A Companion to Euripides by McClure, Laura K. -- Read -- Imperial Library of Trantor

Index

Cover Title Page Table of Contents Notes on Contributors Acknowledgments List of Abbreviations PART I: Text, Author, and Tradition

CHAPTER 1: Introduction

1 Euripides 2 New Approaches 3 This Volume 4 Conclusion

CHAPTER 2: Text and Transmission

1 The Earliest Copies 2 From Alexandria to Late Antiquity 3 The Middle Ages 4 The Lost Plays 5 Modern Editions

CHAPTER 3: The Euripidean Biography

1 What We Know 2 The Poetic Career 3 Ancient Biographical Traditions 4 Misogyny and Misanthropy 5 Popularity 6 A Death in Macedon 7 Summary

CHAPTER 4: Euripides and the Development of Greek Tragedy

1 Life in the Theater 2 Women Bad and Good 3 Language and Composition 4 Coming to the End 5 Conclusion

PART II: Early Plays (438–416 BCE)

CHAPTER 5: Alcestis

1 The Alcestis and Genre 2 Structure, Characterization, and Major Themes in the Alcestis 3 Gender 4 Incongruous Feelings? Pity and Eros in the Alcestis

CHAPTER 6: Medea

1 Medea as Barbarian? 2 Medea as Woman 3 Medea as Avenger: The Ending of the Play

CHAPTER 7: Children of Heracles

1 The Legend of the Heraclidae and Athenian Patriotism 2 Supplication and Athenian Idealism 3 Political Paralysis and Transformation 4 Reversals of Power

CHAPTER 8: Hippolytus

1 Second Attempts and Second Thoughts 2 Phaedra 3 Hippolytus 4 Theseus 5 The Role of the Gods 6 Finding Sympathy

CHAPTER 9: Andromache

1 Synopsis 2 Date and Production 3 Euripides and the Myth 4 “If gods do wrong . . .” 5 Reading Andromache 6 Staging Andromache 7 Final Thoughts

CHAPTER 10: Hecuba

1 Hecuba’s Historical Context and Reception 2 Hecuba’s Binary Structure 3 Hecuba’s Divine Machinery 4 Hecuba’s Moral Ontology 5 The Ethical Positions of Hecuba’s Principal Characters 6 Conclusion: Hecuba’s Transformations as Expressions of its Moral Landscape

CHAPTER 11: Suppliant Women

1 Myth and Plot 2 The Chorus 3 Aethra 4 Recovery of the Bodies 5 Suicide of Evadne

CHAPTER 12: Electra

1 Synopsis 2 Date 3 The Myth 4 Dramatic Treatments of the Myth 5 Setting 6 The Farmer’s Hut 7 Themes

CHAPTER 13: Heracles

1 Heracles in Pieces 2 A Hero’s Return 3 Heracles in Pieces 4 Of God to Man

PART III: Later Plays (After 416 BCE)

CHAPTER 14: Trojan Women

1 Background 2 Anti‐War 3 Women as Victim or Heroic 4 The Love Charm 5 Neither Simply Anti‐war nor Simply Feminist 6 Mortal and Immortal

CHAPTER 15: Iphigenia in Tauris

1 The Myths 2 The Play within the Euripidean Corpus 3 Rescue/Escape/Safety

CHAPTER 16: Ion

1 Autochthony and Identity 2 Psychological Readings: The Role of the Son 3 Psychological Readings: the Role of the Mother 4 Men and Gods 5 Food for the Soul 6 Conclusion

CHAPTER 17: Significant Inconsistencies in Euripides’ Helen

1 A Twisted Plot 2 Diverse Interpretations 3 Paradoxes and Discrepancies 4 Formal Anomalies, and a Most Unusual Chorus 5 Final Indeterminacy

CHAPTER 18: Phoenician Women

1 Synopsis 2 Date and Trilogy 3 Staging and Features of the Fifth‐Century Premiere 4 Phoenician Women and Theban Myth 5 On and Off Stage: Space and the Phoenician Women 6 Final Thoughts

CHAPTER 19: Orestes

1 Electra and Helen Exchange Pleasantries, and Then . . . 2 Agonizing with Orestes 3 More Plotting, Helen Killed (?), Hermione Taken Hostage, the Friends Encircled, the House of Atreus Set on Fire, Apollo Intervenes 4 A Tragedy for All Ages

CHAPTER 20: Iphigenia at Aulis

1 Plot 2 Characters and Changes of Mind 3 Chorus 4 Marriage and Sacrifice 5 War, Slavery, Politics 6 A Self‐Conscious Drama

CHAPTER 21: Bacchae

1 Recent Trends in Scholarship on the Bacchae 2 Foreign Cult 3 Sex, Drugs, and Kettledrums

PART IV: Satyr, Spurious, and Fragmentary Plays

CHAPTER 22: Cyclops

1 Satyr Drama: “Tragedy at Play” 2 Cyclops and Major Themes of Satyric Drama 3 Setting the Scene 4 Burgeoning Philia: Odysseus and the Satyrs vs Polyphemos 5 With(out) a Little Help from his Friends, or Odysseus’ Revenge 6 Cyclops and Satyrs: An Overview

CHAPTER 23: Rhesus

1 What Happens in Rhesus? 2 The Rhesus Myth before Rhesus 3 Stagecraft and Dramaturgy: Accomplishments and Failures 4 Language and Style: A Derivative Play 5 Did Euripides Write the Rhesus we Have?

CHAPTER 24: Fragments and Fragmentary Plays

1 A Few Facts and Figures 2 The Nature of the Evidence and how it has Survived 3 Collecting, Editing, and Studying the Fragments 4 List of Euripides’ Known Plays, with (Mostly Approximate) Dates 5 Reconstruction of Fragmentary Plays: Possibilities and Limits 6 What and how do Fragments add to the Appreciation of Euripides? 7 Some Individual Phenomena: Pairs of Name‐Plays; Satyr‐Plays; Unassigned Fragments 8 Illustrative Case‐Studies: Ino, Palamedes, Phoenix; the Oedipus‐myth 9 Supplementary Note 2015

PART V: Form, Structure, and Performance

CHAPTER 25: Form and Structure

1 Aristotelian Basics 2 Formal Structures: Basic Units, Special Scene‐Types, Microstructures, Other Features 3 Narrative Patterns in Euripides 4 The Interplay of Formal Structures and Narrative Patterns 5 Clear Partition and Alternation between Actors’ Scenes and Choral Parts 6 Blending or Interlacing of Actors’ Scenes and Choral Parts 7 Initial Exposition of the Principal Character and His/Her Situation 8 Intense Distress, Violent Backstage Action, Plot Acceleration 9 Conclusion

CHAPTER 26: The Theater of Euripides

1 Theater Industry and Audiences 2 Social Change and Innovation in Euripides 3 Formal Matters 4 “Metatheater” and Stage Machinery: Theater in Construction 5 Plum Roles in Euripidean Drama 6 Theater Beyond Euripides

CHAPTER 27: The Euripidean Chorus

1 Varieties of Choral Experience 2 Choral Sympathies 3 Wider Contexts 4 The Chorus as a Tragic Theme 5 Musical History

CHAPTER 28: Euripides and the Sound of Music

1 The Music of Attic Drama 2 Music in Euripides’ Tragedies 3 Euripides and the New Music 4 The Orestes Musical Papyrus 5 The Sound of Music

PART VI: Topics and Approaches

CHAPTER 29: Euripides and his Intellectual Context

1 Literacy and the Alphabet 2 Specialized Skills 3 Relativism and Humanism 4 Anthropology and Progress 5 Agency and Responsibility

CHAPTER 30: Myth

1 Tradition, Innovation, and Multiplicity 2 The Selection and Deployment of Myths 3 “Skepticism” and “Heterodoxy” in Context 4 What Makes Euripides’ Myths Distinctive?

CHAPTER 31: Euripides and Religion

1 The Gods 2 Impiety and Perjury 3 Ritual 4 Deformed Rituals 5 False Rituals 6 Syncretism 7 Priestesses 8 Conclusion

CHAPTER 32: Gender

1 Critical Responses 2 Gender in Context

PART VII: Reception

CHAPTER 33: Euripides, Aristophanes, and the Reception of “Sophistic” Styles

1 Euripides, Agathon, and the Bumsy Style 2 Socrates and Euripides 3 Styles and “Styles” 4 Literary Critical Practices and Places 5 Euripides, Plato, and Later Reception Acknowledgments

CHAPTER 34: Euripides in the Fourth Century BCE

1 Euripides’ Supposed Unpopularity 2 Fourth‐century Performances of Euripides 3 Evidence for Euripides’ Influence on Fourth‐century Tragedy 4 Conclusions

CHAPTER 35: Euripides and Senecan Drama

1 Seneca on Euripides 2 Madness of Hercules 3 Trojan Women 4 Phoenician Women 5 Medea 6 Phaedra 7 Conclusion

CHAPTER 36: All Aboard the Bacchae Bus

1 Criticism and Translation 2 Performances 3 Published Adaptations

Index End User License Agreement

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