397:
9041:
8958:
8846:
8348:
8172:
7688:
7668:
7525:
7396:
7280:
7075:
7002:
6670:
6643:
6509:
6393:
6385:
6038:
5968:
5944:
5862:
5855:
5793:
5610:, Eduardus Schwartz (ed.), 2 voll., Berolini tyois et impensis Georgii Reimer, 1887â91.
5472:
5060:
3006:
2496:
2303:
2189:, based on what were then believed to be the most likely reconstructions of the plays.
2037:
1399:
1350:
1328:, lines 1087â91; tiny though it is, the fragment influences modern editions of the play
1299:
1196:
1187:
1181:
1011:
983:
672:
2185:
volumes derived from them; and there are critical studies in T. B. L. Webster's older
9770:
9669:
9256:
8805:
8653:
8605:
8449:
8418:
8363:
8280:
8157:
8029:
7850:
7683:
7636:
7576:
7450:
7432:
7408:
7390:
7345:
7300:
7295:
6946:
6463:
5709:
5702:
5480:
5476:
5468:
5430:
5425:
5333:
5314:
5295:
5253:
5234:
5206:
5184:
5162:
5122:
5103:
5099:
5091:
5076:
5025:
4997:
4978:
4922:
4897:
4872:
4847:
4822:
4494:
4466:
4422:, J.Boardman, J. Griffin and O. Murray (ed.s), Oxford University Press (1986), p. 167
4386:
3877:
3849:
3795:
3767:
3632:
3604:
3576:
3496:
3468:
3427:
3399:
3358:
3330:
3288:
2607:
2393:
2162:: Generic orientation (see 'Transmission' section) with additional notes in brackets.
1808:
engages "untragically" with the traditional myth and with other dramatizations of it
1694:
1668:
1472:
1453:
1374:
976:
902:
897:
703:
644:
463:
403:
357:
The next three sections expand on the claims of each of these sources, respectively.
347:
folklore, employed by the ancients to lend colour to the lives of celebrated authors;
114:
6278:
9599:
9131:
9096:
8913:
8770:
8648:
8535:
8530:
7855:
7810:
7641:
7548:
7164:
6997:
6982:
6972:
6783:
6093:
5869:
5848:
5834:
5744:
5526:
5444:
5278:
5046:
2821:
2462:
2447:
2420:
2174:
1955:
1844:
1458:
1444:
945:
769:
733:
688:
209:
136:
3230:, Diane Svarlien (trans.), Hackett Publishing Company (2008), Introduction, p. xii
2939:, Oxford University Press (1976), Introduction pp. xxxviiâxliv; b) L.P.E. Parker,
1055:
9614:
9372:
9160:
8973:
8715:
8581:
8513:
7840:
7438:
7420:
7414:
7328:
7305:
7179:
7090:
7050:
6987:
6822:
6704:
6688:
6595:
5890:
5681:
5599:
5582:
5521:
4200:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), pp. 317â18
4087:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), pp. 334â35
4061:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), pp. 332â66
3532:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), pp. 316â17
2341:
1583:
1483:
1338:
1236:
1085:
867:
855:
293:
234:
9639:
9352:
6751:
5406:
5382:
3655:, P. Easterling and B. Knox (eds), Cambridge University Press (1985), pp. 265â67
1398:
imagingâto detect previously unknown material by Euripides, in fragments of the
660:, the famous Athenian dramatic festival, in 455 BC, one year after the death of
360:
343:
Such biographical details derive almost entirely from three unreliable sources:
9496:
9436:
9431:
9387:
9168:
9116:
9106:
9086:
9076:
8820:
8815:
8810:
7663:
7462:
7456:
7444:
7244:
7219:
6992:
6917:
6534:
5779:
5674:
5465:
Euripides with an English translation by Arthur S. Way. D. Lit. in four volumes
5421:
5176:
5145:
4994:
Monody in Euripides: character and the liberation of form in late Greek tragedy
3928:
Robert Skloot. The Classical Journal, Vol. 64, No. 5. (Feb. 1969), pp. 226â27.
2878:
2565:
2091:
1986:
1257:
1248:
1222:). Euripides' reputation was to take a beating in the early 19th century, when
1079:
763:
684:
457:
407:
399:
313:
61:
20:
5592:
1279:
I would rather stand three times with a shield in battle than give birth once.
9799:
9732:
9649:
9624:
9314:
9236:
8918:
8861:
8760:
8750:
8720:
8702:
8576:
7728:
7510:
7402:
7358:
7320:
7159:
7080:
6720:
6471:
5800:
5716:
4970:
4926:
4737:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 338
4698:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 281
4646:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 337
4283:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 339
4187:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 338
4022:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 332
3996:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 324
3983:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 325
3957:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 326
3903:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 327
3831:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 328
3545:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 318
3312:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 337
3274:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 317
3175:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 329
3095:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 316
2906:, P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 339
2066:
2057:
tragedy (posthumously produced with extensive interpolations); also known as
1724:
1457:
in 411 BC.). References in Euripides' plays to contemporary events provide a
1066:
892:
727:
683:
in the middle decades of the 5th century: Aeschylus still looked back to the
228:
2943:, Oxford University Press (2007), Introduction pp. lviiâlxv; c) E.R. Dodds,
1311:
443:
Tragic poets were often mocked by comic poets during the dramatic festivals
9549:
9501:
9367:
9221:
9091:
8730:
8566:
8072:
8034:
7733:
6849:
6026:
6002:
5966:
5765:
5688:
5622:
5267:
Scullion, S. (2003). "Euripides and Macedon, or the silence of the Frogs".
5050:
2726:
1930:
1612:
1515:
1440:
1324:
1172:
1142:
1137:
851:
754:
697:
625:, written when Euripides and Aeschylus were dead, Aristophanes has the god
452:
297:
106:
19:
This article is about the classical Greek tragedian. For the asteroid, see
6074:
5282:
2178:, are extensive enough to allow tentative reconstructions to be proposed.
1206:
expressed admiration for Sophocles, but was more influenced by Euripides (
9569:
9461:
9441:
9269:
8777:
8755:
8745:
8740:
8663:
8620:
8167:
8077:
8067:
7954:
7944:
7708:
7085:
7060:
6550:
6542:
6420:
6310:
6130:
5786:
5198:
3668:, M.Cropp, K.Lee and D. Sansone (eds), Champaign, Ill. (1999â2000), p. 27
2719:
2705:
2490:
2011:
1541:
1487:
1203:
775:
666:
375:
242:
150:
9274:
6563:
5040:
1471:, which was probably written before the Spartans occupied it during the
9506:
9476:
9471:
9456:
9342:
9309:
8978:
8948:
8615:
8343:
8177:
8019:
8014:
8004:
7989:
7974:
7964:
7939:
7315:
7070:
7025:
5758:
5531:
5231:
The people of Plato : a prosopography of Plato and other Socratics
3929:
2677:
2600:
2333:
2295:
1900:
1604:
1537:
1476:
1463:
1074:
742:
516:, the plays of Euripides were co-authored by the philosopher Socrates:
513:
380:
329:
278:
254:
5923:
5553:, 9 voll., Glasguae cura et typis Andreae et Joannis M. Duncan, 1821:
4059:
The Cambridge History of Classical Literature I: Greek Literature
3015:
supports a reading preferred by modern scholars (it is represented as
1065:
Tragic poets in the fifth century competed against one another at the
791:, yet it contains elements that became typical of New Comedy). In the
9481:
9407:
9392:
9362:
9357:
9289:
9213:
9198:
9183:
9126:
9026:
8678:
8610:
8182:
8162:
8132:
8127:
8122:
8087:
8052:
7999:
7959:
7738:
7604:
7558:
7538:
7169:
7040:
6008:
5996:
5987:
5904:
5627:
3912:
Christopher Pelling, "Tragedy, Rhetoric and Performance Culture", in
3423:
Fragments of Old Comedy, Volume III: Philonicus to Xenophon. Adespota
3395:
Fragments of Old Comedy, Volume III: Philonicus to Xenophon. Adespota
2635:
2558:
2279:
2128:
indicates a place known to have been awarded in festival competition.
1395:
1322:
from the fourth or fifth centuries AD, showing choral anapaests from
1070:
859:
847:
813:
evidence of a new belief that religion cannot be analysed rationally.
661:
469:
350:
parody, employed by the comic poets to ridicule the tragic poets; and
217:
213:
39:
4807:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), pp. 254â58
4213:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), pp. 252â53
2919:, Stuttgart (1901); 'Euripides the irrationalist' is from E. Dodds,
269:
9531:
9521:
9511:
9486:
9264:
9231:
9193:
9136:
9051:
9036:
8893:
8883:
8800:
8795:
8192:
8187:
8147:
8142:
8117:
8097:
8024:
7979:
7969:
7825:
7723:
7658:
7586:
7194:
6648:
6633:
6619:
6350:
6335:
6330:
5883:
5453:
5449:
3944:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), pp. 52â33
2935:
This summary of the transmission is adapted from a) Denys L. Page,
2827:
2782:
2712:
2670:
2642:
2198:
1436:
1391:
1090:
996:
966:
949:, the heroine's rationalized prayer elicits comment from Menelaus:
887:
657:
626:
474:
444:
415:
394:
325:
289:
246:
9284:
4566:
4321:
Albert Heinrichs, 'Nietzsche in Greek Tragedy and the Tragic', in
3381:, Biblo and Tannen Booksellers and Publishers' Inc. (1928), p. 174
799:
below). Believed to have been composed in the wilds of Macedonia,
9674:
9664:
9609:
9604:
9589:
9579:
9564:
9559:
9446:
9334:
9324:
9203:
9178:
9173:
9146:
9141:
9121:
9111:
9101:
9066:
9056:
9046:
8998:
8988:
8963:
8928:
8923:
8898:
8551:
8333:
7994:
7984:
7743:
7713:
7703:
7698:
7678:
7673:
7553:
7500:
7209:
7199:
7189:
7184:
7174:
6886:
6638:
6355:
6020:
6014:
4735:
The Cambridge History of Classical Literature I: Greek Literature
4696:
The Cambridge History of Classical Literature I: Greek Literature
4644:
The Cambridge History of Classical Literature I: Greek Literature
4612:
4610:
4405:
Collard 1975, quoted by Justina Gregory, 'Euripidean Tragedy' in
4281:
The Cambridge History of Classical Literature I: Greek Literature
4198:
The Cambridge History of Classical Literature I: Greek Literature
4185:
The Cambridge History of Classical Literature I: Greek Literature
4085:
The Cambridge History of Classical Literature I: Greek Literature
4020:
The Cambridge History of Classical Literature I: Greek Literature
3994:
The Cambridge History of Classical Literature I: Greek Literature
3981:
The Cambridge History of Classical Literature I: Greek Literature
3955:
The Cambridge History of Classical Literature I: Greek Literature
3901:
The Cambridge History of Classical Literature I: Greek Literature
3829:
The Cambridge History of Classical Literature I: Greek Literature
3653:
The Cambridge History of Classical Literature I: Greek Literature
3543:
The Cambridge History of Classical Literature I: Greek Literature
3530:
The Cambridge History of Classical Literature I: Greek Literature
3310:
The Cambridge History of Classical Literature I: Greek Literature
3272:
The Cambridge History of Classical Literature I: Greek Literature
3173:
The Cambridge History of Classical Literature I: Greek Literature
3093:
The Cambridge History of Classical Literature I: Greek Literature
3054:
Jones, Daniel; Roach, Peter, James Hartman and Jane Setter, eds.
2904:
The Cambridge History of Classical Literature I: Greek Literature
2775:
2761:
2698:
2649:
2537:
2524:
1500:
1482:
Greek tragedy comprised lyric and dialogue, the latter mostly in
1468:
1345:
1171:
1453a30). And not one of these descriptions is entirely false. â
1001:
992:
863:
680:
639:
411:
263:
205:
81:
9619:
8933:
5022:
Euripidean polemic: the Trojan women and the function of tragedy
4724:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 258
4659:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 257
4620:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 254
4591:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 259
4377:
4325:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 447
4126:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 256
4113:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 269
3970:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 261
3749:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 264
3710:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 260
3623:
3261:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 252
3243:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 253
725:
a middle period of disillusionment at the senselessness of war (
9644:
9574:
9554:
9516:
9382:
9188:
9081:
9018:
9008:
8953:
8571:
8556:
8152:
8137:
8112:
8107:
8092:
7753:
7748:
7515:
7495:
7239:
7229:
7224:
7095:
7055:
7045:
7030:
6696:
6653:
6614:
6340:
4842:
Euripides (2005). Collard, C.; Cropp, M.J.; Gibert, J. (eds.).
4100:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 50
3916:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 85
3736:, Justina Gregory (ed.) Blackwell Publishing Ltd (2005), p. 264
3723:, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 66
2915:'The poet of the Greek enlightenment' is taken from W. Nestle,
2768:
2747:
2733:
2684:
2663:
2593:
2572:
2517:
2510:
2267:
2152:: Number of resolved feet per 100 trimeters, Ceadel's listâsee
1334:
1316:
961:
448:
365:
321:
4817:
Euripides (1995). Collard, C.; Cropp, M.J.; Lee, K.H. (eds.).
4607:
2842:
1531:
Euripides' use of lyrics in sung parts shows the influence of
1402:, a collection of ancient manuscripts held by the university.
969:: What does this mean? How strange your prayer to the gods is!
535:
Mnesilochus is the man <who> is roasting a new play for
9654:
9629:
9526:
9466:
9451:
9319:
9279:
9031:
8943:
8938:
8908:
8903:
8878:
8561:
8102:
8057:
8009:
7581:
7533:
7234:
7204:
7151:
7126:
7065:
7035:
6345:
3287:. By Euripides, Introduction. Rev ed. London: Penguin, 2003.
3016:
3010:
2998:
2991:
2984:
2977:
2970:
2963:
2956:
2621:
2586:
2531:
2138:
denotes plays surviving from a 'Select' or 'School' edition,
1319:
1266:
630:
369:
317:
274:
238:
5467:, London, William Heinemann; New York, G. P. Putnam's Sons,
4975:
Greek lyric, tragedy, and textual criticism collected papers
4758:
4756:
4294:
Silent Witness: Racine's Non-Verbal Annotations of Euripides
4136:
Lattimore, Richmond (December 1937). "Euripides as Lyrist".
4096:
Bernd Seidensticker, "Dithyramb, Comedy and Satyr-Play', in
3940:
Bernd Seidensticker, "Dithyramb, Comedy and Satyr-Play', in
1451:, known to have been produced in 438 BC, from its parody in
9659:
9634:
9584:
9071:
9061:
6628:
4869:
Fragments: Aegeus-Meleager (Loeb Classical Library No. 504)
4777:
E.B.Ceadel, 'Resolved Feet in the Trimeters of Euripides',
4521:, Oxford University Press (1976), Introduction pp. xxxixâxl
3895:
3893:
2868:
2551:
1094:
710:
a patriotic period at the outset of the Peloponnesian War (
222:
5497:
Euripides-related materials at the Perseus Digital Library
4338:, Oxford University Press (2007), Introduction pp. xlâxliv
807:
a kind of death-bed conversion or renunciation of atheism;
524:ÎΜηÏίλοÏÏÏ áŒÏÏáŸż áŒÎșΔáżÎœÎżÏ, <áœÏ> ÏÏÏγΔÎč ÏÎč ÎŽÏ៶Όα ÎșαÎčÎœÏÎœ
237:, a cornerstone of ancient literary education, along with
4753:
3204:, Oxford University Press (1976), Introduction pp. ixâxii
2947:, Oxford University Press (1960), Introduction pp. liâlvi
2836:
2830:
2824:
2172:
of Aristophanes. Some of the fragments, such as those of
2109:
satyr play (the only fully extant example of this genre)
5547:, Euripides, Trojan Women, 740â79; read by Stephen Daitz
4941:"Uncovered Euripides fragments are 'kind of a big deal'"
3890:
296:. Both were frequently lampooned by comic poets such as
4685:, Oxford University Press (1960), Introduction p. xxxvi
4174:, Oxford University Press (2007), Introduction p. lxxii
4161:, Oxford University Press (1976), Introduction page vii
1426:
below for listing of "Select" and "Alphabetical" plays.
304:, but recent scholarship casts doubt on these sources.
4672:, Oxford University Press (1938), Introduction page 14
4534:, Oxford University Press (1976), Introduction p. xlii
4312:, Oxford University Press (2007), Introduction p. xlii
3666:
Euripides and Tragic Theatre in the Late Fifth Century
3066:
3064:
740:
an escapist period with a focus on romantic intrigue (
642:, another tragic poet, is discovered in a later play,
6308:
5233:. Indianapolis, IN: Hackett Publishing Company, Inc.
4304:
4302:
3354:
Fragments of Old Comedy, Volume I: Alcaeus to Diocles
3326:
Fragments of Old Comedy, Volume I: Alcaeus to Diocles
3196:
3194:
3162:, Bristol Classical Press (1990), Introduction p. vii
2845:
862:(used to bring the skene's "indoors" outdoors) and a
455:
scripted him as a character in at least three plays:
4711:, Bristol Classical Press (1990), Introduction p. 91
4448:, Oxford University Press (1976), Introduction p. xi
4270:, Oxford University Press (2007), Introduction p. xl
4239:, Hackett Publishing Co. (2008), Introduction p. xii
3558:, Oxford University Press (1960), Introduction p. xl
3448:
Aristophanes: Lysistrata, The Acharnians, The Clouds
3149:, Bantam Classic (2006), Introduction, pp. xviiiâxix
2839:
2833:
1443:, the known dates of whose own plays can serve as a
537:
Euripides, and Socrates is laying down the kindling.
5545:
Virginia Polytechnic Institute and State University
4351:Vol. 1, Darmstadt, p. 113, quoted by J. Gregory in
3308:, cited and translated by B.M.Knox, 'Euripides' in
3061:
2142:plays surviving from an 'Alphabetical' editionâsee
379:19th century statue of Euripides in a niche on the
5071:Euripides (1983). Barrett, William Spencer (ed.).
5059:
4633:, Bristol Classical Press, Introduction pp. xlâxli
4299:
3664:D.J. Mastronade, 'European Tragedy and Genre', in
3191:
3188:, Bantam Classic (2006), Introduction, pp. viiiâix
953:ÎÎÎÎÎ: ÎΔÏÏ, ΔጎÏáŸż áŒÎœÎŹÎłÎșη ÏÏÏÎ”ÎżÏ Î”áŒŽÏΔ ÎœÎżáżŠÏ ÎČÏÎżÏáż¶Îœ,
6781:
1499:The trochaic tetrameter catalecticâfour pairs of
9797:
5224:(2nd ed.). London: Oxford University Press.
5045:. New Haven: American Society of Papyrologists.
959:ÎÎÎÎÎÎÎÎŁ: ÏÎŻ ÎŽáŸż áŒÏÏÎčÎœ; ΔáœÏáœ°Ï áœĄÏ áŒÎșÎ±ÎŻÎœÎčÏÎ±Ï ÎžÎ”áż¶Îœ .
7122:
3926:A Further Note on the Modernity of "Hippolytus"
3681:, Trans. A. Webber, Baltimore (1993), pp. 4, 42
1475:). Other indications of dating are obtained by
451:, and Euripides was travestied more than most.
5119:Euripides and the instruction of the Athenians
3519:, Bantam Classic (2006), Introduction, p. viii
3141:
3139:
3025:, O.U.P. (reprint 1978), note 1087â89, p. 151)
1514:The later plays also feature extensive use of
410:of King Archelaus, and that his cenotaph near
6902:
6767:
6579:
6294:
5952:
5643:
5532:IMDBs List of movies based on Euripides plays
4750:, Bantam Classic (2006), Introduction, p. xvi
3697:, Penguin Classics (1954), Introduction p. 10
2803:, were found in 2022 and publicized in 2024.
2488:) Won first prize as part of a trilogy with
2166:
526:ÎáœÏÎčÏÎŻÎŽáż, Îșα᜶ ÎŁÏÎșÏÎŹÏÎ·Ï Ïᜰ ÏÏÏÎłÎ±ÎœáŸż áœÏÎżÏίΞηÏÎčÎœ.
5332:. Berkeley: University of California Press.
5013:Euripidean Drama: Myth, Theme, and Structure
3487:
3459:
3113:, Bantam Classic (2006), Introduction, p. ix
5308:
5121:. Ann Arbor: University of Michigan Press.
4896:. Cambridge, MA: Harvard University Press.
4871:. Cambridge, MA: Harvard University Press.
4794:, Cambridge University Press (1964), p. 261
4792:The Authenticity of the Rhesus of Euripides
4765:Euripides, Vol. I: Cyclops, Alcestis, Medea
4602:The Authenticity of the Rhesus of Euripides
3818:, Bantam Classic (2006), Introduction, p. x
3136:
2795:Previously unknown fragments of two plays,
2790:
7788:
6909:
6895:
6774:
6760:
6586:
6572:
6301:
6287:
5959:
5945:
5650:
5636:
5062:Euripides: A Collection of Critical Essays
4991:
4803:Justina Gregory, 'Euripidean Tragedy', in
4720:Justina Gregory, 'Euripidean Tragedy', in
4655:Justina Gregory, 'Euripidean Tragedy', in
4616:Justina Gregory, 'Euripidean Tragedy', in
4587:Justina Gregory, 'Euripidean Tragedy', in
4209:Justina Gregory, 'Euripidean Tragedy', in
4122:Justina Gregory, "Euripidean Tragedy", in
4109:Justina Gregory, 'Euripidean Tragedy', in
3966:Justina Gregory, 'Euripidean Tragedy', in
3745:Justina Gregory, 'Euripidean Tragedy', in
3732:Justina Gregory, "Euripidean Tragedy", in
3706:Justina Gregory, 'Euripidean Tragedy', in
3418:
3390:
3257:Justina Gregory, 'Euripidean Tragedy', in
3239:Justina Gregory, 'Euripidean Tragedy', in
3217:, Wiley Publishing Inc. (1998), pp. 147â48
957:ÎČÎ±ÎŻÎœÏÎœ ÎșΔλΔÏΞοÏ
ÎșαÏᜰ ÎŽÎŻÎșηΜ Ïᜰ ÎžÎœÎźÏáŸż áŒÎłÎ”ÎčÏ.
38:
6593:
5175:
5089:
5070:
5057:
5024:. Cambridge: Cambridge University Press.
4996:. Cambridge: Cambridge University Press.
4891:
4866:
4841:
4816:
4485:
4457:
4420:The Oxford History of the Classical World
4409:, Blackwell Publishing Ltd (2005), p. 259
4378:LLoyd-Jones, H. (ed. and trans.) (1997).
4368:, Blackwell Publishing Ltd (2005), p. 255
4364:Justina Gregory, 'Euripidean Tragedy' in
4355:, Blackwell Publishing Ltd (2005), p. 255
4135:
4048:, Blackwell Publishing Ltd (2005), p. 267
3868:
3840:
3786:
3758:
3651:John Gould, 'Tragedy in performance', in
3624:LLoyd-Jones, H. (ed. and trans.) (1997).
3595:
3567:
3253:
3251:
3249:
3121:
3119:
932:contemporary problems, usages and ideals.
916:ጊ ÎșÎŹÏÏα ÎŽÏΟΔÎč ÏÎżáżÏ ÎșαÎșÎżáżÏ ÎłáŸż ΔጶΜαÎč ÎșαλΏ.
602:is the mark of a man who's lost his mind
9821:Ancient Greek dramatists and playwrights
5266:
5135:
5010:
4894:Oedipus-Chrysippus & Other Fragments
4694:John Gould, 'Tragedy in performance' in
3689:
3687:
3349:
3321:
3056:Cambridge English Pronouncing Dictionary
1368:
1310:
1275:ÏÏáżÎœÎ±Îč ΞÎλοÎčÎŒáŸż áŒÎœ ÎŒáŸ¶Î»Î»ÎżÎœ áŒą ÏΔÎșΔáżÎœ áŒ
ÏαΟ .
1120:
982:
831:ÎșÏΔίÏÏÏÎœ ÎœÎżÎŒÎčÏÎžÎ”áœ¶Ï áŒÎœ ÏÏλΔÎč λÏ
ÏÏáœžÏ ÏαΜáż.
539:Euripides bolted together with Socrates
494:a quibbler of words, a maker of maxims,
374:
359:
5928:
5346:
5294:. Durham, N.C.: Duke University Press.
5116:
5038:
5019:
4969:
4916:
4767:. Harvard University Press. p. 17.
4296:, Oxford University Press (2003), p. 22
4224:Aristophanes: The Frogs and Other Plays
3719:Neil Croally, 'Tragedy's Teaching', in
3450:, Penguin Books (1973), note 35, p. 241
3105:
3103:
3101:
866:(used to lift actors in the air, as in
829:Ïáż¶Îœ ÎŽáŸż Î±áœ ÎŽÎżÎșÎżÏÎœÏÏÎœ ΔጰΎÎΜαÎč ÏÎč ÏÎżÎčÎșÎŻÎ»ÎżÎœ
288:His contemporaries associated him with
9798:
8842:
5657:
5327:
5247:
5219:
5156:
5066:. Englewood Cliffs, NJ: Prentice-Hall.
5058:Euripides (1968). Segal, Erich (ed.).
4762:
4009:, Bantam Classic (2006), pp. xviâxviii
3695:Euripides: The Bacchae and Other Plays
3246:
3116:
914:áœ
ÏαΜ Îłáœ°Ï Î±áŒ°ÏÏÏᜰ ÏÎżáżÏÎčÎœ áŒÏΞλοáżÏÎčÎœ ÎŽÎżÎșáż,
257:, some of which are characteristic of
9699:
8841:
8270:
7774:
7121:
6941:
6890:
6755:
6567:
6282:
5940:
5927:
5631:
5289:
5228:
5197:
5144:
4933:
4844:Selected Fragmentary Plays: Volume II
3684:
3070:
3036:i.e. lines are split between speakers
2877:
1256:English-speaking world, the pacifist
825:ÏÎșαÎčÎżáżÏÎč ÎŒáœČÎœ Îłáœ°Ï ÎșαÎčΜᜰ ÏÏÎżÏÏÎÏÏÎœ ÏÎżÏᜰ
651:
9310:Illicitanus Limin/Portus Illicitanus
6942:
4819:Selected Fragmentary Plays: Volume I
4547:. Papyrology.ox.ac.uk. 17 April 2005
3379:Epochs and Greek and Roman Biography
3098:
2902:unbearable."âB. Knox,'Euripides' in
1058:and during the preparations for the
955:ÏÏÎżÏηÏ
ÎŸÎŹÎŒÎ·Îœ ÏΔ· ÏÎŹÎœÏα Îłáœ°Ï ÎŽÎčáŸż áŒÏÏÏÎżÏ
912:ÏÏÎŽáŸż ጊÏΟΔ ΞηλΔίαÎčÏÎč ÎłÎŻÎłÎœÎ”ÏΞαÎč ÎșαÎșÏΜ·
557:
518:
479:
364:2nd century AD statue of Euripides,
4977:. Oxford: Oxford University Press.
4945:Colorado Arts and Sciences Magazine
4604:, Cambridge University Press (1964)
3058:. 17th edition. Cambridge UP, 2006.
2122:indicates date of first production.
1980:tragedy (extensive interpolations)
918:ÎŒÏÎœÎżÎœ ÎŽáœČ ÏοῊÏÏ ÏαÏáŸż áŒÎŒÎčλλ៶ÏΞαÎč ÎČÎŻáżł,
827:ÎŽÏΟΔÎčÏ áŒÏÏΔáżÎżÏ ÎșÎżáœ ÏÎżÏáœžÏ ÏΔÏÏ
ÎșÎΜαÎč·
13:
8271:
6916:
5537:Staging of Euripides' fragmentary
5015:. London: Oxford University Press.
4962:
3679:The Political Art of Greek Tragedy
1253:Ulrich von Wilamowitz-Moellendorff
1126:Medea About to Murder Her Children
833:áŒÎłáœŒ ÎŽáœČ ÎșαáœÏᜎ ÏáżÏΎΔ ÎșÎżÎčÎœÏÎœáż¶ ÏÏÏÎ·Ï .
817:One of his earliest extant plays,
761:a final period of tragic despair (
418:, the catastrophic failure of the
16:5th-century BC Athenian playwright
14:
9862:
9836:Courtiers of Archelaus of Macedon
5357:
2143:
1718:tragedy (not produced in Athens)
1492:
1423:
1247:stanza 12). Classicists such as
1130:EugĂšne Ferdinand Victor Delacroix
987:Ancient Roman wall painting from
920:ÎłÎœÏΌηΜ ÎŽÎčÎșÎ±ÎŻÎ±Îœ ÎșáŒÎłÎ±ÎžáœŽÎœ áœ
Ïáżł ÏαÏáż .
875:
695:an early period of high tragedy (
512:According to another comic poet,
9779:
9769:
9760:
9759:
5457:
4921:. London: Methuen. p. 316.
4910:
4885:
4860:
4835:
4810:
4797:
4784:
4771:
4740:
4727:
4714:
4701:
4688:
4675:
4662:
4649:
4636:
4623:
4594:
4083:B. M. Knox, 'Euripides' in
4057:B. M. Knox, 'Euripides' in
4018:B. M. Knox, 'Euripides' in
3992:B. M. Knox, 'Euripides' in
3899:B. M. Knox, 'Euripides' in
3030:
3021:in other sources)âDenys L.Page,
2993:ÏαáżâΎαÏÍ” âÏÏÎżÏÎÏΔÎčÎœ Î”áŒ°Ï Î”áœÏÏ
ÏÎŻÎ±Îœ
2820:
2031:tragedy (posthumously produced)
656:Euripides first competed in the
387:
9780:
5250:Euripides, women, and sexuality
5150:Greek tragedy: a literary study
4581:
4559:
4537:
4524:
4507:
4479:
4451:
4438:
4425:
4412:
4399:
4371:
4358:
4341:
4328:
4315:
4286:
4273:
4260:
4242:
4229:
4216:
4203:
4190:
4177:
4164:
4148:
4129:
4116:
4103:
4090:
4077:
4074:, Bantam Classic (2006), p. 195
4064:
4051:
4038:
4035:, Bantam Classic (2006), p. xvi
4025:
4012:
3999:
3986:
3973:
3960:
3947:
3934:
3919:
3906:
3862:
3834:
3821:
3808:
3780:
3752:
3739:
3726:
3713:
3700:
3671:
3658:
3645:
3617:
3589:
3561:
3548:
3535:
3522:
3509:
3481:
3453:
3440:
3412:
3384:
3371:
3343:
3315:
3298:
3277:
3264:
3233:
3220:
3207:
3178:
3165:
3152:
2950:
2929:
2909:
2153:
1551:
1394:technologyâpreviously used for
1386:worked on a joint project with
1377:, fol. 32r (early 14th century)
1288:
1147:
871:
858:, and some special effects: an
796:
787:is dated with the 'despairing'
586:So what's stylish is not to sit
438:
5205:. New York: Barnes and Noble.
4517:851e, cited by Denys L. Page,
4347:U.V. Wilamowitz-Moellendorff,
3085:
3076:
3048:
2986:ÏÎŹÎŒÏαΜ âáŒÏΔÎčÏÎżÎč ΌηΎΠáŒÏÏÏΔÏ
ÏαΜ
2979:Îșαί ÏηΌÎč âÎČÏÎżÏáż¶Îœ ÎżáŒ”ÏÎčÎœÎÏ Î”áŒ°ÏÎčÎœ
2895:
2870:EurÄ«pĂdÄs MnÄsarchĂdou PhlyeĂșs
2813:
2085:tragedy (authorship disputed)
1557:Estimated chronological order
1214:were the models for his plays
1044:, which Euripides parodied in
999:, as portrayed in Euripides's
882:
1:
7381:
7368:
7349:
7332:
5487:Encarta's entry for Euripides
5309:Sommerstein, Alan H. (2002).
5152:. New York: Barnes and Noble.
4418:Peter Levi, 'Greek Drama' in
4226:, Penguin Books (1964), p. 98
3215:Cliff Notes on Greek Classics
2958:ÏαῊÏÎżÎœ âÎŽáœČ ÎŽáœŽÎłÎÎœÎżÏ áŒÎœ ÏολλαáżÏ
2889:
2482:
2467:
2452:
2437:
2410:
2361:
2346:
2323:
2308:
2245:
1961:
1906:
1876:
1820:
1790:
1760:
1730:
1700:
1644:
1540:reminiscent of the poetry of
1430:
1150:for details about his style.
1034:
194:
141:
127:
72:
53:
8509:Funeral and burial practices
7694:Military of Mycenaean Greece
6199:(1699, Desmarets and Campra)
6163:The Killing of a Sacred Deer
5412:Resources in other libraries
5388:Resources in other libraries
5290:Segal, Charles, ed. (1993).
5181:The lives of the Greek poets
4805:A Companion to Greek Tragedy
4722:A Companion to Greek Tragedy
4657:A Companion to Greek Tragedy
4618:A Companion to Greek Tragedy
4589:A Companion to Greek Tragedy
4407:A companion to Greek Tragedy
4366:A companion to Greek Tragedy
4353:A companion to Greek Tragedy
4323:A companion to Greek Tragedy
4211:A Companion to Greek Tragedy
4124:A Companion to Greek Tragedy
4111:A Companion to Greek Tragedy
4098:A Companion to Greek Tragedy
4046:A Companion to Greek Tragedy
3968:A Companion to Greek Tragedy
3942:A Companion to Greek Tragedy
3914:A Companion to Greek Tragedy
3747:A Companion to Greek Tragedy
3734:A Companion to Greek Tragedy
3721:A Companion to Greek Tragedy
3708:A Companion to Greek Tragedy
3259:A Companion to Greek Tragedy
3241:A Companion to Greek Tragedy
2869:
2859:EáœÏÎčÏÎŻÎŽÎ·Ï MΜηÏαÏÏÎŻÎŽÎżÏ
ΊλÏ
ΔÏÏ
1373:Euripides, Orestes, Oxford,
1202:In the seventeenth century,
1153:
588:beside Socrates and chatter,
7:
6842:The Gate to Women's Country
5616:A Commentary on Euripides'
5456:(public domain audiobooks)
5441:Works by or about Euripides
5330:Euripides: Our Contemporary
5328:Walton, J. Michael (2009).
5248:Powell, Anton, ed. (1990).
5203:Euripides and his Influence
5075:. Oxford: Clarendon Press.
4992:Catenaccio, Claire (2023).
4973:(2007). West, M. L. (ed.).
4183:B. M. Knox, "Euripides" in
2972:ÎżáœÎș áŒÏÏâÎŒÎżÏ
ÏÎżÎœ Ï᜞ ÎłÏ
ΜαÎčÎșáż¶Îœ.
1603:tragedy with elements of a
1116:
598:in pretentious conversation
596:To hang around killing time
573:Ï᜞ ÎŽáŸż áŒÏ᜶ ÏÎ”ÎŒÎœÎżáżÏÎčÎœ λÏγοÎčÏÎč
485:áœÏολΔÏÏολÏγοÏ, ÎłÎœÏÎŒÎčÎŽÎčÏÏηÏ,
477:, another comic poet, as:
10:
9867:
9851:People from Salamis Island
8433:Greek Revival architecture
7775:
5349:The Tragedies of Euripides
5347:Webster, T. B. L. (1967).
5311:Greek drama and dramatists
5039:Donovan, Bruce E. (1969).
4919:The Tragedies of Euripides
4917:Webster, T. B. L. (1967).
3421:Teleclides F 41, F 42, in
3393:Teleclides F 41, F 42, in
3133:(2007), Introduction p. lx
3042:
3017:
3011:
2999:
2992:
2985:
2978:
2971:
2964:
2957:
2858:
2287:, satyr play, 431 BC with
2187:The Tragedies of Euripides
2167:Lost and fragmentary plays
1778:political/patriotic drama
1662:political/patriotic drama
1241:Elizabeth Barrett Browning
577:ÎŽÎčαÏÏÎčÎČᜎΜ áŒÏÎłáœžÎœ ÏÎżÎčΔáżÏΞαÎč,
528:ÎáœÏÎčÏÎŻÎŽÎ·Ï ÏÏÎșÏαÏογÏÎŒÏÎżÏ
Ï.
292:as a leader of a decadent
18:
9755:
9706:
9700:
9695:
9540:
9417:
9406:
9333:
9255:
9212:
9159:
9017:
8869:
8860:
8856:
8837:
8786:
8701:
8639:
8601:
8594:
8544:
8504:
8495:
8417:
8294:
8290:
8266:
8232:
8201:
8043:
7930:
7874:
7841:Attalid kings of Pergamon
7796:
7787:
7783:
7770:
7649:Antigonid Macedonian army
7622:
7595:
7567:
7524:
7481:
7472:
7314:
7253:
7150:
7146:
7117:
7016:
6965:
6961:
6937:
6924:
6860:
6833:
6814:
6795:
6731:
6680:
6662:
6607:
6526:
6501:
6482:
6455:
6404:
6369:
6323:
6253:
6187:
6176:
6147:
6122:
6104:
6085:
6066:
6047:
6036:
5986:
5934:
5810:
5666:
5407:Resources in your library
5383:Resources in your library
5117:Gregory, Justina (1991).
4545:"POxy Oxyrhynchus Online"
4433:The Fragility of Goodness
4279:B.M.Knox, 'Euripides' in
4196:B.M.Knox, 'Euripides' in
4157:824 sqq.; Denys L. Page,
3979:B.M.Knox, 'Euripides' in
3953:B.M.Knox, 'Euripides' in
3827:B.M.Knox, 'Euripides' in
3541:B.M.Knox, 'Euripides' in
3528:B.M.Knox, 'Euripides' in
3270:B.M.Knox, 'Euripides' in
3171:B.M.Knox, 'Euripides' in
2879:[euÌŻ.riË.pĂ.dÉËs]
2397:(satyr play, 415 BC with
1467:describe a procession to
1305:Aristophanes of Byzantium
1073:of three tragedies and a
874:; a list of his plays is
600:and hairsplitting twaddle
594:of the tragedianâs craft.
569:ÏÎŹ ÏΔ ÎŒÎÎłÎčÏÏα ÏαÏαλÎčÏÏÎœÏα
561:
522:
483:
178:
161:
96:
88:
68:
49:
37:
30:
9831:5th-century BC Athenians
5220:Murray, Gilbert (1946).
5011:Conacher, D. J. (1967).
4971:Barrett, William Spencer
3082:Walton (1997, viii, xix)
2806:
2791:21st century discoveries
1496:philosophical subtlety.
1388:Brigham Young University
1283:
496:a Euripidaristophaniser
6491:The Passion of Dionysus
5520:8 November 2009 at the
4846:. Aris & Phillips.
4821:. Aris & Phillips.
4733:B. Knox,'Euripides' in
4642:B. Knox,'Euripides' in
3226:Robin Mitchell-Boyask,
3131:Oxford University Press
3091:B. Knox,'Euripides' in
1228:August Wilhelm Schlegel
995:, showing the death of
840:
681:Sophistic enlightenment
575:Îșα᜶ ÏÎșαÏÎčÏηÏÎŒÎżáżÏÎč λΟÏÏÎœ
307:
78:(aged approximately 74)
9841:5th-century BC writers
7875:Artists & scholars
7790:List of ancient Greeks
7427:Second Athenian League
7276:Greco-Bactrian Kingdom
7101:Ancient Greek colonies
6156:Bash: Latter-Day Plays
6113:The Songs of the Kings
5161:. Leiden: E.J. Brill.
5157:Kovacs, David (1994).
5020:Croally, N.T. (2007).
4781:xxxv (1941), pp. 66â89
4763:Kovacs, David (1994).
4748:Ten Plays by Euripides
4235:Robin Mitchel-Boyask,
4072:Ten Plays by Euripides
4033:Ten Plays by Euripides
4007:Ten Plays by Euripides
3816:Ten Plays by Euripides
3517:Ten Plays by Euripides
3213:Mary Ellen Snodgrass,
3186:Ten Plays by Euripides
3147:Ten Plays by Euripides
3111:Ten Plays by Euripides
2183:Loeb Classical Library
1378:
1329:
1281:
1273:áœĄÏ ÏÏáœ¶Ï áŒÎœ ÏαÏáŸż áŒÏÏίΎα
1176:
1133:
1022:passions spin the plot
1005:
971:
940:
925:
838:
590:casting the arts aside
584:
579:ÏαÏαÏÏÎżÎœÎżáżŠÎœÏÎżÏ áŒÎœÎŽÏÏÏ
571:ÏáżÏ ÏÏαγῳΎÎčÎșáżÏ ÏÎÏΜηÏ.
563:ÏαÏÎŻÎ”Îœ ÎżáœÎœ Όᜎ ÎŁÏÎșÏÎŹÏΔÎč
533:
492:
384:
372:
338:Archelaus in Macedonia
8994:Sybaris on the Traeis
7719:Sacred Band of Thebes
7459:(c. 300 BCâc. 300 AD)
6973:Cycladic civilization
5313:. London: Routledge.
5252:. London: Routledge.
5229:Nails, Debra (2002).
5222:Euripides and His Age
5199:Lucas, Frank Laurence
5183:. London: Duckworth.
5136:Ippolito, P. (1999).
4569:. Papyrology.ox.ac.uk
4567:"Papyrology Websites"
3488:Aristophanes (2002).
3460:Aristophanes (2002).
3446:Alan H. Sommerstein,
3285:Medea and Other Plays
1372:
1353:at Florence, and the
1314:
1271:
1160:
1124:
986:
951:
929:
908:
823:
592:and ignoring the best
487:ΔáœÏÎčÏÎčΎαÏÎčÏÏÎżÏÎ±ÎœÎŻÎ¶ÏÎœ
378:
363:
334:the Cave of Euripides
8519:mythological figures
8240:Ancient Greek tribes
7365:Peloponnesian League
6243:Iphigénie en Tauride
6228:Iphigénie en Tauride
6196:Iphigénie en Tauride
5773:The Phoenician Women
5696:Children of Heracles
5607:Scholia in Euripidem
5598:8 April 2019 at the
5593:Scholia of Euripides
3283:Richard Rutherford,
1533:Timotheus of Miletus
1528:, lines 1176â1226).
1407:The Phoenician Women
1384:University of Oxford
1355:Bibliotheca Palatina
1041:The Libation Bearers
910:áŒÎș ÎŽáœČ ÎłÎ”ÎœÎœÎ±ÎŻÏÎœ ÎŽÏÎŒÏÎœ
713:Children of Heracles
565:ÏαÏαÎșÎ±ÎžÎźÎŒÎ”ÎœÎżÎœ λαλΔáżÎœ
546:âTeleclides, F41-42
9826:Ancient Greek poets
8631:Tunnel of Eupalinos
8626:Theatre of Dionysus
8250:Ancient Macedonians
7866:Tyrants of Syracuse
7378:Amphictyonic League
6978:Minoan civilization
6869:A Dream, What Else?
6740:Alcmaeon in Psophis
6517:Alcmaeon in Corinth
6437:The Lightning Child
6429:A Mouthful of Birds
6262:Iphigenia in Tauris
6220:Ifigenia in Tauride
6212:Ifigenia in Tauride
6204:Ifigenia in Tauride
6179:Iphigenia in Tauris
6138:Alcmaeon in Corinth
6056:Iphigénie en Aulide
5975:Iphigenia in Tauris
5929:Associated subjects
5828:Alcmaeon in Psophis
5821:Alcmaeon in Corinth
5752:Iphigenia in Tauris
5283:10.1093/cq/53.2.389
5270:Classical Quarterly
5138:La vita di Euripide
4779:Classical Quarterly
4670:Iphigenia in Tauris
4349:Euripides: Herakles
4336:Euripides: Alcestis
4310:Euripides: Alcestis
4268:Euripides: Alcestis
4172:Euripides: Alcestis
3419:Teleclides (2011).
3391:Teleclides (2011).
3377:Duane Reed Stuart,
3352:Cratinus F 342, in
3324:Cratinus F 342, in
3127:Euripides: Alcestis
2941:Euripides: Alcestis
2478:Alcmaeon in Corinth
2217:Alcmaeon in Psophis
1871:Iphigenia in Tauris
1558:
1362:and latter part of
1233:Friedrich Nietzsche
1193:Sicilian Expedition
1060:Sicilian Expedition
989:House of the Vettii
749:Iphigenia in Tauris
567:áŒÏÎżÎČαλÏÎœÏα ÎŒÎżÏ
ÏÎčÎșᜎΜ
420:Sicilian expedition
283:George Bernard Shaw
9305:Menestheus's Limin
8959:Pandosia (Lucania)
8847:Greek colonisation
8209:Athenian statesmen
7970:Diogenes of Sinope
7831:Kings of Macedonia
7821:Kings of Commagene
7689:Macedonian phalanx
7669:Hellenistic armies
7417:(c. 424âc. 395 BC)
7281:Indo-Greek Kingdom
7003:Hellenistic Greece
6716:(Schweitzer, 1773)
6671:The Cocktail Party
6510:Iphigenia in Aulis
6039:Iphigenia in Aulis
5969:Iphigenia in Aulis
5794:Iphigenia in Aulis
5450:Works by Euripides
5431:Works by Euripides
5422:Works by Euripides
5351:. London: Methuen.
5177:Lefkowitz, Mary R.
5090:Euripides (1997).
4892:Euripides (2009).
4867:Euripides (2008).
4683:Euripides: Bacchae
4486:Euripides (2001).
4458:Euripides (2001).
4431:Nussbaum, Martha.
4252:The Life of Nicias
3869:Euripides (1999).
3841:Euripides (1999).
3787:Euripides (2005).
3759:Euripides (2005).
3693:Philip Vellacott,
3596:Euripides (2001).
3568:Euripides (2001).
3556:Euripides: Bacchae
3007:Leiden Conventions
2945:Euripides: Bacchae
2926:(1929), pp. 97â104
2497:Iphigenia in Aulis
2156:above for details.
2146:above for details.
2059:Iphigenia at Aulis
2038:Iphigenia in Aulis
1577:Genre (and notes)
1556:
1411:Iphigenia in Aulis
1400:Oxyrhynchus papyri
1379:
1351:Laurentian Library
1330:
1300:Lycurgus of Athens
1224:Friedrich Schlegel
1208:Iphigenia in Aulis
1188:Oedipus at Colonus
1134:
1012:Iphigenia in Aulis
1006:
890:is represented in
785:Iphigenia in Aulis
673:Iphigenia in Aulis
652:A tragedian's life
629:venturing down to
385:
373:
9793:
9792:
9751:
9750:
9691:
9690:
9687:
9686:
9683:
9682:
9257:Iberian Peninsula
9189:Lipara/Meligounis
9155:
9154:
8833:
8832:
8829:
8828:
8806:Cypriot syllabary
8697:
8696:
8606:Athenian Treasury
8590:
8589:
8262:
8261:
8258:
8257:
7851:Ptolemaic dynasty
7811:Archons of Athens
7766:
7765:
7762:
7761:
7637:Athenian military
7618:
7617:
7451:League of Corinth
7433:Thessalian League
7409:Chalcidian League
7391:Acarnanian League
7301:Ptolemaic Kingdom
7113:
7112:
7109:
7108:
6884:
6883:
6878:
6877:
6749:
6748:
6561:
6560:
6464:Die Bakchantinnen
6276:
6275:
6272:
6271:
6172:
6171:
5921:
5920:
5813:fragmentary plays
5426:Project Gutenberg
5364:Library resources
5339:978-0-520-26182-2
5031:978-0-521-04112-6
4984:978-0-19-920357-4
4903:978-0-674-99631-1
4878:978-0-674-99625-0
4790:William Ritchie,
4600:William Ritchie,
4380:Introduction, in
4170:L. P. E. Parker,
4044:Justina Gregory,
3871:Trojan Women, in
3843:Trojan Women, in
3626:Introduction, in
3502:978-0-674-99596-3
3474:978-0-674-99596-3
3433:978-0-674-99677-9
3405:978-0-674-99677-9
3364:978-0-674-99662-5
3350:Cratinus (2011).
3336:978-0-674-99662-5
3322:Cratinus (2011).
3000:âÏáż¶Îœ γΔÎčΜαΌÎÎœÏÎœ.â
2867:
2608:Hippolytus Veiled
2406:Captive Melanippe
2113:
2112:
1473:Peloponnesian War
1454:Thesmophoriazusae
898:Peloponnesian War
645:Thesmophoriazusae
619:
618:
553:
552:
510:
509:
464:Thesmophoriazusae
404:Battle of Salamis
188:
187:
44:Bust of Euripides
9858:
9783:
9782:
9773:
9763:
9762:
9697:
9696:
9415:
9414:
8914:Heraclea Lucania
8867:
8866:
8858:
8857:
8839:
8838:
8599:
8598:
8531:Twelve Olympians
8502:
8501:
8292:
8291:
8268:
8267:
7856:Seleucid dynasty
7836:Kings of Paionia
7785:
7784:
7772:
7771:
7642:Scythian archers
7549:Graphe paranomon
7479:
7478:
7386:
7383:
7373:
7370:
7354:
7351:
7341:
7337:
7334:
7148:
7147:
7119:
7118:
6998:Classical Greece
6983:Mycenaean Greece
6963:
6962:
6939:
6938:
6911:
6904:
6897:
6888:
6887:
6804:The Trojan Women
6784:The Trojan Women
6776:
6769:
6762:
6753:
6752:
6588:
6581:
6574:
6565:
6564:
6303:
6296:
6289:
6280:
6279:
6246:(1781, Piccinni)
6223:(1771, Jommelli)
6185:
6184:
6045:
6044:
5961:
5954:
5947:
5938:
5937:
5925:
5924:
5745:The Trojan Women
5652:
5645:
5638:
5629:
5628:
5527:Imagi-nation.com
5515:AC-Strasbourg.fr
5513:
5461:
5460:
5445:Internet Archive
5352:
5343:
5324:
5305:
5286:
5263:
5244:
5225:
5216:
5194:
5172:
5153:
5141:
5132:
5113:
5086:
5067:
5065:
5054:
5042:Euripides papyri
5035:
5016:
5007:
4988:
4957:
4956:
4954:
4952:
4937:
4931:
4930:
4914:
4908:
4907:
4889:
4883:
4882:
4864:
4858:
4857:
4839:
4833:
4832:
4814:
4808:
4801:
4795:
4788:
4782:
4775:
4769:
4768:
4760:
4751:
4744:
4738:
4731:
4725:
4718:
4712:
4705:
4699:
4692:
4686:
4679:
4673:
4666:
4660:
4653:
4647:
4640:
4634:
4627:
4621:
4614:
4605:
4598:
4592:
4585:
4579:
4578:
4576:
4574:
4563:
4557:
4556:
4554:
4552:
4541:
4535:
4532:Euripides: Medea
4528:
4522:
4519:Euripides: Medea
4511:
4505:
4504:
4483:
4477:
4476:
4455:
4449:
4446:Euripides: Medea
4442:
4436:
4429:
4423:
4416:
4410:
4403:
4397:
4396:
4375:
4369:
4362:
4356:
4345:
4339:
4332:
4326:
4319:
4313:
4306:
4297:
4290:
4284:
4277:
4271:
4264:
4258:
4257:
4246:
4240:
4237:Euripides: Medea
4233:
4227:
4220:
4214:
4207:
4201:
4194:
4188:
4181:
4175:
4168:
4162:
4159:Euripides: Medea
4152:
4146:
4145:
4133:
4127:
4120:
4114:
4107:
4101:
4094:
4088:
4081:
4075:
4068:
4062:
4055:
4049:
4042:
4036:
4029:
4023:
4016:
4010:
4003:
3997:
3990:
3984:
3977:
3971:
3964:
3958:
3951:
3945:
3938:
3932:
3923:
3917:
3910:
3904:
3897:
3888:
3887:
3866:
3860:
3859:
3838:
3832:
3825:
3819:
3812:
3806:
3805:
3784:
3778:
3777:
3756:
3750:
3743:
3737:
3730:
3724:
3717:
3711:
3704:
3698:
3691:
3682:
3675:
3669:
3662:
3656:
3649:
3643:
3642:
3621:
3615:
3614:
3593:
3587:
3586:
3565:
3559:
3552:
3546:
3539:
3533:
3526:
3520:
3513:
3507:
3506:
3485:
3479:
3478:
3457:
3451:
3444:
3438:
3437:
3416:
3410:
3409:
3388:
3382:
3375:
3369:
3368:
3347:
3341:
3340:
3319:
3313:
3306:Life of Lysander
3302:
3296:
3281:
3275:
3268:
3262:
3255:
3244:
3237:
3231:
3228:Euripides: Medea
3224:
3218:
3211:
3205:
3202:Euripides: Medea
3198:
3189:
3182:
3176:
3169:
3163:
3156:
3150:
3143:
3134:
3123:
3114:
3107:
3096:
3089:
3083:
3080:
3074:
3068:
3059:
3052:
3037:
3034:
3028:
3023:Euripides: Medea
3020:
3019:
3014:
3013:
3002:
3001:
2995:
2994:
2988:
2987:
2981:
2980:
2974:
2973:
2967:
2966:
2960:
2959:
2954:
2948:
2937:Euripides: Medea
2933:
2927:
2913:
2907:
2899:
2883:
2881:
2876:
2872:
2862:
2860:
2852:
2851:
2848:
2847:
2844:
2841:
2838:
2835:
2832:
2829:
2826:
2817:
2487:
2484:
2472:
2469:
2457:
2454:
2442:
2439:
2415:
2412:
2366:
2363:
2351:
2348:
2328:
2325:
2313:
2310:
2250:
2247:
1966:
1963:
1956:Phoenician Women
1911:
1908:
1881:
1878:
1845:The Trojan Women
1825:
1822:
1795:
1792:
1765:
1762:
1735:
1732:
1705:
1702:
1649:
1646:
1559:
1555:
1509:The Trojan Women
1486:(three pairs of
1445:terminus ad quem
1360:The Trojan Women
1226:and his brother
1052:The Trojan Women
946:The Trojan Women
938:
770:Phoenician Women
734:The Trojan Women
558:
519:
503:âCratinus F 342
480:
433:Life of Lysander
408:Molossian hounds
210:classical Athens
203:
199:
196:
146:
143:
137:The Trojan Women
132:
129:
99:
77:
74:
58:
55:
42:
28:
27:
9866:
9865:
9861:
9860:
9859:
9857:
9856:
9855:
9796:
9795:
9794:
9789:
9747:
9702:
9679:
9542:
9536:
9419:
9410:
9402:
9373:Melaina Korkyra
9329:
9251:
9208:
9161:Aeolian Islands
9151:
9013:
8871:
8852:
8851:
8825:
8782:
8693:
8635:
8586:
8540:
8491:
8413:
8404:Wedding customs
8286:
8285:
8254:
8245:Thracian Greeks
8228:
8219:Olympic victors
8197:
8039:
7926:
7870:
7861:Kings of Sparta
7846:Kings of Pontus
7816:Kings of Athens
7792:
7779:
7758:
7654:Army of Macedon
7614:
7591:
7563:
7520:
7468:
7441:(370âc. 230 BC)
7439:Arcadian League
7423:(c. 400â188 BC)
7421:Aetolian League
7415:Boeotian League
7397:Hellenic League
7384:
7371:
7361:(c. 650â404 BC)
7352:
7346:Italiote League
7339:
7335:
7329:Doric Hexapolis
7319:
7310:
7306:Seleucid Empire
7249:
7142:
7141:
7105:
7012:
6988:Greek Dark Ages
6957:
6956:
6933:
6920:
6915:
6885:
6880:
6879:
6874:
6856:
6829:
6810:
6791:
6780:
6750:
6745:
6727:
6676:
6658:
6603:
6592:
6562:
6557:
6522:
6497:
6478:
6451:
6400:
6386:Dionysus in '69
6365:
6319:
6307:
6277:
6268:
6249:
6215:(1763, Traetta)
6168:
6143:
6118:
6100:
6081:
6062:
6032:
5982:
5965:
5930:
5922:
5917:
5812:
5806:
5662:
5656:
5600:Wayback Machine
5522:Wayback Machine
5511:
5458:
5418:
5417:
5416:
5393:
5392:
5372:
5371:
5367:
5360:
5355:
5340:
5321:
5302:
5260:
5241:
5213:
5191:
5169:
5146:Kitto, H. D. F.
5129:
5110:
5083:
5051:2333.1/47d7wrtn
5032:
5004:
4985:
4965:
4963:Further reading
4960:
4950:
4948:
4947:. 1 August 2024
4939:
4938:
4934:
4915:
4911:
4904:
4890:
4886:
4879:
4865:
4861:
4854:
4840:
4836:
4829:
4815:
4811:
4802:
4798:
4789:
4785:
4776:
4772:
4761:
4754:
4745:
4741:
4732:
4728:
4719:
4715:
4706:
4702:
4693:
4689:
4680:
4676:
4667:
4663:
4654:
4650:
4641:
4637:
4628:
4624:
4615:
4608:
4599:
4595:
4586:
4582:
4572:
4570:
4565:
4564:
4560:
4550:
4548:
4543:
4542:
4538:
4530:Denys L. Page,
4529:
4525:
4512:
4508:
4501:
4484:
4480:
4473:
4456:
4452:
4444:Denys L. Page,
4443:
4439:
4430:
4426:
4417:
4413:
4404:
4400:
4393:
4376:
4372:
4363:
4359:
4346:
4342:
4333:
4329:
4320:
4316:
4307:
4300:
4291:
4287:
4278:
4274:
4265:
4261:
4248:
4247:
4243:
4234:
4230:
4222:David Barrett,
4221:
4217:
4208:
4204:
4195:
4191:
4182:
4178:
4169:
4165:
4153:
4149:
4134:
4130:
4121:
4117:
4108:
4104:
4095:
4091:
4082:
4078:
4069:
4065:
4056:
4052:
4043:
4039:
4030:
4026:
4017:
4013:
4004:
4000:
3991:
3987:
3978:
3974:
3965:
3961:
3952:
3948:
3939:
3935:
3924:
3920:
3911:
3907:
3898:
3891:
3884:
3867:
3863:
3856:
3839:
3835:
3826:
3822:
3813:
3809:
3802:
3789:Hippolytus, in
3785:
3781:
3774:
3761:Hippolytus, in
3757:
3753:
3744:
3740:
3731:
3727:
3718:
3714:
3705:
3701:
3692:
3685:
3676:
3672:
3663:
3659:
3650:
3646:
3639:
3622:
3618:
3611:
3594:
3590:
3583:
3566:
3562:
3553:
3549:
3540:
3536:
3527:
3523:
3514:
3510:
3503:
3492:Aristophanes IV
3486:
3482:
3475:
3464:Aristophanes IV
3458:
3454:
3445:
3441:
3434:
3417:
3413:
3406:
3389:
3385:
3376:
3372:
3365:
3348:
3344:
3337:
3320:
3316:
3303:
3299:
3282:
3278:
3269:
3265:
3256:
3247:
3238:
3234:
3225:
3221:
3212:
3208:
3200:Denys L. Page,
3199:
3192:
3183:
3179:
3170:
3166:
3157:
3153:
3144:
3137:
3124:
3117:
3108:
3099:
3090:
3086:
3081:
3077:
3069:
3062:
3053:
3049:
3045:
3040:
3035:
3031:
2965:ΔáœÏÎżÎčÏ âáŒÎœ ጎÏÏÏ
2955:
2951:
2934:
2930:
2914:
2910:
2900:
2896:
2892:
2887:
2886:
2874:
2823:
2819:
2818:
2814:
2809:
2793:
2788:
2502:
2485:
2470:
2455:
2440:
2413:
2364:
2349:
2326:
2311:
2299:(before 429 BC)
2248:
2169:
1964:
1949:romantic drama
1924:romantic drama
1909:
1894:romantic drama
1879:
1823:
1793:
1763:
1733:
1703:
1647:
1554:
1484:iambic trimeter
1433:
1375:MS. Barocci 120
1291:
1286:
1276:
1274:
1237:Robert Browning
1165:par excellence,
1156:
1119:
1056:Melian massacre
1015:as an example (
965:
960:
958:
956:
954:
939:
936:
921:
919:
917:
915:
913:
911:
868:deus ex machina
843:
834:
832:
830:
828:
826:
654:
609:âAristophanes,
604:
601:
599:
597:
595:
593:
591:
589:
587:
581:
578:
576:
574:
572:
570:
568:
566:
564:
541:
538:
536:
530:
527:
525:
498:
495:
489:
486:
441:
390:
310:
294:intellectualism
235:Hellenistic Age
201:
197:
183:
174:
157:
144:
130:
97:
84:
79:
75:
64:
59:
56:
45:
33:
24:
17:
12:
11:
5:
9864:
9854:
9853:
9848:
9843:
9838:
9833:
9828:
9823:
9818:
9816:400s BC deaths
9813:
9811:480s BC births
9808:
9791:
9790:
9788:
9787:
9777:
9767:
9756:
9753:
9752:
9749:
9748:
9746:
9745:
9740:
9735:
9730:
9725:
9720:
9719:
9718:
9707:
9704:
9703:
9693:
9692:
9689:
9688:
9685:
9684:
9681:
9680:
9678:
9677:
9672:
9667:
9662:
9657:
9652:
9647:
9642:
9637:
9632:
9627:
9622:
9617:
9612:
9607:
9602:
9597:
9592:
9587:
9582:
9577:
9572:
9567:
9562:
9557:
9552:
9546:
9544:
9538:
9537:
9535:
9534:
9529:
9524:
9519:
9514:
9509:
9504:
9499:
9494:
9489:
9484:
9479:
9474:
9469:
9464:
9459:
9454:
9449:
9444:
9439:
9434:
9429:
9423:
9421:
9412:
9404:
9403:
9401:
9400:
9395:
9390:
9385:
9380:
9375:
9370:
9365:
9360:
9355:
9350:
9345:
9339:
9337:
9331:
9330:
9328:
9327:
9322:
9317:
9312:
9307:
9302:
9297:
9292:
9287:
9282:
9277:
9272:
9267:
9261:
9259:
9253:
9252:
9250:
9249:
9244:
9234:
9229:
9224:
9218:
9216:
9210:
9209:
9207:
9206:
9201:
9196:
9191:
9186:
9181:
9176:
9171:
9165:
9163:
9157:
9156:
9153:
9152:
9150:
9149:
9144:
9139:
9134:
9129:
9124:
9119:
9114:
9109:
9107:Megara Hyblaea
9104:
9099:
9094:
9089:
9087:Hybla Gereatis
9084:
9079:
9077:Heraclea Minoa
9074:
9069:
9064:
9059:
9054:
9049:
9044:
9039:
9034:
9029:
9023:
9021:
9015:
9014:
9012:
9011:
9006:
9001:
8996:
8991:
8986:
8981:
8976:
8971:
8966:
8961:
8956:
8951:
8946:
8941:
8936:
8931:
8926:
8921:
8916:
8911:
8906:
8901:
8896:
8891:
8886:
8881:
8875:
8873:
8864:
8854:
8853:
8850:
8849:
8843:
8835:
8834:
8831:
8830:
8827:
8826:
8824:
8823:
8821:Attic numerals
8818:
8816:Greek numerals
8813:
8811:Greek alphabet
8808:
8803:
8798:
8792:
8790:
8784:
8783:
8781:
8780:
8775:
8774:
8773:
8768:
8763:
8758:
8753:
8748:
8743:
8738:
8733:
8723:
8718:
8713:
8707:
8705:
8699:
8698:
8695:
8694:
8692:
8691:
8686:
8681:
8676:
8671:
8666:
8661:
8656:
8651:
8645:
8643:
8637:
8636:
8634:
8633:
8628:
8623:
8618:
8613:
8608:
8602:
8596:
8592:
8591:
8588:
8587:
8585:
8584:
8579:
8574:
8569:
8564:
8559:
8554:
8548:
8546:
8542:
8541:
8539:
8538:
8533:
8528:
8523:
8522:
8521:
8511:
8505:
8499:
8493:
8492:
8490:
8489:
8484:
8479:
8474:
8469:
8468:
8467:
8465:Musical system
8457:
8452:
8447:
8442:
8437:
8436:
8435:
8424:
8422:
8415:
8414:
8412:
8411:
8406:
8401:
8396:
8391:
8386:
8381:
8376:
8371:
8366:
8361:
8356:
8351:
8346:
8341:
8336:
8331:
8326:
8321:
8316:
8311:
8306:
8300:
8298:
8288:
8287:
8284:
8283:
8278:
8272:
8264:
8263:
8260:
8259:
8256:
8255:
8253:
8252:
8247:
8242:
8236:
8234:
8230:
8229:
8227:
8226:
8221:
8216:
8211:
8205:
8203:
8199:
8198:
8196:
8195:
8190:
8185:
8180:
8175:
8170:
8165:
8160:
8155:
8150:
8145:
8140:
8135:
8130:
8125:
8120:
8115:
8110:
8105:
8100:
8095:
8090:
8085:
8080:
8075:
8070:
8065:
8060:
8055:
8049:
8047:
8041:
8040:
8038:
8037:
8032:
8027:
8022:
8017:
8012:
8007:
8002:
7997:
7992:
7987:
7982:
7977:
7972:
7967:
7962:
7957:
7952:
7947:
7942:
7936:
7934:
7928:
7927:
7925:
7924:
7919:
7914:
7909:
7904:
7899:
7897:Mathematicians
7894:
7889:
7884:
7878:
7876:
7872:
7871:
7869:
7868:
7863:
7858:
7853:
7848:
7843:
7838:
7833:
7828:
7823:
7818:
7813:
7808:
7806:Kings of Argos
7802:
7800:
7794:
7793:
7781:
7780:
7768:
7767:
7764:
7763:
7760:
7759:
7757:
7756:
7751:
7746:
7741:
7736:
7731:
7726:
7721:
7716:
7711:
7706:
7701:
7696:
7691:
7686:
7681:
7676:
7671:
7666:
7664:Cretan archers
7661:
7656:
7651:
7646:
7645:
7644:
7634:
7628:
7626:
7620:
7619:
7616:
7615:
7613:
7612:
7607:
7601:
7599:
7593:
7592:
7590:
7589:
7584:
7579:
7573:
7571:
7565:
7564:
7562:
7561:
7556:
7551:
7546:
7541:
7536:
7530:
7528:
7522:
7521:
7519:
7518:
7513:
7508:
7503:
7498:
7493:
7488:
7482:
7476:
7470:
7469:
7467:
7466:
7463:Achaean League
7460:
7457:Euboean League
7454:
7448:
7445:Epirote League
7442:
7436:
7430:
7424:
7418:
7412:
7406:
7400:
7394:
7393:(c. 500â31 BC)
7388:
7375:
7362:
7356:
7343:
7325:
7323:
7321:Confederations
7312:
7311:
7309:
7308:
7303:
7298:
7293:
7288:
7283:
7278:
7273:
7268:
7263:
7257:
7255:
7251:
7250:
7248:
7247:
7245:Lissus (Crete)
7242:
7237:
7232:
7227:
7222:
7217:
7212:
7207:
7202:
7197:
7192:
7187:
7182:
7177:
7172:
7167:
7162:
7156:
7154:
7144:
7143:
7140:
7139:
7134:
7129:
7123:
7115:
7114:
7111:
7110:
7107:
7106:
7104:
7103:
7098:
7093:
7088:
7083:
7078:
7073:
7068:
7063:
7058:
7053:
7048:
7043:
7038:
7033:
7028:
7022:
7020:
7014:
7013:
7011:
7010:
7005:
7000:
6995:
6993:Archaic Greece
6990:
6985:
6980:
6975:
6969:
6967:
6959:
6958:
6955:
6954:
6949:
6943:
6935:
6934:
6932:
6931:
6925:
6922:
6921:
6918:Ancient Greece
6914:
6913:
6906:
6899:
6891:
6882:
6881:
6876:
6875:
6873:
6872:
6864:
6862:
6858:
6857:
6855:
6854:
6846:
6837:
6835:
6831:
6830:
6828:
6827:
6818:
6816:
6812:
6811:
6809:
6808:
6799:
6797:
6793:
6792:
6779:
6778:
6771:
6764:
6756:
6747:
6746:
6744:
6743:
6735:
6733:
6729:
6728:
6726:
6725:
6717:
6709:
6701:
6700:(Handel, 1727)
6693:
6684:
6682:
6678:
6677:
6675:
6674:
6666:
6664:
6660:
6659:
6657:
6656:
6651:
6646:
6641:
6636:
6631:
6626:
6617:
6611:
6609:
6605:
6604:
6591:
6590:
6583:
6576:
6568:
6559:
6558:
6556:
6555:
6547:
6539:
6530:
6528:
6524:
6523:
6521:
6520:
6513:
6505:
6503:
6499:
6498:
6496:
6495:
6486:
6484:
6480:
6479:
6477:
6476:
6468:
6459:
6457:
6453:
6452:
6450:
6449:
6441:
6433:
6425:
6417:
6413:Dionysus in 69
6408:
6406:
6402:
6401:
6399:
6398:
6390:
6382:
6378:The Bacchantes
6373:
6371:
6367:
6366:
6364:
6363:
6358:
6353:
6348:
6343:
6338:
6333:
6327:
6325:
6321:
6320:
6306:
6305:
6298:
6291:
6283:
6274:
6273:
6270:
6269:
6267:
6266:
6257:
6255:
6251:
6250:
6248:
6247:
6239:
6238:
6237:
6231:(1779, Gluck)
6224:
6216:
6208:
6200:
6191:
6189:
6182:
6174:
6173:
6170:
6169:
6167:
6166:
6159:
6151:
6149:
6145:
6144:
6142:
6141:
6134:
6126:
6124:
6120:
6119:
6117:
6116:
6108:
6106:
6102:
6101:
6099:
6098:
6089:
6087:
6083:
6082:
6080:
6079:
6070:
6068:
6064:
6063:
6061:
6060:
6051:
6049:
6042:
6034:
6033:
6031:
6030:
6024:
6018:
6012:
6006:
6000:
5993:
5991:
5984:
5983:
5964:
5963:
5956:
5949:
5941:
5935:
5932:
5931:
5919:
5918:
5916:
5915:
5908:
5901:
5894:
5887:
5880:
5873:
5866:
5859:
5852:
5845:
5838:
5831:
5824:
5816:
5814:
5808:
5807:
5805:
5804:
5797:
5790:
5783:
5776:
5769:
5762:
5755:
5748:
5741:
5734:
5727:
5724:The Suppliants
5720:
5713:
5706:
5699:
5692:
5685:
5678:
5670:
5668:
5664:
5663:
5655:
5654:
5647:
5640:
5632:
5626:
5625:
5613:
5612:
5611:
5590:
5548:
5542:
5534:
5529:
5524:
5509:
5504:
5499:
5494:
5484:
5462:
5447:
5438:
5428:
5415:
5414:
5409:
5404:
5398:
5394:
5391:
5390:
5385:
5380:
5374:
5373:
5362:
5361:
5359:
5358:External links
5356:
5354:
5353:
5344:
5338:
5325:
5319:
5306:
5300:
5287:
5277:(2): 389â400.
5264:
5258:
5245:
5239:
5226:
5217:
5211:
5195:
5189:
5173:
5167:
5154:
5142:
5133:
5127:
5114:
5108:
5092:"Introduction"
5087:
5081:
5068:
5055:
5036:
5030:
5017:
5008:
5002:
4989:
4983:
4966:
4964:
4961:
4959:
4958:
4932:
4909:
4902:
4884:
4877:
4859:
4852:
4834:
4827:
4809:
4796:
4783:
4770:
4752:
4739:
4726:
4713:
4709:Euripides: Ion
4700:
4687:
4674:
4668:M. Platnauer,
4661:
4648:
4635:
4631:Euripides: Ion
4622:
4606:
4593:
4580:
4558:
4536:
4523:
4506:
4499:
4478:
4471:
4450:
4437:
4424:
4411:
4398:
4391:
4370:
4357:
4340:
4334:L.P.E.Parker,
4327:
4314:
4308:L.P.E.Parker,
4298:
4285:
4272:
4266:L.P.E.Parker,
4259:
4241:
4228:
4215:
4202:
4189:
4176:
4163:
4147:
4128:
4115:
4102:
4089:
4076:
4063:
4050:
4037:
4024:
4011:
3998:
3985:
3972:
3959:
3946:
3933:
3918:
3905:
3889:
3882:
3861:
3854:
3833:
3820:
3807:
3800:
3779:
3772:
3751:
3738:
3725:
3712:
3699:
3683:
3670:
3657:
3644:
3637:
3616:
3609:
3588:
3581:
3560:
3547:
3534:
3521:
3508:
3501:
3480:
3473:
3452:
3439:
3432:
3411:
3404:
3383:
3370:
3363:
3342:
3335:
3314:
3297:
3276:
3263:
3245:
3232:
3219:
3206:
3190:
3177:
3164:
3160:Euripides: Ion
3151:
3135:
3125:L.P.E.Parker,
3115:
3097:
3084:
3075:
3073:, p. 148.
3060:
3046:
3044:
3041:
3039:
3038:
3029:
3027:
3026:
3003:
2996:
2989:
2982:
2975:
2968:
2949:
2928:
2908:
2893:
2891:
2888:
2885:
2884:
2811:
2810:
2808:
2805:
2792:
2789:
2787:
2786:
2779:
2772:
2765:
2758:
2751:
2744:
2737:
2730:
2723:
2716:
2709:
2702:
2695:
2688:
2681:
2674:
2667:
2660:
2653:
2646:
2639:
2632:
2625:
2618:
2611:
2604:
2597:
2590:
2583:
2576:
2569:
2562:
2555:
2548:
2541:
2528:
2521:
2514:
2506:
2501:
2500:
2474:
2459:
2444:
2429:
2417:
2402:
2390:
2378:
2368:
2357:Wise Melanippe
2353:
2338:
2330:
2315:
2300:
2292:
2276:
2264:
2252:
2237:
2225:
2213:
2203:
2194:
2168:
2165:
2164:
2163:
2157:
2147:
2129:
2123:
2111:
2110:
2107:
2105:
2100:
2098:
2095:
2087:
2086:
2083:
2080:
2075:
2073:
2070:
2062:
2061:
2055:
2052:
2047:
2044:
2041:
2033:
2032:
2029:
2026:
2021:
2018:
2015:
2007:
2006:
2003:
2000:
1995:
1993:
1990:
1982:
1981:
1978:
1975:
1970:
1967:
1959:
1951:
1950:
1947:
1944:
1939:
1937:
1934:
1926:
1925:
1922:
1919:
1914:
1912:
1904:
1896:
1895:
1892:
1889:
1884:
1882:
1874:
1866:
1865:
1862:
1859:
1854:
1851:
1848:
1840:
1839:
1836:
1833:
1828:
1826:
1818:
1810:
1809:
1806:
1803:
1798:
1796:
1788:
1780:
1779:
1776:
1773:
1768:
1766:
1758:
1755:The Suppliants
1750:
1749:
1746:
1743:
1738:
1736:
1728:
1720:
1719:
1716:
1713:
1708:
1706:
1698:
1690:
1689:
1686:
1683:
1678:
1675:
1672:
1664:
1663:
1660:
1657:
1652:
1650:
1642:
1634:
1633:
1630:
1627:
1622:
1619:
1616:
1608:
1607:
1601:
1598:
1593:
1590:
1587:
1579:
1578:
1575:
1572:
1569:
1566:
1563:
1553:
1550:
1459:terminus a quo
1432:
1429:
1315:Fragment of a
1290:
1287:
1285:
1282:
1258:Gilbert Murray
1249:Arthur Verrall
1245:Wine of Cyprus
1155:
1152:
1118:
1115:
1069:, each with a
934:
842:
839:
815:
814:
811:
808:
781:
780:
759:
738:
723:
719:The Suppliants
708:
685:archaic period
653:
650:
636:The Acharnians
617:
616:
613:
606:
605:
582:
551:
550:
547:
543:
542:
531:
508:
507:
504:
500:
499:
490:
458:The Acharnians
440:
437:
424:Life of Nicias
389:
386:
355:
354:
351:
348:
314:Salamis Island
309:
306:
204:) was a Greek
186:
185:
180:
176:
175:
173:
172:
169:
165:
163:
159:
158:
156:
155:
147:
133:
119:
111:
102:
100:
94:
93:
90:
86:
85:
80:
70:
66:
65:
60:
51:
47:
46:
43:
35:
34:
31:
21:2930 Euripides
15:
9:
6:
4:
3:
2:
9863:
9852:
9849:
9847:
9844:
9842:
9839:
9837:
9834:
9832:
9829:
9827:
9824:
9822:
9819:
9817:
9814:
9812:
9809:
9807:
9804:
9803:
9801:
9786:
9778:
9776:
9772:
9768:
9766:
9758:
9757:
9754:
9744:
9741:
9739:
9736:
9734:
9731:
9729:
9726:
9724:
9721:
9717:
9714:
9713:
9712:
9709:
9708:
9705:
9698:
9694:
9676:
9673:
9671:
9668:
9666:
9663:
9661:
9658:
9656:
9653:
9651:
9648:
9646:
9643:
9641:
9638:
9636:
9633:
9631:
9628:
9626:
9623:
9621:
9618:
9616:
9613:
9611:
9608:
9606:
9603:
9601:
9598:
9596:
9593:
9591:
9588:
9586:
9583:
9581:
9578:
9576:
9573:
9571:
9568:
9566:
9563:
9561:
9558:
9556:
9553:
9551:
9548:
9547:
9545:
9539:
9533:
9530:
9528:
9525:
9523:
9520:
9518:
9515:
9513:
9510:
9508:
9505:
9503:
9500:
9498:
9495:
9493:
9490:
9488:
9485:
9483:
9480:
9478:
9475:
9473:
9470:
9468:
9465:
9463:
9460:
9458:
9455:
9453:
9450:
9448:
9445:
9443:
9440:
9438:
9435:
9433:
9430:
9428:
9425:
9424:
9422:
9416:
9413:
9409:
9405:
9399:
9396:
9394:
9391:
9389:
9386:
9384:
9381:
9379:
9376:
9374:
9371:
9369:
9366:
9364:
9361:
9359:
9356:
9354:
9351:
9349:
9346:
9344:
9341:
9340:
9338:
9336:
9332:
9326:
9323:
9321:
9318:
9316:
9313:
9311:
9308:
9306:
9303:
9301:
9298:
9296:
9293:
9291:
9288:
9286:
9285:Hemeroscopion
9283:
9281:
9278:
9276:
9273:
9271:
9268:
9266:
9263:
9262:
9260:
9258:
9254:
9248:
9245:
9242:
9238:
9235:
9233:
9230:
9228:
9225:
9223:
9220:
9219:
9217:
9215:
9211:
9205:
9202:
9200:
9197:
9195:
9192:
9190:
9187:
9185:
9182:
9180:
9177:
9175:
9172:
9170:
9167:
9166:
9164:
9162:
9158:
9148:
9145:
9143:
9140:
9138:
9135:
9133:
9130:
9128:
9125:
9123:
9120:
9118:
9115:
9113:
9110:
9108:
9105:
9103:
9100:
9098:
9095:
9093:
9090:
9088:
9085:
9083:
9080:
9078:
9075:
9073:
9070:
9068:
9065:
9063:
9060:
9058:
9055:
9053:
9050:
9048:
9045:
9043:
9040:
9038:
9035:
9033:
9030:
9028:
9025:
9024:
9022:
9020:
9016:
9010:
9007:
9005:
9002:
9000:
8997:
8995:
8992:
8990:
8987:
8985:
8982:
8980:
8977:
8975:
8972:
8970:
8967:
8965:
8962:
8960:
8957:
8955:
8952:
8950:
8947:
8945:
8942:
8940:
8937:
8935:
8932:
8930:
8927:
8925:
8922:
8920:
8917:
8915:
8912:
8910:
8907:
8905:
8902:
8900:
8897:
8895:
8892:
8890:
8887:
8885:
8882:
8880:
8877:
8876:
8874:
8868:
8865:
8863:
8862:Magna Graecia
8859:
8855:
8848:
8845:
8844:
8840:
8836:
8822:
8819:
8817:
8814:
8812:
8809:
8807:
8804:
8802:
8799:
8797:
8794:
8793:
8791:
8789:
8785:
8779:
8776:
8772:
8769:
8767:
8764:
8762:
8759:
8757:
8754:
8752:
8749:
8747:
8744:
8742:
8739:
8737:
8736:Arcadocypriot
8734:
8732:
8729:
8728:
8727:
8724:
8722:
8719:
8717:
8714:
8712:
8709:
8708:
8706:
8704:
8700:
8690:
8689:Zeus, Olympia
8687:
8685:
8682:
8680:
8677:
8675:
8674:Hera, Olympia
8672:
8670:
8667:
8665:
8662:
8660:
8657:
8655:
8652:
8650:
8647:
8646:
8644:
8642:
8638:
8632:
8629:
8627:
8624:
8622:
8619:
8617:
8614:
8612:
8609:
8607:
8604:
8603:
8600:
8597:
8593:
8583:
8580:
8578:
8577:Mount Olympus
8575:
8573:
8570:
8568:
8565:
8563:
8560:
8558:
8555:
8553:
8550:
8549:
8547:
8545:Sacred places
8543:
8537:
8534:
8532:
8529:
8527:
8524:
8520:
8517:
8516:
8515:
8512:
8510:
8507:
8506:
8503:
8500:
8498:
8494:
8488:
8485:
8483:
8480:
8478:
8475:
8473:
8470:
8466:
8463:
8462:
8461:
8458:
8456:
8453:
8451:
8448:
8446:
8443:
8441:
8438:
8434:
8431:
8430:
8429:
8426:
8425:
8423:
8420:
8416:
8410:
8407:
8405:
8402:
8400:
8397:
8395:
8392:
8390:
8387:
8385:
8382:
8380:
8377:
8375:
8372:
8370:
8369:Olympic Games
8367:
8365:
8362:
8360:
8359:Homosexuality
8357:
8355:
8352:
8350:
8347:
8345:
8342:
8340:
8337:
8335:
8332:
8330:
8327:
8325:
8322:
8320:
8317:
8315:
8312:
8310:
8307:
8305:
8302:
8301:
8299:
8297:
8293:
8289:
8282:
8279:
8277:
8274:
8273:
8269:
8265:
8251:
8248:
8246:
8243:
8241:
8238:
8237:
8235:
8231:
8225:
8222:
8220:
8217:
8215:
8212:
8210:
8207:
8206:
8204:
8200:
8194:
8191:
8189:
8186:
8184:
8181:
8179:
8176:
8174:
8171:
8169:
8166:
8164:
8161:
8159:
8156:
8154:
8151:
8149:
8146:
8144:
8141:
8139:
8136:
8134:
8131:
8129:
8126:
8124:
8121:
8119:
8116:
8114:
8111:
8109:
8106:
8104:
8101:
8099:
8096:
8094:
8091:
8089:
8086:
8084:
8081:
8079:
8076:
8074:
8071:
8069:
8066:
8064:
8061:
8059:
8056:
8054:
8051:
8050:
8048:
8046:
8042:
8036:
8033:
8031:
8028:
8026:
8023:
8021:
8018:
8016:
8013:
8011:
8008:
8006:
8003:
8001:
7998:
7996:
7993:
7991:
7988:
7986:
7983:
7981:
7978:
7976:
7973:
7971:
7968:
7966:
7963:
7961:
7958:
7956:
7953:
7951:
7948:
7946:
7943:
7941:
7938:
7937:
7935:
7933:
7929:
7923:
7920:
7918:
7915:
7913:
7910:
7908:
7905:
7903:
7900:
7898:
7895:
7893:
7890:
7888:
7885:
7883:
7880:
7879:
7877:
7873:
7867:
7864:
7862:
7859:
7857:
7854:
7852:
7849:
7847:
7844:
7842:
7839:
7837:
7834:
7832:
7829:
7827:
7824:
7822:
7819:
7817:
7814:
7812:
7809:
7807:
7804:
7803:
7801:
7799:
7795:
7791:
7786:
7782:
7778:
7773:
7769:
7755:
7752:
7750:
7747:
7745:
7742:
7740:
7737:
7735:
7732:
7730:
7729:Seleucid army
7727:
7725:
7722:
7720:
7717:
7715:
7712:
7710:
7707:
7705:
7702:
7700:
7697:
7695:
7692:
7690:
7687:
7685:
7682:
7680:
7677:
7675:
7672:
7670:
7667:
7665:
7662:
7660:
7657:
7655:
7652:
7650:
7647:
7643:
7640:
7639:
7638:
7635:
7633:
7630:
7629:
7627:
7625:
7621:
7611:
7608:
7606:
7603:
7602:
7600:
7598:
7594:
7588:
7585:
7583:
7580:
7578:
7575:
7574:
7572:
7570:
7566:
7560:
7557:
7555:
7552:
7550:
7547:
7545:
7542:
7540:
7537:
7535:
7532:
7531:
7529:
7527:
7523:
7517:
7514:
7512:
7509:
7507:
7504:
7502:
7499:
7497:
7494:
7492:
7489:
7487:
7484:
7483:
7480:
7477:
7475:
7471:
7464:
7461:
7458:
7455:
7452:
7449:
7446:
7443:
7440:
7437:
7434:
7431:
7428:
7425:
7422:
7419:
7416:
7413:
7410:
7407:
7404:
7403:Delian League
7401:
7398:
7395:
7392:
7389:
7379:
7376:
7366:
7363:
7360:
7359:Ionian League
7357:
7347:
7344:
7340: 560 BC
7330:
7327:
7326:
7324:
7322:
7317:
7313:
7307:
7304:
7302:
7299:
7297:
7294:
7292:
7289:
7287:
7284:
7282:
7279:
7277:
7274:
7272:
7269:
7267:
7264:
7262:
7259:
7258:
7256:
7252:
7246:
7243:
7241:
7238:
7236:
7233:
7231:
7228:
7226:
7223:
7221:
7218:
7216:
7213:
7211:
7208:
7206:
7203:
7201:
7198:
7196:
7193:
7191:
7188:
7186:
7183:
7181:
7178:
7176:
7173:
7171:
7168:
7166:
7163:
7161:
7158:
7157:
7155:
7153:
7149:
7145:
7138:
7135:
7133:
7130:
7128:
7125:
7124:
7120:
7116:
7102:
7099:
7097:
7094:
7092:
7089:
7087:
7084:
7082:
7081:Magna Graecia
7079:
7077:
7074:
7072:
7069:
7067:
7064:
7062:
7059:
7057:
7054:
7052:
7049:
7047:
7044:
7042:
7039:
7037:
7034:
7032:
7029:
7027:
7024:
7023:
7021:
7019:
7015:
7009:
7006:
7004:
7001:
6999:
6996:
6994:
6991:
6989:
6986:
6984:
6981:
6979:
6976:
6974:
6971:
6970:
6968:
6964:
6960:
6953:
6950:
6948:
6945:
6944:
6940:
6936:
6930:
6927:
6926:
6923:
6919:
6912:
6907:
6905:
6900:
6898:
6893:
6892:
6889:
6871:
6870:
6866:
6865:
6863:
6859:
6852:
6851:
6847:
6844:
6843:
6839:
6838:
6836:
6832:
6825:
6824:
6820:
6819:
6817:
6813:
6806:
6805:
6801:
6800:
6798:
6794:
6790:
6786:
6785:
6777:
6772:
6770:
6765:
6763:
6758:
6757:
6754:
6742:
6741:
6737:
6736:
6734:
6730:
6724:(Talma, 1962)
6723:
6722:
6721:The Alcestiad
6718:
6715:
6714:
6710:
6708:(Gluck, 1767)
6707:
6706:
6702:
6699:
6698:
6694:
6692:(Lully, 1674)
6691:
6690:
6686:
6685:
6683:
6679:
6673:
6672:
6668:
6667:
6665:
6661:
6655:
6652:
6650:
6647:
6645:
6642:
6640:
6637:
6635:
6632:
6630:
6627:
6625:
6621:
6618:
6616:
6613:
6612:
6610:
6606:
6602:
6598:
6597:
6589:
6584:
6582:
6577:
6575:
6570:
6569:
6566:
6553:
6552:
6548:
6545:
6544:
6540:
6537:
6536:
6532:
6531:
6529:
6525:
6519:
6518:
6514:
6512:
6511:
6507:
6506:
6504:
6500:
6493:
6492:
6488:
6487:
6485:
6481:
6474:
6473:
6472:The Bassarids
6469:
6466:
6465:
6461:
6460:
6458:
6454:
6447:
6446:
6442:
6439:
6438:
6434:
6431:
6430:
6426:
6423:
6422:
6418:
6415:
6414:
6410:
6409:
6407:
6403:
6396:
6395:
6391:
6388:
6387:
6383:
6380:
6379:
6375:
6374:
6372:
6368:
6362:
6359:
6357:
6354:
6352:
6349:
6347:
6344:
6342:
6339:
6337:
6334:
6332:
6329:
6328:
6326:
6322:
6317:
6313:
6312:
6304:
6299:
6297:
6292:
6290:
6285:
6284:
6281:
6264:
6263:
6259:
6258:
6256:
6252:
6245:
6244:
6240:
6236:
6233:
6232:
6230:
6229:
6225:
6222:
6221:
6217:
6214:
6213:
6209:
6207:(1724, Vinci)
6206:
6205:
6201:
6198:
6197:
6193:
6192:
6190:
6186:
6183:
6181:
6180:
6175:
6165:
6164:
6160:
6158:
6157:
6153:
6152:
6150:
6146:
6140:
6139:
6135:
6133:
6132:
6128:
6127:
6125:
6121:
6115:
6114:
6110:
6109:
6107:
6103:
6096:
6095:
6091:
6090:
6088:
6084:
6077:
6076:
6072:
6071:
6069:
6065:
6059:(1774, Gluck)
6058:
6057:
6053:
6052:
6050:
6046:
6043:
6041:
6040:
6035:
6028:
6025:
6022:
6019:
6016:
6013:
6010:
6007:
6004:
6001:
5998:
5995:
5994:
5992:
5989:
5985:
5981:
5977:
5976:
5971:
5970:
5962:
5957:
5955:
5950:
5948:
5943:
5942:
5939:
5933:
5926:
5914:
5913:
5909:
5907:
5906:
5902:
5900:
5899:
5895:
5893:
5892:
5888:
5886:
5885:
5881:
5879:
5878:
5874:
5872:
5871:
5867:
5865:
5864:
5860:
5858:
5857:
5853:
5851:
5850:
5846:
5844:
5843:
5839:
5837:
5836:
5832:
5830:
5829:
5825:
5823:
5822:
5818:
5817:
5815:
5809:
5803:
5802:
5798:
5796:
5795:
5791:
5789:
5788:
5784:
5782:
5781:
5777:
5775:
5774:
5770:
5768:
5767:
5763:
5761:
5760:
5756:
5754:
5753:
5749:
5747:
5746:
5742:
5740:
5739:
5735:
5733:
5732:
5728:
5726:
5725:
5721:
5719:
5718:
5714:
5712:
5711:
5707:
5705:
5704:
5700:
5698:
5697:
5693:
5691:
5690:
5686:
5684:
5683:
5679:
5677:
5676:
5672:
5671:
5669:
5665:
5661:
5653:
5648:
5646:
5641:
5639:
5634:
5633:
5630:
5624:
5620:
5619:
5614:
5609:
5608:
5604:
5603:
5601:
5597:
5594:
5591:
5588:
5584:
5580:
5576:
5572:
5568:
5564:
5560:
5556:
5552:
5549:
5546:
5543:
5541:
5540:
5535:
5533:
5530:
5528:
5525:
5523:
5519:
5516:
5510:
5508:
5505:
5503:
5500:
5498:
5495:
5492:
5488:
5485:
5482:
5478:
5474:
5470:
5466:
5463:
5455:
5451:
5448:
5446:
5442:
5439:
5436:
5432:
5429:
5427:
5423:
5420:
5419:
5413:
5410:
5408:
5405:
5403:
5400:
5399:
5397:
5389:
5386:
5384:
5381:
5379:
5376:
5375:
5370:
5365:
5350:
5345:
5341:
5335:
5331:
5326:
5322:
5320:0-415-26028-0
5316:
5312:
5307:
5303:
5301:0-8223-1360-X
5297:
5293:
5288:
5284:
5280:
5276:
5272:
5271:
5265:
5261:
5259:0-415-01025-X
5255:
5251:
5246:
5242:
5240:9781603840279
5236:
5232:
5227:
5223:
5218:
5214:
5212:9781258337124
5208:
5204:
5200:
5196:
5192:
5190:0-7156-1721-4
5186:
5182:
5178:
5174:
5170:
5168:90-04-09926-3
5164:
5160:
5155:
5151:
5147:
5143:
5139:
5134:
5130:
5128:0-472-10230-3
5124:
5120:
5115:
5111:
5109:0-413-71650-3
5105:
5101:
5097:
5093:
5088:
5084:
5082:0-19-814167-X
5078:
5074:
5069:
5064:
5063:
5056:
5052:
5048:
5044:
5043:
5037:
5033:
5027:
5023:
5018:
5014:
5009:
5005:
5003:9781009300124
4999:
4995:
4990:
4986:
4980:
4976:
4972:
4968:
4967:
4946:
4942:
4936:
4928:
4924:
4920:
4913:
4905:
4899:
4895:
4888:
4880:
4874:
4870:
4863:
4855:
4853:0-85668-621-2
4849:
4845:
4838:
4830:
4828:0-85668-619-0
4824:
4820:
4813:
4806:
4800:
4793:
4787:
4780:
4774:
4766:
4759:
4757:
4749:
4746:Moses Hadas,
4743:
4736:
4730:
4723:
4717:
4710:
4704:
4697:
4691:
4684:
4678:
4671:
4665:
4658:
4652:
4645:
4639:
4632:
4626:
4619:
4613:
4611:
4603:
4597:
4590:
4584:
4568:
4562:
4546:
4540:
4533:
4527:
4520:
4516:
4515:Vit.Dec.Orat.
4510:
4502:
4500:9780674995604
4496:
4492:
4489:
4482:
4474:
4472:9780674995604
4468:
4464:
4461:
4454:
4447:
4441:
4435:, pp. 411â13.
4434:
4428:
4421:
4415:
4408:
4402:
4394:
4392:9780674995574
4388:
4384:
4381:
4374:
4367:
4361:
4354:
4350:
4344:
4337:
4331:
4324:
4318:
4311:
4305:
4303:
4295:
4292:S. Philippo,
4289:
4282:
4276:
4269:
4263:
4255:
4253:
4245:
4238:
4232:
4225:
4219:
4212:
4206:
4199:
4193:
4186:
4180:
4173:
4167:
4160:
4156:
4151:
4143:
4139:
4132:
4125:
4119:
4112:
4106:
4099:
4093:
4086:
4080:
4073:
4070:Moses Hadas,
4067:
4060:
4054:
4047:
4041:
4034:
4031:Moses Hadas,
4028:
4021:
4015:
4008:
4005:Moses Hadas,
4002:
3995:
3989:
3982:
3976:
3969:
3963:
3956:
3950:
3943:
3937:
3931:
3927:
3922:
3915:
3909:
3902:
3896:
3894:
3885:
3883:9780674995741
3879:
3875:
3872:
3865:
3857:
3855:9780674995741
3851:
3847:
3844:
3837:
3830:
3824:
3817:
3814:Moses Hadas,
3811:
3803:
3801:9780674995338
3797:
3793:
3790:
3783:
3775:
3773:9780674995338
3769:
3765:
3762:
3755:
3748:
3742:
3735:
3729:
3722:
3716:
3709:
3703:
3696:
3690:
3688:
3680:
3674:
3667:
3661:
3654:
3648:
3640:
3638:9780674995574
3634:
3630:
3627:
3620:
3612:
3610:9780674995604
3606:
3602:
3599:
3592:
3584:
3582:9780674995604
3578:
3574:
3571:
3564:
3557:
3551:
3544:
3538:
3531:
3525:
3518:
3515:Moses Hadas,
3512:
3504:
3498:
3494:
3491:
3484:
3476:
3470:
3466:
3463:
3456:
3449:
3443:
3435:
3429:
3425:
3422:
3415:
3407:
3401:
3397:
3394:
3387:
3380:
3374:
3366:
3360:
3356:
3353:
3346:
3338:
3332:
3328:
3325:
3318:
3311:
3307:
3301:
3294:
3293:0-14-044929-9
3290:
3286:
3280:
3273:
3267:
3260:
3254:
3252:
3250:
3242:
3236:
3229:
3223:
3216:
3210:
3203:
3197:
3195:
3187:
3184:Moses Hadas,
3181:
3174:
3168:
3161:
3155:
3148:
3145:Moses Hadas,
3142:
3140:
3132:
3128:
3122:
3120:
3112:
3109:Moses Hadas,
3106:
3104:
3102:
3094:
3088:
3079:
3072:
3067:
3065:
3057:
3051:
3047:
3033:
3024:
3008:
3004:
2997:
2990:
2983:
2976:
2969:
2962:
2961:
2953:
2946:
2942:
2938:
2932:
2925:
2922:
2918:
2912:
2905:
2898:
2894:
2880:
2871:
2865:
2856:
2855:Ancient Greek
2850:
2816:
2812:
2804:
2802:
2798:
2785:
2784:
2780:
2778:
2777:
2773:
2771:
2770:
2766:
2764:
2763:
2759:
2757:
2756:
2752:
2750:
2749:
2745:
2743:
2742:
2738:
2736:
2735:
2731:
2729:
2728:
2724:
2722:
2721:
2717:
2715:
2714:
2710:
2708:
2707:
2703:
2701:
2700:
2696:
2694:
2693:
2689:
2687:
2686:
2682:
2680:
2679:
2675:
2673:
2672:
2668:
2666:
2665:
2661:
2659:
2658:
2654:
2652:
2651:
2647:
2645:
2644:
2640:
2638:
2637:
2633:
2631:
2630:
2626:
2624:
2623:
2619:
2617:
2616:
2612:
2610:
2609:
2605:
2603:
2602:
2598:
2596:
2595:
2591:
2589:
2588:
2584:
2582:
2581:
2577:
2575:
2574:
2570:
2568:
2567:
2563:
2561:
2560:
2556:
2554:
2553:
2549:
2547:
2546:
2542:
2540:
2539:
2534:
2533:
2529:
2527:
2526:
2522:
2520:
2519:
2515:
2513:
2512:
2508:
2507:
2505:
2499:
2498:
2493:
2492:
2486: 405 BC
2480:
2479:
2475:
2471: 410 BC
2465:
2464:
2460:
2456: 410 BC
2450:
2449:
2445:
2441: 410 BC
2435:
2434:
2430:
2427:
2424:(412 BC with
2423:
2422:
2418:
2414: 412 BC
2408:
2407:
2403:
2400:
2396:
2395:
2391:
2388:
2385:(415 BC with
2384:
2383:
2379:
2376:
2373:(415 BC with
2372:
2369:
2365: 420 BC
2359:
2358:
2354:
2350: 420 BC
2344:
2343:
2339:
2336:
2335:
2331:
2327: 425 BC
2321:
2320:
2316:
2312: 430 BC
2306:
2305:
2301:
2298:
2297:
2293:
2290:
2286:
2282:
2281:
2277:
2274:
2271:(431 BC with
2270:
2269:
2265:
2262:
2259:(431 BC with
2258:
2257:
2253:
2249: 435 BC
2243:
2242:
2238:
2235:
2231:
2230:
2226:
2223:
2220:(438 BC with
2219:
2218:
2214:
2211:
2208:(438 BC with
2207:
2204:
2201:
2200:
2196:
2195:
2193:
2190:
2188:
2184:
2179:
2177:
2176:
2161:
2158:
2155:
2151:
2148:
2145:
2141:
2137:
2133:
2130:
2127:
2124:
2121:
2118:
2117:
2116:
2108:
2106:
2104:
2101:
2099:
2096:
2094:
2093:
2089:
2088:
2084:
2081:
2079:
2076:
2074:
2071:
2069:
2068:
2064:
2063:
2060:
2056:
2053:
2051:
2048:
2045:
2042:
2040:
2039:
2035:
2034:
2030:
2027:
2025:
2022:
2019:
2016:
2014:
2013:
2009:
2008:
2004:
2001:
1999:
1996:
1994:
1991:
1989:
1988:
1984:
1983:
1979:
1976:
1974:
1971:
1968:
1960:
1958:
1957:
1953:
1952:
1948:
1945:
1943:
1940:
1938:
1935:
1933:
1932:
1928:
1927:
1923:
1920:
1918:
1915:
1913:
1905:
1903:
1902:
1898:
1897:
1893:
1890:
1888:
1885:
1883:
1875:
1873:
1872:
1868:
1867:
1863:
1860:
1858:
1855:
1852:
1849:
1847:
1846:
1842:
1841:
1837:
1834:
1832:
1829:
1827:
1819:
1817:
1816:
1812:
1811:
1807:
1804:
1802:
1799:
1797:
1789:
1787:
1786:
1782:
1781:
1777:
1774:
1772:
1769:
1767:
1759:
1757:
1756:
1752:
1751:
1747:
1744:
1742:
1739:
1737:
1729:
1727:
1726:
1722:
1721:
1717:
1714:
1712:
1709:
1707:
1699:
1697:
1696:
1692:
1691:
1687:
1684:
1682:
1679:
1676:
1673:
1671:
1670:
1666:
1665:
1661:
1658:
1656:
1653:
1651:
1643:
1641:
1640:
1636:
1635:
1631:
1628:
1626:
1623:
1620:
1617:
1615:
1614:
1610:
1609:
1606:
1602:
1599:
1597:
1594:
1591:
1588:
1586:
1585:
1581:
1580:
1576:
1573:
1570:
1567:
1564:
1561:
1560:
1549:
1547:
1543:
1539:
1534:
1529:
1527:
1526:
1521:
1517:
1512:
1510:
1506:
1502:
1497:
1494:
1489:
1485:
1480:
1478:
1474:
1470:
1466:
1465:
1460:
1456:
1455:
1450:
1446:
1442:
1438:
1428:
1427:
1425:
1419:
1416:
1412:
1408:
1403:
1401:
1397:
1393:
1389:
1385:
1376:
1371:
1367:
1365:
1361:
1356:
1352:
1347:
1342:
1340:
1336:
1327:
1326:
1321:
1318:
1313:
1309:
1306:
1301:
1295:
1280:
1277:
1270:
1268:
1262:
1259:
1254:
1250:
1246:
1242:
1239:and his wife
1238:
1234:
1229:
1225:
1221:
1217:
1213:
1209:
1205:
1200:
1198:
1194:
1190:
1189:
1184:
1183:
1175:
1174:
1170:
1166:
1159:
1151:
1149:
1145:
1144:
1139:
1138:poetic meters
1131:
1127:
1123:
1114:
1112:
1108:
1104:
1098:
1096:
1092:
1088:
1087:
1082:
1081:
1076:
1072:
1068:
1067:City Dionysia
1063:
1061:
1057:
1053:
1049:
1048:
1043:
1042:
1036:
1030:
1027:
1023:
1018:
1014:
1013:
1004:
1003:
998:
994:
990:
985:
981:
979:
978:
970:
968:
963:
950:
948:
947:
933:
928:
924:
907:
905:
904:
899:
895:
894:
889:
884:
879:
877:
873:
869:
865:
861:
857:
853:
849:
837:
822:
820:
812:
809:
806:
805:
804:
802:
798:
794:
790:
786:
778:
777:
772:
771:
766:
765:
760:
757:
756:
751:
750:
745:
744:
739:
736:
735:
730:
729:
724:
721:
720:
715:
714:
709:
706:
705:
700:
699:
694:
693:
692:
690:
689:classical age
686:
682:
677:
675:
674:
669:
668:
663:
659:
658:City Dionysia
649:
647:
646:
641:
637:
632:
628:
624:
614:
612:
608:
607:
603:
583:
580:
560:
559:
556:
548:
545:
544:
540:
532:
529:
521:
520:
517:
515:
505:
502:
501:
497:
491:
488:
482:
481:
478:
476:
472:
471:
466:
465:
460:
459:
454:
450:
446:
436:
434:
430:
425:
421:
417:
413:
409:
405:
401:
397:
396:
388:A fabled life
382:
377:
371:
367:
362:
358:
352:
349:
346:
345:
344:
341:
339:
335:
331:
327:
323:
319:
315:
305:
303:
299:
295:
291:
286:
284:
280:
276:
272:
271:
266:
265:
260:
256:
250:
248:
244:
240:
236:
231:
230:
225:
224:
219:
215:
212:. Along with
211:
207:
202: 406 BC
192:
181:
177:
170:
167:
166:
164:
160:
153:
152:
148:
145: 415 BC
139:
138:
134:
131: 420 BC
125:
124:
120:
117:
116:
112:
109:
108:
104:
103:
101:
95:
91:
87:
83:
76: 406 BC
71:
67:
63:
57: 480 BC
52:
48:
41:
36:
29:
26:
22:
9846:Tragic poets
9580:Dionysopolis
9550:Abonoteichos
9502:Pantikapaion
9092:Hybla Heraea
8428:Architecture
8384:Prostitution
8082:
8073:Aristophanes
7932:Philosophers
7902:Philosophers
7734:Spartan army
7465:(280â146 BC)
7453:(338â322 BC)
7447:(370â168 BC)
7435:(374â196 BC)
7429:(378â355 BC)
7411:(430â348 BC)
7405:(478â404 BC)
7399:(499â449 BC)
7086:Peloponnesus
7008:Roman Greece
6867:
6850:Women of Owu
6848:
6840:
6821:
6802:
6788:
6782:
6738:
6719:
6711:
6703:
6695:
6687:
6669:
6600:
6594:
6549:
6541:
6533:
6515:
6508:
6489:
6470:
6462:
6443:
6435:
6427:
6419:
6411:
6392:
6384:
6376:
6315:
6309:
6260:
6241:
6226:
6218:
6210:
6202:
6194:
6177:
6161:
6154:
6136:
6129:
6111:
6092:
6073:
6054:
6037:
6027:Chrysothemis
6011:(stepfather)
6003:Clytemnestra
5979:
5973:
5967:
5910:
5903:
5896:
5889:
5882:
5875:
5868:
5861:
5854:
5847:
5840:
5833:
5826:
5819:
5799:
5792:
5785:
5778:
5771:
5764:
5757:
5750:
5743:
5736:
5729:
5722:
5715:
5708:
5701:
5694:
5687:
5680:
5673:
5667:Extant plays
5659:
5623:Academia.edu
5617:
5605:
5550:
5538:
5464:
5402:Online books
5396:By Euripides
5395:
5378:Online books
5368:
5348:
5329:
5310:
5291:
5274:
5268:
5249:
5230:
5221:
5202:
5180:
5158:
5149:
5137:
5118:
5095:
5072:
5061:
5041:
5021:
5012:
4993:
4974:
4949:. Retrieved
4944:
4935:
4918:
4912:
4893:
4887:
4868:
4862:
4843:
4837:
4818:
4812:
4804:
4799:
4791:
4786:
4778:
4773:
4764:
4747:
4742:
4734:
4729:
4721:
4716:
4708:
4703:
4695:
4690:
4682:
4677:
4669:
4664:
4656:
4651:
4643:
4638:
4630:
4625:
4617:
4601:
4596:
4588:
4583:
4571:. Retrieved
4561:
4549:. Retrieved
4539:
4531:
4526:
4518:
4514:
4509:
4491:
4487:
4481:
4463:
4459:
4453:
4445:
4440:
4432:
4427:
4419:
4414:
4406:
4401:
4383:
4379:
4373:
4365:
4360:
4352:
4348:
4343:
4335:
4330:
4322:
4317:
4309:
4293:
4288:
4280:
4275:
4267:
4262:
4251:
4244:
4236:
4231:
4223:
4218:
4210:
4205:
4197:
4192:
4184:
4179:
4171:
4166:
4158:
4154:
4150:
4144:(3): 160â64.
4141:
4137:
4131:
4123:
4118:
4110:
4105:
4097:
4092:
4084:
4079:
4071:
4066:
4058:
4053:
4045:
4040:
4032:
4027:
4019:
4014:
4006:
4001:
3993:
3988:
3980:
3975:
3967:
3962:
3954:
3949:
3941:
3936:
3925:
3921:
3913:
3908:
3900:
3874:
3873:Euripides IV
3870:
3864:
3846:
3845:Euripides IV
3842:
3836:
3828:
3823:
3815:
3810:
3792:
3791:Euripides II
3788:
3782:
3764:
3763:Euripides II
3760:
3754:
3746:
3741:
3733:
3728:
3720:
3715:
3707:
3702:
3694:
3678:
3673:
3665:
3660:
3652:
3647:
3629:
3625:
3619:
3601:
3597:
3591:
3573:
3569:
3563:
3555:
3550:
3542:
3537:
3529:
3524:
3516:
3511:
3493:
3489:
3483:
3465:
3461:
3455:
3447:
3442:
3424:
3420:
3414:
3396:
3392:
3386:
3378:
3373:
3355:
3351:
3345:
3327:
3323:
3317:
3309:
3305:
3300:
3284:
3279:
3271:
3266:
3258:
3240:
3235:
3227:
3222:
3214:
3209:
3201:
3185:
3180:
3172:
3167:
3159:
3154:
3146:
3126:
3110:
3092:
3087:
3078:
3055:
3050:
3032:
3022:
3009:). The word
2952:
2944:
2940:
2936:
2931:
2923:
2920:
2916:
2911:
2903:
2897:
2815:
2800:
2796:
2794:
2781:
2774:
2767:
2760:
2753:
2746:
2739:
2732:
2727:Rhadamanthys
2725:
2718:
2711:
2704:
2697:
2690:
2683:
2676:
2669:
2662:
2655:
2648:
2641:
2634:
2627:
2620:
2613:
2606:
2599:
2592:
2585:
2578:
2571:
2564:
2557:
2550:
2543:
2536:
2530:
2523:
2516:
2509:
2503:
2495:
2489:
2476:
2461:
2446:
2431:
2425:
2419:
2404:
2399:Trojan Women
2398:
2392:
2387:Trojan Women
2386:
2380:
2375:Trojan Women
2374:
2370:
2355:
2340:
2332:
2317:
2302:
2294:
2288:
2284:
2278:
2272:
2266:
2260:
2254:
2239:
2233:
2229:Cretan Women
2227:
2221:
2215:
2209:
2205:
2197:
2191:
2186:
2180:
2173:
2170:
2159:
2149:
2144:Transmission
2139:
2135:
2131:
2125:
2119:
2114:
2102:
2090:
2077:
2065:
2058:
2049:
2036:
2023:
2010:
1997:
1985:
1972:
1954:
1941:
1929:
1916:
1899:
1886:
1869:
1856:
1843:
1830:
1813:
1800:
1783:
1770:
1753:
1740:
1723:
1710:
1693:
1680:
1667:
1654:
1637:
1624:
1611:
1595:
1582:
1574:Resolutions
1552:Extant plays
1545:
1530:
1523:
1519:
1516:stichomythia
1513:
1508:
1504:
1498:
1493:Extant plays
1481:
1462:
1452:
1448:
1441:Aristophanes
1434:
1424:Extant plays
1421:
1420:
1414:
1410:
1406:
1404:
1380:
1363:
1359:
1343:
1331:
1323:
1296:
1292:
1289:Transmission
1278:
1272:
1263:
1244:
1219:
1215:
1211:
1207:
1201:
1186:
1180:
1177:
1173:Bernard Knox
1168:
1164:
1161:
1157:
1141:
1135:
1125:
1110:
1106:
1102:
1099:
1084:
1078:
1064:
1051:
1045:
1039:
1031:
1025:
1021:
1016:
1010:
1007:
1000:
975:
972:
952:
944:
941:
930:
926:
909:
901:
891:
880:
850:) where the
844:
824:
818:
816:
800:
792:
788:
784:
782:
774:
768:
762:
753:
747:
741:
732:
726:
717:
711:
702:
696:
678:
671:
665:
655:
643:
635:
622:
620:
610:
585:
562:
554:
534:
523:
511:
493:
484:
468:
462:
456:
453:Aristophanes
442:
439:A comic life
432:
428:
423:
393:
391:
356:
342:
311:
298:Aristophanes
287:
268:
262:
251:
227:
221:
190:
189:
149:
135:
121:
113:
105:
98:Notable work
25:
9728:Place names
9640:Salmydessus
9462:Kalos Limen
9442:Chersonesus
9432:Borysthenes
9137:Tauromenion
8949:Metapontion
8711:Proto-Greek
8664:Erechtheion
8659:Athena Nike
8621:Philippeion
8450:Mathematics
8421:and science
8304:Agriculture
8168:Stesichorus
8078:Bacchylides
8068:Archilochus
7955:Antisthenes
7945:Anaximander
7917:Seven Sages
7907:Playwrights
7887:Geographers
7882:Astronomers
7709:Pezhetairos
7336: 1100
7316:Federations
7215:Megalopolis
7152:City states
7127:City states
6629:Maidservant
6421:The Bacchoi
6394:The Bacchae
6311:The Bacchae
6235:discography
6131:The Bacchae
5898:Philoctetes
5863:Cresphontes
5856:Bellerophon
5512:(in French)
5507:Fordham.edu
5493:2009-10-31)
4707:A.S. Owen,
4681:E.R.Dodds,
4629:A.S. Owen,
4490:Euripides I
4462:Euripides I
4382:Sophocles I
4250:"Plutarch,
3628:Sophocles I
3600:Euripides I
3572:Euripides I
3554:E.R.Dodds,
3158:A.S. Owen,
2720:Protesilaus
2706:Pleisthenes
2491:The Bacchae
2319:Cresphontes
2304:Bellerophon
2256:Philoctetes
2150:Resolutions
1639:Heracleidae
1542:Bacchylides
1488:iambic feet
1364:The Bacchae
1182:Philoctetes
937:Moses Hadas
776:The Bacchae
667:The Bacchae
615:âHenderson
267:, Racine's
253:adapted to
243:Demosthenes
182:Mnesarchus
9800:Categories
9630:Polemonion
9507:Phanagoria
9477:Kimmerikon
9472:Kerkinitis
9457:Hermonassa
9447:Dioscurias
9343:Aspalathos
9290:Kalathousa
9265:Akra Leuke
9194:Phoenicusa
8979:Scylletium
8964:Poseidonia
8884:Brentesion
8771:Pamphylian
8766:Macedonian
8684:Samothrace
8669:Hephaestus
8616:Long Walls
8595:Structures
8536:Underworld
8482:Technology
8445:Literature
8379:Philosophy
8344:Euergetism
8233:By culture
8178:Thucydides
8020:Pythagoras
8015:Protagoras
8005:Parmenides
7990:Heraclitus
7975:Empedocles
7965:Democritus
7950:Anaximenes
7940:Anaxagoras
7892:Historians
7385: 595
7372: 550
7353: 800
7338: â c.
7266:Cappadocia
7071:Ionian Sea
7061:Hellespont
7026:Aegean Sea
6834:Literature
6608:Characters
6324:Characters
5710:Andromache
5703:Hippolytus
5435:Faded Page
5073:Hippolytos
4488:Medea, in
4460:Medea, in
3677:C. Meier,
3598:Medea, in
3570:Medea, in
3490:Frogs, in
3462:Frogs, in
3304:Plutarch,
3071:Nails 2002
2890:References
2875:pronounced
2678:Peirithous
2601:Eurystheus
2580:Chrysippus
2371:Alexandros
2334:Erechtheus
2296:Stheneboea
2232:(438 with
2154:Chronology
1965: 410
1910: 413
1880: 414
1824: 416
1794: 420
1764: 423
1734: 424
1704: 425
1695:Andromache
1669:Hippolytus
1648: 430
1605:satyr play
1538:dithyrambs
1477:stylometry
1431:Chronology
1212:Hippolytus
1148:Chronology
1075:satyr play
977:Hippolytus
903:Hippolytus
872:Chronology
797:Chronology
704:Hippolytus
514:Teleclides
381:Semperoper
330:Anaxagoras
279:Strindberg
200: â c.
198: 480
115:Hippolytus
92:Playwright
89:Occupation
9806:Euripides
9716:in Epirus
9665:Trapezous
9610:Mesambria
9595:Eupatoria
9565:Apollonia
9560:Anchialos
9522:Theodosia
9492:Nymphaion
9482:Myrmekion
9452:Gorgippia
9408:Black Sea
9393:Tragurion
9378:Nymphaion
9363:Epidauros
9358:Epidamnos
9348:Apollonia
9325:Zacynthos
9247:Ptolemais
9241:Apollonia
9214:Cyrenaica
9204:TherassĂa
9199:Strongyle
9179:Ereikousa
9102:Leontinoi
9042:Apollonia
8919:Hipponion
8716:Mycenaean
8679:Parthenon
8611:Lion Gate
8514:Mythology
8477:Sculpture
8440:Astronomy
8374:Pederasty
8349:Festivals
8334:Education
8214:Lawgivers
8183:Timocreon
8163:Sophocles
8158:Simonides
8133:Philocles
8128:Panyassis
8123:Mimnermus
8088:Herodotus
8083:Euripides
8053:Aeschylus
8000:Leucippus
7960:Aristotle
7739:Strategos
7605:Synedrion
7559:Ostracism
7539:Areopagus
7491:Free city
7286:Macedonia
7170:Byzantion
7076:Macedonia
7041:Cyrenaica
7018:Geography
6952:Geography
6789:Euripides
6601:Euripides
6316:Euripides
6094:Iphigenia
6075:Iphigénie
6017:(brother)
6009:Aegisthus
5997:Agamemnon
5990:'s family
5988:Iphigenia
5980:Euripides
5905:Theristai
5870:Hypsipyle
5849:Archelaus
5835:Andromeda
5660:Euripides
5658:Plays by
5539:Hypsipyle
5369:Euripides
5159:Euripidea
4951:10 August
4927:000310026
4573:30 August
4551:30 August
4513:Plutarch
3930:JSTOR.org
2917:Euripides
2864:romanized
2755:Temenidae
2636:Licymnius
2559:Autolycus
2463:Hypsipyle
2448:Archelaus
2421:Andromeda
2382:Palamedes
2280:Theristai
2175:Hypsipyle
1396:satellite
1339:minuscule
1216:Iphigénie
1154:Reception
1071:tetralogy
883:Reception
860:ekkyklema
848:orchestra
662:Aeschylus
623:The Frogs
470:The Frogs
383:, Germany
302:Macedonia
218:Sophocles
214:Aeschylus
206:tragedian
191:Euripides
179:Parent(s)
82:Macedonia
32:Euripides
9765:Category
9743:Theatres
9670:Tripolis
9605:Kerasous
9600:Heraclea
9532:Tyritake
9487:Nikonion
9398:Thronion
9320:Salauris
9275:Emporion
9232:Berenice
9222:Balagrae
9174:Euonymos
9147:Tyndaris
9132:Syracuse
9127:Selinous
9097:Kamarina
9052:Casmenae
9037:Akrillai
8954:NeĂĄpolis
8889:Caulonia
8870:Mainland
8801:Linear B
8796:Linear A
8726:Dialects
8703:Language
8497:Religion
8455:Medicine
8389:Religion
8354:Folklore
8339:Emporium
8314:Clothing
8309:Calendar
8193:Xenophon
8188:Tyrtaeus
8173:Theognis
8148:Polybius
8143:Plutarch
8118:Menander
8098:Hipponax
8025:Socrates
7980:Epicurus
7826:Diadochi
7724:Sciritae
7684:Hetairoi
7659:Ballista
7624:Military
7587:Gerousia
7577:Ekklesia
7544:Ecclesia
7526:Athenian
7474:Politics
7387:â279 BC)
7374:â366 BC)
7355:â389 BC)
7291:Pergamon
7261:Bithynia
7254:Kingdoms
7195:Pergamon
7137:Military
7132:Politics
6929:Timeline
6649:Heracles
6634:Alcestis
6620:Thanatos
6596:Alcestis
6351:Pentheus
6336:Tiresias
6331:Dionysus
6318:(405 BC)
6029:(sister)
6023:(sister)
6005:(mother)
5999:(father)
5912:Thyestes
5891:Phaethon
5884:Peliades
5842:Antigone
5811:Lost and
5738:Herakles
5682:Alcestis
5596:Archived
5518:Archived
5491:Archived
5454:LibriVox
5437:(Canada)
5201:(2012).
5179:(1981).
5148:(1959).
5100:vii-xxii
5096:Plays VI
2797:Polyidus
2783:Thyestes
2741:Scyrians
2713:Polyidus
2671:Oenomaus
2643:Meleager
2545:Antigone
2394:Sisyphus
2342:Phaethon
2337:(422 BC)
2234:Alcestis
2222:Alcestis
2210:Alcestis
2206:Telephus
2202:(455 BC)
2199:Peliades
2005:tragedy
1864:tragedy
1838:tragedy
1815:Herakles
1748:tragedy
1688:tragedy
1632:tragedy
1584:Alcestis
1571:Lineage
1565:Date BC
1501:trochees
1449:Telephus
1437:Dionysia
1392:infrared
1197:Seneca's
1117:Language
1103:Heracles
1091:Heracles
1086:Alcestis
1035:In Greek
997:Pentheus
967:Menelaus
935:â
888:Odysseus
627:Dionysus
549:âStorey
506:âStorey
475:Cratinus
445:Dionysia
416:Plutarch
395:Oresteia
326:Prodicus
290:Socrates
247:Menander
171:Choerine
154:, 405 BC
118:, 428 BC
110:, 431 BC
9785:Outline
9738:Temples
9675:Zaliche
9655:ThĂšrmae
9645:Sesamus
9615:Odessos
9590:Cytorus
9585:Cotyora
9335:Illyria
9300:Mainake
9295:Kypsela
9184:Hycesia
9142:Thermae
9122:Segesta
9112:Messana
9067:Helorus
9047:Calacte
9027:Akragas
8989:Sybaris
8974:Rhegion
8929:Krimisa
8879:Alision
8788:Writing
8761:Locrian
8751:Epirote
8721:Homeric
8654:Artemis
8641:Temples
8582:Olympia
8552:Eleusis
8487:Theatre
8472:Pottery
8399:Warfare
8394:Slavery
8329:Economy
8324:Cuisine
8319:Coinage
8296:Society
8281:Culture
8276:Society
8224:Tyrants
8063:Alcaeus
8045:Authors
7995:Hypatia
7985:Gorgias
7922:Writers
7744:Toxotai
7714:Sarissa
7704:Peltast
7699:Phalanx
7679:Hoplite
7674:Hippeis
7597:Macedon
7569:Spartan
7554:Heliaia
7501:Proxeny
7210:Larissa
7205:Kerkyra
7200:Eretria
7190:Miletus
7185:Ephesus
7180:Corinth
7175:Chalcis
7096:Taurica
6966:Periods
6947:History
6861:Related
6823:Troades
6732:Related
6713:Alceste
6705:Alceste
6689:Alceste
6644:Eumelus
6639:Admetus
6546:(novel)
6538:(opera)
6527:Related
6502:Trilogy
6445:Bacchae
6356:Autonoe
6148:Related
6123:Trilogy
6021:Electra
6015:Orestes
5877:Oedipus
5787:Bacchae
5780:Orestes
5731:Electra
5675:Cyclops
5618:Bacchae
5443:at the
3043:Sources
2866::
2776:Theseus
2762:Temenos
2699:Phrixus
2692:Phoenix
2657:Oedipus
2650:Mysians
2566:Busiris
2538:Cercyon
2525:Alcmene
2433:Antiope
2285:Reapers
2241:Cretans
2132:Lineage
2092:Cyclops
2012:Bacchae
1987:Orestes
1785:Electra
1546:Bacchae
1525:Electra
1505:Poetics
1469:Eleusis
1346:scholia
1169:Poetics
1111:Bacchae
1080:Cyclops
1047:Electra
1026:Bacchae
1017:Poetics
1002:Bacchae
993:Pompeii
864:mechane
801:Bacchae
793:Bacchae
789:Bacchae
764:Orestes
640:Agathon
429:Electra
412:Piraeus
402:at the
264:Othello
259:romance
162:Spouses
151:Bacchae
123:Electra
62:Salamis
9775:Portal
9723:People
9711:Cities
9650:Sinope
9635:Rhizos
9625:Phasis
9575:Bathus
9570:Athina
9555:Amisos
9517:Tanais
9512:Pityus
9437:Charax
9388:Pharos
9383:Orikon
9280:Helike
9270:Alonis
9237:Cyrene
9169:Didyme
9082:Himera
9057:Catana
9019:Sicily
9009:Thurii
9004:Terina
8969:Pixous
8924:Hydrus
8899:Croton
8731:Aeolic
8649:Aphaea
8572:Dodona
8557:Delphi
8526:Temple
8202:Others
8153:Sappho
8138:Pindar
8113:Lucian
8108:Ibycus
8093:Hesiod
8030:Thales
7798:Rulers
7777:People
7754:Xyston
7749:Xiphos
7610:Koinon
7516:Tyrant
7506:Stasis
7496:Koinon
7296:Pontus
7271:Epirus
7240:Sparta
7230:Rhodes
7225:Megara
7220:Thebes
7165:Athens
7091:Pontus
7056:Epirus
7046:Cyprus
7031:Aeolis
6853:(2006)
6845:(1988)
6826:(1986)
6815:Operas
6807:(1971)
6697:Admeto
6681:Operas
6654:Pheres
6615:Apollo
6554:(play)
6535:Daphne
6494:(2023)
6475:(1966)
6467:(1931)
6456:Operas
6448:(2015)
6440:(2013)
6432:(1986)
6424:(1974)
6416:(1968)
6397:(2002)
6389:(1970)
6381:(1961)
6341:Cadmus
6265:(1779)
6188:Operas
6097:(1977)
6078:(1674)
6048:Operas
5801:Rhesus
5717:Hecuba
5587:vol. 9
5583:vol. 8
5579:vol. 7
5575:vol. 6
5571:vol. 5
5567:vol. 4
5563:vol. 3
5559:vol. 2
5555:vol. 1
5481:vol. 4
5477:vol. 3
5473:vol. 2
5469:vol. 1
5366:about
5336:
5317:
5298:
5256:
5237:
5209:
5187:
5165:
5125:
5106:
5079:
5028:
5000:
4981:
4925:
4900:
4875:
4850:
4825:
4497:
4469:
4389:
4138:Poetry
3880:
3852:
3798:
3770:
3635:
3607:
3579:
3499:
3471:
3430:
3402:
3361:
3333:
3291:
2769:Tennes
2748:Syleus
2734:Sciron
2685:Peleus
2664:Oeneus
2594:Epeius
2573:Cadmus
2518:Aeolus
2511:Aegeus
2268:Dictys
2067:Rhesus
1725:Hecuba
1568:Prize
1415:Rhesus
1335:uncial
1317:vellum
1220:PhĂšdre
1204:Racine
1132:(1862)
962:Hecuba
893:Hecuba
852:chorus
728:Hecuba
449:Lenaia
400:Persia
366:Louvre
322:Apollo
270:PhĂšdre
255:comedy
245:, and
229:Rhesus
184:Cleito
168:Melite
9733:Stoae
9701:Lists
9620:OinĂČe
9543:coast
9541:South
9527:Tyras
9497:Olbia
9467:Kepoi
9420:coast
9418:North
9411:basin
9353:Aulon
9315:Rhode
9227:Barca
9117:Naxos
9072:Henna
9032:Akrai
8999:Taras
8984:Siris
8944:Medma
8939:Locri
8904:Cumae
8894:Chone
8872:Italy
8778:Koine
8756:Ionic
8746:Doric
8741:Attic
8562:Delos
8460:Music
8103:Homer
8058:Aesop
8010:Plato
7912:Poets
7582:Ephor
7534:Agora
7511:Tagus
7486:Boule
7235:Samos
7160:Argos
7066:Ionia
7051:Doris
7036:Crete
6663:Plays
6624:Death
6483:Music
6405:Plays
6370:Films
6346:Agave
6254:Plays
6105:Novel
6067:Plays
5766:Helen
5689:Medea
4155:Medea
2807:Notes
2629:Lamia
2622:Ixion
2587:Danae
2535:, or
2532:Alope
2426:Helen
2289:Medea
2273:Medea
2261:Medea
2160:Genre
2126:Prize
2115:Key:
2054:34.7
2028:37.6
2002:39.4
1977:25.8
1946:27.5
1931:Helen
1921:25.8
1891:23.4
1861:21.2
1835:21.5
1805:16.9
1775:13.6
1745:12.7
1715:11.3
1613:Medea
1562:Play
1325:Medea
1320:codex
1284:Texts
1267:Medea
1143:Medea
1107:Helen
923:good.
876:below
856:skene
819:Medea
755:Helen
698:Medea
631:Hades
611:Frogs
370:Paris
318:Phlya
275:Ibsen
273:, of
239:Homer
107:Medea
9660:Tium
9427:Akra
9368:Issa
9062:Gela
8934:LaĂŒs
8909:Elea
8567:Dion
8419:Arts
8409:Wine
8035:Zeno
7632:Wars
6796:Film
6551:Talk
6086:Film
5972:and
5334:ISBN
5315:ISBN
5296:ISBN
5254:ISBN
5235:ISBN
5207:ISBN
5185:ISBN
5163:ISBN
5123:ISBN
5104:ISBN
5077:ISBN
5026:ISBN
4998:ISBN
4979:ISBN
4953:2024
4923:OCLC
4898:ISBN
4873:ISBN
4848:ISBN
4823:ISBN
4575:2013
4553:2013
4495:ISBN
4467:ISBN
4387:ISBN
3878:ISBN
3850:ISBN
3796:ISBN
3768:ISBN
3633:ISBN
3605:ISBN
3577:ISBN
3497:ISBN
3469:ISBN
3428:ISBN
3400:ISBN
3359:ISBN
3331:ISBN
3289:ISBN
3018:ÎșÎżáœÎș
2828:ÊÉËr
2799:and
2552:Auge
2494:and
2120:Date
2082:8.1
2046:1st
2043:405
2020:1st
2017:405
1992:408
1969:2nd
1936:412
1853:2nd
1850:415
1685:4.3
1677:1st
1674:428
1659:5.7
1629:6.6
1621:3rd
1618:431
1600:6.2
1592:2nd
1589:438
1422:See
1409:and
1251:and
1218:and
1210:and
1185:and
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841:Work
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670:and
467:and
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308:Life
277:and
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216:and
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8364:Law
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6599:by
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6314:by
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