Euripides' classic drama about the often mortifying consequences of the unbridled--and frequently hysterical--celebration of the feast of Dionysus, the God of wine.
Euripides
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Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning o…
ANTIGONE I see him, yes! but not distinctly; 'tis but the outline of his form the semblance of his stalwart limbs I see. Would I could speed through the sky, swift as a cloud before the wind, towards my own dear brother, and throw my arms about my darling's neck, so long, poor bo…
The story of Iphigenia, as told in the two plays of Euripides which bear her name, is so well known that it is hard to believe that it is in fact a piece of mythological syncretism which, in all probability, only received its final form at the hands of Euripides himself. This edi…
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning o…
This new volume of three of Euripides' most celebrated plays offers graceful, economical, metrical translations that convey the wide range of effects of the playwright's verse, from the idiomatic speech of its dialogue to the high formality of its choral odes.
"The Electra of Euripides has the distinction of being, perhaps, the best abused, and, one might add, not the best understood, of ancient tragedies. "A singular monument of poetical, or rather unpoetical perversity;" "the very worst of all his pieces;" are, for instance, the phra…
Rhesus (Greek: ?????, R?sos), possibly 350 BC, is transmitted among the plays of Euripides, and was indeed believed to be genuinely Euripidean in the Hellenistic, Imperial, and Byzantine periods.
Many musical theatre actors confuse competence with excellence. We mistake arriving in NYC with a well-trained voice, a pricy headshot, and general show biz acumen for being ready to work where Broadway happens. Then, when too many auditions end up no-gos, we assume it’s not mean…
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