Unlike Euripides, Racine allows Iphigenia…
He quoted the Bible, Thomas Jefferson, and Euripides, until Belshe finally touched his elbow and said, “Just sit down, Dad.”
Archaeologists have found papyruses inscribed with parts of lost plays by Sophocles and Euripides in a Greco-Roman rubbish tip in Egypt.
Australian director Simon Stone’s production of Euripides’ tragedy Medea, created for Ivo van Hove’s International Theatre Amsterdam, will be relayed to a live audience in Adelaide’s Her Majesty’s Theatre.
The ancients knew of 92 plays composed by Euripides.
The third of the great tragic writers was Euripides.
Only one traditional satyr play, Euripides’ Cyclops, survives.
It is possible to reconstruct only the sketchiest biography of Euripides.
Scaliger (1484–1558), who knew both Latin and Greek, preferred Seneca to Euripides.
Notwithstanding this, Euripides’ lyrics at times have considerable charm and sweetness.
This version is found in Euripides’ Bellerophontes and is parodied in Aristophanes’ Peace.
Aeschylus’ Oresteia showed its dramatic potentialities, and these were further exploited by Sophocles and Euripides.
The fame and popularity of Euripides eclipsed that of Aeschylus and Sophocles in the cosmopolitan Hellenistic period.
Furthermore, Euripides makes his characters express the doubts, the problems and controversies, and in general the ideas and feelings of his own time.
The chief structural peculiarities of Euripides’ plays are his use of prologues and of the providential appearance of a god (deus ex machina) at the play’s end.
Translated into blank verse, with the collaboration of Francis Kinwelmersh, from Lodovico Dolce’s Giocasta, the work derives ultimately from Euripides’ Phoenissae.
Euripides’ plays exhibit his iconoclastic, rationalizing attitude toward both religious belief and the ancient legends and myths that formed the traditional subject matter for Greek drama.
His translations from the Greek—particularly Aeschylus’ Prometheus Bound (1947), Xenophon’s Anabasis (1949), and Euripides’ Hippolytus (1950) and Helen (1951)—are elegant, clear, and direct.
The Suppliants of Euripides contains much in apparent praise of democratic institutions, but it also includes some harsh words for the kind of politician that the democracy tended to produce.
Misogyny is altogether too simple an explanation here, although Euripides’ reputation in his own day was that of a woman hater, and a play by Aristophanes, Women at the Thesmophoria, comically depicts the indignation of the Athenian women at their portrayal by Euripides.
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