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Journal articles on the topic 'Euripides. Hippolytus'

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Published: 4 June 2021
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1

Thury, Eva M., Gilbert Lawall, and Sarah Lawall. "Euripides Hippolytus." Classical World 83, no. 2 (1989): 114. http://dx.doi.org/10.2307/4350557.

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2

Willink, C. W. "Euripides, Hippolytus 732–75." Cambridge Classical Journal 53 (2007): 253–62. http://dx.doi.org/10.1017/s1750270500000130.

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The centrally-placed second stasimon of Hippolytus, following Phaedra's exit (to die) at 731, is one of the finest features of Euripides' finest play, with complex imagery. The wish to become a bird and to fly away to a mythical far-western paradise is in line with a familiar topos as an ‘out of this world escape-wish’, here vicarious – echoing (while also transmuting) the desires for concealment, escape and death expressed by Phaedra. ‘Bird-transformation’ and ‘flight to the far west’ are funereal motifs, notably developed (recently?) by Sophocles, and the image of Phaedra as a ‘vanished bird’ will recur at 828 . Then in the second pair of stanzas Phaedra's fate, with the predicted death by hanging, is integrally linked with the ‘white-winged Cretan ship’ that as a doubly bad ὄρνις brought her ‘through beating sea-waves’ from Crete to Athens, with ‘fastening of ropes’ for the ‘going ashore’ at the end of the voyage.Much has been sufficiently discussed (most recently by Halleran); but many points of detail, in both pairs of stanzas, invite further consideration. I give a modifed text, after Diggle, with modifications also of his apparatus.
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3

Mueller, Melissa. "Phaedra's Defixio: Scripting Sophrosune in Euripides' Hippolytus." Classical Antiquity 30, no. 1 (April 1, 2011): 148–77. http://dx.doi.org/10.1525/ca.2011.30.1.148.

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While readers of Euripides' Hippolytus have long regarded Phaedra's deltos as a mechanism of punitive revenge, I argue here that the tablet models itself on a judicial curse (defixio) and that its main function is to ensure victory for Phaedra in the upcoming “trial” over her reputation. In support of my thesis I examine three interrelated phenomena: first, Hippolytus' infamous assertion that his tongue swore an oath while his mind remains unsworn (612); second, Phaedra's status as a biaiothanatos; and third, Phaedra's claim that Hippolytus “will learn sophrosune” (731), a speech act that, I conclude, anticipates the silencing effect on Hippolytus of Phaedra's death and her writing.
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4

Gibert, John C. "Euripides′ Hippolytus plays: which came first?" Classical Quarterly 47, no. 1 (May 1997): 85–97. http://dx.doi.org/10.1093/cq/47.1.85.

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5

Halleran, Michael R. "Gamos and Destruction in Euripides' Hippolytus." Transactions of the American Philological Association (1974-) 121 (1991): 109. http://dx.doi.org/10.2307/284446.

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6

Willink, C. W. "Further critical notes on Euripides' Hippolytus." Classical Quarterly 49, no. 2 (December 1999): 408–27. http://dx.doi.org/10.1093/cq/49.2.408.

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29–33. Phaedra's ἒρως must at first (at Athens) have been without betraying symptoms, by contrast with the change at Trozen to symptoms of νόσος (still unexplained) as described in 34–40. We need to be told that explicitly, in preparation (μέν) for 34ff. (ἐπєὶδὲ…) and in conjunction with the potentially revealing foundation of a temple to Aphrodite. We therefore need not only Jortin's ὀνομάσουσιν for ὠνόμαζєν in 33, but also my ἂδηλον for ἒκδηλον (v.l. ἒκδηλον) in 32. The nearby ἒκδηλον in 37 will have played a part in the corruption.
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7

Иванова, Ирина, and Irina Ivanova. "Time and image of Phaedra in the works “Hippolytus” by euripides, “Phaedra” by Jean Racine and in the lyrics by Marina Tsvetaeva." Servis Plus 9, no. 3 (August 28, 2015): 70–79. http://dx.doi.org/10.12737/12542.

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The article tells about the transformation of a wandering ancient story about the passion of a mother to her stepson, shows how each era brings about changes in the depiction of the heroine, set in a boundary situation between happiness and duty. In the tragedy of Euripides "Hippolytus" the main character is the king´s son, and Phaedra is a performer of the will of the goddess Cypris. Without knowing, Hippolytus violated ethics law that prescribed to honor equally all the gods and goddesses: he loved to worship the goddess of the hunt Artemis and didn´t bring enough victims to Aphrodite. According to the mythological sources, the election of Phaedra as the instrument of revenge can be explained by the fact that Phaedra carries the burden of a tragic guilt for her grandfather, who told Hephaestus about the affair between Aphrodite and Ares. Euripides describes the suffering of Phaedra. His character brings her life as a gift to the children. The tragedy of the debt victory is displayed brighter by the Greek author than by the French one. But the image of Phaedra, made by Jean Racine, is nobler than it was made by Euripides. The heroine of Euripides sacrifices herself for the sake of duty and commits suicide, but makes a low act, leaving a note that slanders Hippolytus, but the queen by Racine, dying, emphasizes the innocence of her stepson. The stepson´s attitude to the passion of his stepmother changes too. For Hippolytus by Euripides the passion of Phaedra is the evidence of low-lying nature of women, for Hippolytus by Jean Racine it is the touching continuation of conjugal love at first, and then, when Phaedra separates him in her mind from the father, and emphasizes that loves Hippolytus, it is a horrible discover, but not the reason for the generalization, reasoning and discrimination against all women. The continuation of the incarnation of vagrant story about Phaedra we see in the poetry of Marina Tsvetaeva in the tragedy "Phaedra". Tsvetaeva simplifies antique tragedy, removing the problem of choosing between happiness and duty, but in the poem she returns to the tragic beginning of it, highlighting the theme of the sublime punishments with passion that is emphasized in the interpretation ofR. Viktyuk, who created a cinema play "Passion about Phaedra in four dreams of Roman Viktyuk" on the basis ofTsvetayeva´s texts.
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8

Lombard, Daniel В. "Hippolytus' πάθει μάθος - the lesson portrayed in the Hippolytus of Euripides." Antike und Abendland 34, no. 1 (January 1, 1988): 17–27. http://dx.doi.org/10.1515/anab-1988-0103.

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9

Beer, Josh. "The Athenian Plague and Eros as a Deadly Disease in Euripides’ Hippolytus." Mouseion 17, no. 3 (July 1, 2021): 465–90. http://dx.doi.org/10.3138/mous.17.3.002.

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This article argues that Euripides’ Hippolytus of 428 bc may be read as a metaphorical response to the first outbreak of the plague at Athens in 430–429 bc. Some Athenians attributed the plague to a divine cause, others to natural causes. Similarly, Hippolytus allows the audience to view Aphrodite either as an interfering deity or as a natural force in human lives. Thucydides describes the plague as a nosos, which is the main thematic term found in Hippolytus. Eros, a form of madness, is the disease Aphrodite inflicts on Phaedra to punish Hippolytus. This nosos primarily affects the mind; it is passed on to the other main characters by a kind of chain reaction and manifests itself in different forms of deranged speech. In this process the nurse provides a vital link through Aphrodite instilling, in her mind insidious notions of magic. In Hippolytus, sophrosyne, which etymologically means “safe-mindedness,” serves as an antonym to nosos. On stage, in two long episodes, the disease motif is presented visually, first through Phaedra’s sickbed and then through her deathbed. As Aphrodite is the source of the disease, the arrival of her enemy Artemis, appearing as a deus ex machina and representing, as she does, the pure air of the countryside, signifies that the plague is over, though its harmful after effects will long be remembered.
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10

Mitchell, Robin N. "Miasma, Mimesis, and Scapegoating in Euripides' "Hippolytus"." Classical Antiquity 10, no. 1 (April 1, 1991): 97–122. http://dx.doi.org/10.2307/25010943.

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11

Phillippo, S. "Review. Euripides: Hippolytus. (classical texts). MR Halleran." Classical Review 47, no. 1 (January 1, 1997): 20–21. http://dx.doi.org/10.1093/cr/47.1.20.

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12

Maleki, Nasser, Zahra Nazemi, and Gabriel Laguna Mariscal. "THE SCHEME OF POTIPHAR’S WIFE: FROM CLASSICAL TRADITION TO EUGENE O’NEILL." Revista de Estudios Norteamericanos, no. 24 (2020): 113–34. http://dx.doi.org/10.12795/ren.2020.i24.06.

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The aim of the present paper is to introduce a literary topos called the scheme of Potiphar’s wife, its development in literary history and its recreation in Eugene O’Neill’s Desire Under the Elms (1924). Taking into consideration the three requirements established by Laguna Mariscal for a literary topos (content, literary form, and historical development), the evolution of this topos in The Egyptian Tale of Two Brothers, the biblical Book of Genesis, Homer’s Iliad, Ovid’s Metamorphoses, Euripides’s Hippolytus, Seneca’s Phaedra and O’Neill’s Desire Under the Elms is surveyed. It is argued that the story of Potiphar’s wife is part of a long-standing topos that has been developed through the literary history. The recreation of this topos in O’Neill’s play, as one permutation of this topos, while evoking several Classical sources, especially the Hippolytus by Euripides, is at the same time a creative adaptation, aimed to match the historical context of twentieth century America.
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13

Chong-Gossard, J. H. Kim On. "The Silence of the Virgins: Comparing Euripides' Hippolytus and Theonoe." Antichthon 38 (2004): 10–28. http://dx.doi.org/10.1017/s0066477400001477.

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One of the most pleasurable features of the plays of Euripides is his exploration of a wide range of character types, each of whom has the potential to be more exciting than the previous one. The fictional Aeschylus in the underworld of Aristophanes'Frogs(1043) remembers in particular the wicked women (Stheneboea, Phaedra), but Euripides also had his share of pious and self-sacrificing virgins (Macaria, Polyxena, Iphigenia), faithful wives (Helen in her name play, Andromache, Alcestis, Evadne), shrewd matriarchs (Hecuba, Jocasta, Aethra, Alcmene), and priestesses (Cassandra, Iphigenia inI. T., Theonoe, the Pythia).
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14

Sijakovic, Djurdjina. "(De)construction of a female body in Euripides' Hippolytus." Bulletin de l'Institut etnographique 61, no. 1 (2013): 59–74. http://dx.doi.org/10.2298/gei1301059s.

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15

Walker, Suzanne. "“Now I Know Love”: Hallie Flanagan and Euripides’ Hippolytus." Classical World 108, no. 1 (2014): 97–116. http://dx.doi.org/10.1353/clw.2014.0057.

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16

Cozzi, Cecilia. "Euripides' Hippolytus: The Human Discourse Between Amechania and Mechania." Classical Journal 118, no. 2 (December 2022): 173–93. http://dx.doi.org/10.1353/tcj.2022.0032.

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17

Willink, C. W. "The Parodos of Euripides' Helen (164–90)." Classical Quarterly 40, no. 1 (May 1990): 77–99. http://dx.doi.org/10.1017/s0009838800026811.

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The friendly expatriate ladies of the chorus in Helen enter having heard loud lamentation issuing from the palace, while engaged, like the Φ⋯λα of the chorus in Hippolytus 125ff., in spreading laundered crimson textiles to dry in the sun. The central theme of ‘hearing cries’, with the verb ἒκλυον and nouns of utterance (185–6), is reminiscent also of Medea 131ff., where the opening words of the Parodos ἒκλυον Φων⋯ν, ἒκλυον δ⋯ βο⋯ν… allude to Medea's loud utterances ἒсωθεν in 96ff. (ἰώ…) and 111ff. (αἰαî…): here, as there, the Parodos exploits the familiar motif of βοηδρομ⋯α.
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18

Santos, Fernando Brandão. "O canto na tragédia grega: Eurípides, Hípólíto vv. 58-71." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 7–14. http://dx.doi.org/10.17851/2317-2096.7..7-14.

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Resumo: O presente estudo propõe algumas reflexões sobre o papel do coro nas tragédias gregas, sobretudo as de Eurípides, autor estudado em nossa tese de doutoramento. A partir da vasta bibliografia existente sobre tragédia, buscamos as mais importantes para a compreensão do papel do coro, de sua função em relação à ação dramática, e, segundo o que postulamos, sua importância na estrutura do espetáculo concebido pelo autor. O exemplo citado para expor nossas reflexões é o hino a Ártemis, entoado por Hipólito e por seu séquito de caçadores (vv. 58-71), no Hipólito, de Eurípides. A interrupção do monólogo de Afrodite (vv. 157) por um canto marca de maneira efetiva o início da encenação das palavras proferidas pela deusa.Palavras-chave: canto; coro; tragédia; Eurípides.Abstract: The present study suggests some reflections about the role of the Greek tragedy chorus, mainly the Euripides’, the author studied in our doctorate thesis. From the extensive existing bibliography about tragedy, we looked for those most important to the understanding of the role of the chorus, of its function in relation to the dramatic action, and, according to what we postulate, its importance in the structure of the performance conceived by the author. The example given to expose our reflections is the Hymn to Artemis, sung by Hippolytus and his scort of hunters (vv. 58-71), at Euripides' Hippolytus. The interruption of the Aphrodite's monologue (vv. 1-57) by a song marks in an effective manner the beginning of the performance of the words uttered by the goddess.Keywords: song; chorus; tragedy; Euripides.
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19

Nikol’skii, Boris. "Speech, Vision and Exoneration in Euripides’ Hippolytus and Gorgias’ Helen." St.Tikhons' University Review. Series III. Philology 51 (June 30, 2017): 48–65. http://dx.doi.org/10.15382/sturiii201751.48-65.

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20

Zhang, Jing. "Fate in Thunderstorm by Cao Yu and Hippolytus by Euripides." Studia Azjatystyczne, no. 2 (June 15, 2016): 137. http://dx.doi.org/10.14746/sa.2016.2.09.

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21

Bain, D. "Review. Euripides: Children of Heracles, Hippolytus, Andromache, Hecuba. D Kovacs." Classical Review 47, no. 1 (January 1, 1997): 18–20. http://dx.doi.org/10.1093/cr/47.1.18.

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22

BRUZZONE, RACHEL. "STATUES, CELIBATES AND GODDESSES IN OVID’S METAMORPHOSES 10 AND EURIPIDES’ HIPPOLYTUS." Classical Journal 108, no. 1 (2012): 65–85. http://dx.doi.org/10.1353/tcj.2012.0003.

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23

Smith, Wesley D., and David Kovacs. "The Heroic Muse: Studies in the Hippolytus and Hecuba of Euripides." Classical World 83, no. 2 (1989): 127. http://dx.doi.org/10.2307/4350576.

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24

Kim, Jong-Hwan. "Human's Passion of Love and the Goddess' Revenge in Euripides' Hippolytus." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 64 (August 31, 2016): 51. http://dx.doi.org/10.21087/nsell.2016.08.64.51.

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25

Segal, Charles. "Confusion and Concealement in Euripides' Hippolytus. Vision, Hope, and Tragic Knowledge." Mètis. Anthropologie des mondes grecs anciens 3, no. 1 (1988): 263–82. http://dx.doi.org/10.3406/metis.1988.916.

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26

Collard, C. "Review. Euripides: Hippolytus. (Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana.). W Stockert." Classical Review 47, no. 1 (January 1, 1997): 22–23. http://dx.doi.org/10.1093/cr/47.1.22.

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27

Gregory, Eileen. "HIPPOLYTUS TEMPORIZES. Revised Edition and ION, A PLAY AFTER EURIPIDES. Revised Edition." Resources for American Literary Study 18, no. 1 (January 1, 1992): 76–79. http://dx.doi.org/10.2307/26366730.

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28

Gregory, Eileen. "HIPPOLYTUS TEMPORIZES. Revised Edition and ION, A PLAY AFTER EURIPIDES. Revised Edition." Resources for American Literary Study 18, no. 1 (January 1, 1992): 76–79. http://dx.doi.org/10.2307/resoamerlitestud.18.1.0076.

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29

Juffras, Diane M., and Barbara E. Goff. "The Noose of Words: Readings of Desire, Violence and Language in Euripides' "Hippolytus"." Classical World 85, no. 1 (1991): 58. http://dx.doi.org/10.2307/4350995.

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30

Mitchell-Boyas, Robin, and Hanna M. Roisman. "Nothing Is as It Seems: The Tragedy of the Implicit in Euripides' "Hippolytus"." Classical World 93, no. 5 (2000): 544. http://dx.doi.org/10.2307/4352451.

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31

Vasconcelos, Helena. "The disrespect for the social rules and the human ruin in the Euripides' Hippolytus." Revista Archai, no. 2 (2009): 31–38. http://dx.doi.org/10.14195/1984-249x_2_4.

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32

Silk, M. S. "PINDAR, OLYMPIAN 2.5–7, TEXT AND COMMENTARY—WITH EXCURSIONS TO ‘PERICTIONE’, EMPEDOCLES AND EURIPIDES’ HIPPOLYTUS." Classical Quarterly 70, no. 2 (December 2020): 499–517. http://dx.doi.org/10.1017/s000983882100015x.

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In 1998, I suggested a new text for a notably corrupt passage in Pindar's Isthmian 5. This article is in effect a sequel to that earlier discussion. In the 1998 article, I proposed, inter alia, that the modern vulgate text of I. 5.58, ἐλπίδων ἔκνισ’ ὄπιν, is indefensible and the product of scribal corruption in antiquity, and that chief among the indefensible products of corruption there is the supposed secular use of ὄπις, as if used to mean something like ‘zeal’. This (as I hope to have demonstrated) is a sense for which there is no good evidence in classical Greek, where ὄπις always has a delimited religious denotation, meaning either (a) ‘gods’ response’, ‘divine retribution’, or else (b) ‘religious awe’ or ‘reverence’ towards the gods, through fear of that response or that retribution. If we discount I. 5.58 itself (and likewise the focus of the present article, O. 2.6), all the pre-Hellenistic attestations can be straightforwardly listed under these headings: (a) Il. 16.388 θεῶν ὄπιν οὐκ ἀλέγοντες, Od. 14.88 ὄπιδος κρατερὸν δέος, Hes. Theog. 221–2 θεαὶ . . . | . . . ἀπὸ τῷ δώωσι κακὴν ὄπιν, Pind. P. 8.71–2 θεῶν δ’ ὄπιν | ἄφθονον αἰτέω, sim. Od. 20.215, 21.28, Hes. Op. 187, 251, 706, along with, seemingly, a fragmentary fifth-century Thessalian verse inscription, CEG 1.120.1 Hansen; (b) Hdt. 9.76.2 θεῶν ὄπιν ἔχοντας, 8.143.2. In addition, one other instance can be interpreted as either (a) or (b), or in effect both: Od. 14.82 (of the suitors) οὐκ ὄπιδα φρονέοντες . . . οὐδ’ ἐλεητύν. In all cases, though, ‘gods’ are specified, usually as a dependent genitive with ὄπις, or else separately but in the near context. Hellenistic and later occurrences of the word are few, and (as I argued in 1998) hints there of a secular reading can actually be taken to reflect misunderstandings based on, precisely, the early corruption in I. 5.
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33

RACHEL BRUZZONE. "STATUES, CELIBATES AND GODDESSES IN OVID’S METAMORPHOSES 10 AND EURIPIDES’ HIPPOLYTUS." Classical Journal 108, no. 1 (2012): 65. http://dx.doi.org/10.5184/classicalj.108.1.0065.

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34

Hartigan, Karelisa, Charles Segal, and Nancy Sorkin Rabinowitz. "Euripides and the Poetics of Sorrow: Art, Gender, and Commemoration in "Alcestis," "Hippolytus," and "Hecuba"." Classical World 90, no. 1 (1996): 74. http://dx.doi.org/10.2307/4351919.

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35

MOST, GLENN W. "SIX NOTES ON THE TEXT OF EURIPIDES' HIPPOLYTUS (271, 626, 680-1, 1045, 1123, 1153)." Classical Quarterly 58, no. 1 (April 18, 2008): 35–55. http://dx.doi.org/10.1017/s0009838808000037.

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36

Ireland, S. "Euripides' Hippolytus and Hecuba - David Kovacs: The Heroic Muse: Studies in the Hippolytus and Hecuba of Euripides. (AJP Monographs in Classical Philology, 2.) Pp. xiv+161. Baltimore and London: Johns Hopkins University Press, 1987. $19.95." Classical Review 38, no. 2 (October 1988): 208–9. http://dx.doi.org/10.1017/s0009840x00121134.

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37

Allan, Arlene L. "If I Could Turn Back Time: Further Thoughts on Phaedra's Delirium in Euripides' Hippolytus (208–231)." Classical World 115, no. 3 (March 2022): 261–77. http://dx.doi.org/10.1353/clw.2022.0009.

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38

Andújar, Rosa. "UNCLES EX MACHINA: FAMILIAL EPIPHANY IN EURIPIDES’ ELECTRA." Ramus 45, no. 2 (December 2016): 165–91. http://dx.doi.org/10.1017/rmu.2016.9.

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At the close of Euripides’ Electra, the Dioscuri suddenly appear ‘on high’ to their distraught niece and nephew, who have just killed their mother, the divine twins’ mortal sister. This is in fact the second longest extant deus ex machina (after the final scene in Hippolytus), and the only scene in which a tragedian attempts to resolve directly the aftermath of the matricide. In this article, I argue that Castor's and Polydeuces’ sudden apparition to Orestes and Electra constitutes a specialised point of intersection between the mortal and immortal realms in Greek tragedy: familial epiphany, an appearance by a god who has an especially intimate relationship with those on stage. Euripides’ focus on the familial divine as a category accentuates various contradictions inherent to both ancient Greek theology and dramaturgy. The Dioscuri are a living paradox, ambiguously traversing the space between dead heroes and gods, managing at the same time to occupy both. They oscillate uniquely between the mortal and immortal worlds, as different sources assign different fathers to each brother, and others speak of each one possessing divinity on alternate days. As I propose, the epiphany of these ambiguous brothers crystallises the problem of the gods’ physical presence in drama. Tragedy is the arena in which gods burst suddenly into the mortal realm, decisively and irrevocably altering human action. The physical divine thus tends to be both marginal and directorial, tasked with reining in the plot or directing its future course. The appearance of the familial divine, on the other hand, can in fact obscure the resolution and future direction of a play, undermining the authority of the tragic gods. In the specific case of Electra, I contend that the involvement of the Dioscuri, who are Electra's and Orestes’ maternal uncles, produces a sense of claustrophobia at the close of the play, which simultaneously denies the resolution that is expected from a deus ex machina while also revealing the pessimistic nature of what is typically considered a reassuringly ‘domestic’ and character driven drama.
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39

Andrushchenko, Elena A. "“...This plan was conceived by me...”: On the background of D. Merezhkovskiy’s forgotten letter to the editors of the “Mir Iskusstva”." Sibirskiy filologicheskiy zhurnal, no. 3 (2021): 87–99. http://dx.doi.org/10.17223/18137083/76/7.

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The paper clarifies the circumstances of the publication of a little-known letter by D. Merezhkovskiy in the “Mir Iskusstva” (“World of Art”) journal. The letter was published under the same rubric as a letter by Yu. Ozarovskiy, director of the Alexandrinsky Theatre, a person far from the journal’s editorial board, giving the impression of a public debate between like-minded people. Recreating the details of the struggle for setting ancient Greek tragedies in D. Merezhkovskiy’s translations on the stages of Russian theatres, based on forgotten publications of those years, indicates that the staging of “Hippolytus”, a tragedy by Euripides, was regarded by the “Mir Iskusstva” association as evidence of the effectiveness of their program in the struggle for new theatrical art. It was not D. Merezhkovskiy who played the leading role in this process, as he wrote in his letter, but D. Filosofov, who sought to stage the tragedy as a mystery play. Disagreements between D. Merezhkovskiy and the creative association of the “Mir Iskusstva” appeared later, when their aesthetic, religious, and philosophical views began to differ. However, during the production of “Hippolytus”, these differences did not prevent them from participating in joint projects as a new artistic force. It should be recognized that ancient Greek tragedies in D. Merezhkovskiy’s translations played a part in the history of the Russian theatre: the debate about the concept of performances, the specifics of L. Bakst’s sets, and musical accompaniments was an important step in the development of the theatre in expanding its expressive capabilities.
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Bryant Davies, Rachel. "The Figure of Mary Mother of God in Christus Patiens: Fragmenting Tragic Myth and Passion Narrative in a Byzantine Appropriation of Euripidean Tragedy." Journal of Hellenic Studies 137 (2017): 188–212. http://dx.doi.org/10.1017/s0075426917000155.

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AbstractThe Byzantine passion play Christus Patiens (Christ Suffering) is a cento: composed of quotations and borrowings from other sources, it takes Euripides’ tragedies as its main source for reworking the passion narrative. The genre, popular with Christian authors who usually transformed classical epics, enacts cultural exchange between canonical pagan literature and biblical narrative. Traditionally transmitted as the work of Gregory of Nazianzus, this drama showcases the tensions inherent in this reuse of Greek tragedy which threaten to collapse the original texts under the weight of their new meaning – or vice versa. While the afterlives of Classical texts, especially Greek tragedy, have been increasingly well explored, the scant attention afforded Christus Patiens has largely consisted of debating the disputed date and authorship. At the same time, scrutiny lavished on Virgilian centonic technique provides a helpful spring-board. This article focuses on the four tragedies most plundered in Christus Patiens: Rhesus, Medea, Hippolytus and Bacchae. It concentrates on interpreting the protagonist, Mary the Mother of God, through key passages which borrow most heavily from these plays. These stretch centonic conventions by almost exclusively reworking contiguous lines featuring the tragic mothers Medea, Agave and Musa; yet Mary is otherwise created from multiple conflicting voices. Analysis of these passages as frames for the cento author's own compositions and in the context of the prologue's invitation to identify specific Euripidean reworkings suggests that the author playfully flirts with creating a narrative of fragmentation through clashes between centonic form, tragic sources and Christian subject.
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Seaford, Richard. "Readings of Hippolytus - Barbara E. Goff: The Noose of Words. Readings of Desire, Violence and Language in Euripides' Hippolytos. Pp. xiv + 140. Cambridge University Press, 1990. £22.50." Classical Review 41, no. 1 (April 1991): 18–20. http://dx.doi.org/10.1017/s0009840x00276993.

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Bär, Silvio. ""I honour those who reverence my power" : Gods, humans, and the breaking of social and religious rules in Euripides' Hippolytus." Graeco-Latina Brunensia, no. 2 (2020): 17–32. http://dx.doi.org/10.5817/glb2020-2-2.

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Cockburn, G. T. "John Ferguson: Euripides, Hippolytus (Edited with Introduction, Commentary and Vocabulary). Pp. xxxiv + 137. Bristol: Bristol Classical Press, 1984. Paper, £5.95." Classical Review 38, no. 2 (October 1988): 398. http://dx.doi.org/10.1017/s0009840x0012219x.

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Ley, Graham, and Michael Ewans. "The Orchestra as Acting Area in Greek Tragedy." Ramus 14, no. 2 (1985): 75–84. http://dx.doi.org/10.1017/s0048671x00003489.

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For some years past there has been a welcome change of emphasis towards the consideration of staging in books published on Greek tragedy; and yet with that change also a curious failure to be explicit about the central problem connected with all stagecraft, namely that of the acting-area. In this study two scholars with considerable experience of teaching classical drama in performance consider this problem of the acting-area in close relation to major scenes from two Greek tragedies, and suggest some general conclusions. The article must stand to some extent as a critique of the succession of books that has followed the apparently pioneering study of Oliver Taplin, none of which has made any substantial or sustained attempt to indicate where actors might have acted in the performance of Greek tragedy, though most, if not all, have been prepared to discard the concept of a raised ‘stage’ behind the orchestra. Hippolytus (428 BC) is the earliest of the surviving plays of Euripides to involve three speaking actors in one scene. Both Alcestis (438 BC and Medea (431 BC almost certainly require three actors to be performed with any fluency, but surprisingly present their action largely through dialogue and confrontation — surprisingly, perhaps, because at least since 458 BC and the performance of the Oresteia it is clear that three actors were available to any playwright.
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Craik, E. M. "The Tears of Euripides - Charles Segal: Euripides and the Poetics of Sorrow: Art, Gender, and Commemoration in Alcestis, Hippolytus, and Hecuba. Pp. xiii+313, Frontispiece. Durham, London: Duke University Press, 1993. £42.75." Classical Review 45, no. 1 (April 1995): 10–11. http://dx.doi.org/10.1017/s0009840x00291853.

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Karsai, György. "C.A.E. LUSCHNIG, Time holds the Mirror. A study of Knowledge in Euripides' Hippolytus (Mnemosyne, Suppl. CII). Leiden, Brill, 1989. 118 p. Pr. Gld. 48." Mnemosyne 44, no. 3-4 (1991): 457–61. http://dx.doi.org/10.1163/156852591x00279.

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Craik, Elizabeth M. "Euripides' First Hippolytos1)." Mnemosyne 40, no. 1-2 (1987): 137–39. http://dx.doi.org/10.1163/156852587x00139.

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Levett, Brad. "Misery and Forgiveness in Euripides: Meaning and Structure in the Hippolytus by Boris Nikolsky. Translated by Mikhail Nikolsky. Swansea: The Classical Press of Wales. 2015. Pp. xv, 215." Phoenix 70, no. 1-2 (2016): 190–91. http://dx.doi.org/10.1353/phx.2016.0017.

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Schwabl, Hans. "Textprobleme im Hippolytos des Euripides." Wiener Studien 128 (2015): 27–36. http://dx.doi.org/10.1553/wst128s27.

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Szatkowski, Janek. "Une flamme si noir." Peripeti 4, no. 8 (June 8, 2021): 41–64. http://dx.doi.org/10.7146/peri.v4i8.110156.

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Janek Szatkowski methodically examines the relationship between Euripides’ Hippolytos and Racine’s Phèdre, and unearths a significant difference in the principle of rationality that governs the works.
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