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Journal articles on the topic 'Euripides'

Author: Grafiati

Published: 4 June 2021

Last updated: 23 November 2024

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1

Torrance, Isabelle. "Writing and self-conscious mythopoiēsis in Euripides." Cambridge Classical Journal 56 (2010): 213–58. http://dx.doi.org/10.1017/s1750270500000336.

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Euripides uses a variety of strategies to draw attention to the novelties in his dramatic myth-creation ormythopoiēsis. He does so, for example, through multiple allusions to earlier poets, distinguishing himself from predecessors by acknowledging their influence while simultaneously producing something distinctive. Euripidean novelties are legitimized in several instances through cultic aetiologies. These aspects of Euripidean drama have long been acknowledged. More recently, Matthew Wright has shown how the characters in several Euripidean plays discuss their own myths in a self-conscious manner, a process he terms ‘metamythology’. A technique which has been less studied, however, is Euripides' exploration of the motif of writing and its connection to the act ofmythopoiēsiswithin his work. Scholars who discuss writing in Euripides have done so either within the general context of inherent tensions between oral and written communication in Greek tragedy (or Greek literature), or have focused on the use of letters as dramatic devices. This paper argues that Euripides exploits the motif of writing in a way which is entirely different from the other tragedians, and puts forward the central thesis that writing in Euripides is associated self-consciously and metapoetically with plot construction and authorial control.

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2

Lourenço, Frederico. "An interpolated song in Euripides? Helen 229–52." Journal of Hellenic Studies 120 (November 2000): 132–39. http://dx.doi.org/10.2307/632485.

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Euripides may not have been a darling of the ‘gallery’ during his lifetime, but once he was dead he became a classic, to be read, performed—and imitated. Aristophanes' half-serious attempts to show up the ‘depravity’ of Euripidean tragedy had no lasting effect: the many revivals of his plays from the fourth century onwards suggest that later audiences appreciated the purely sensuous appeal in Euripides' verbal dexterity, his rhetorical flourishes, his distraught characters on the brink of madness and self-destruction, no less than the iridescent beauty of his lyric imagery. In particular, the far-fetched melodramatic outpourings in his solo arias must have had a special appeal, their kaleidoscopic rhythms and lush phraseology blending in with the Euripidean monodist's stock in trade, self-pity. At the Athenian theatre of Dionysus, solo arias were felt to be so quintessentially ‘Euripidean’ that Aristophanes included monody in the ‘diet’ with which his ‘Euripides’ claims to have educated the audience's taste (Ran. 944). We have no way of knowing if Athenian theatre-goers really became the sophisticated connoisseurs of fine poetry whom Aristophanes' Euripides wished for. We may surmise, however, that by the early fourth century, as long as Helen and Iphigenia sang an aria which sounded loosely ‘Euripidean’, it did not matter that the said aria had not actually been written by Euripides.

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3

Zagari, Effie. "Euripides’ Hippolytos in Aristophanes." Pnyx: Journal of Classical Studies 3 (June 30, 2024): 24–46. http://dx.doi.org/10.55760/pnyx.2024.32876.

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Aristophanes’ paratragic and parodic relationship with Euripides has long been discussed in classical scholarship mainly due to the numerous references to Euripides and his tragedies in Aristophanes’ comedies. This article focuses on the use and re-use of the myth of Hippolytos in Aristophanes, as it is found in Euripides’ extant play. The references to Hippolytos found in Aristophanes’ extant and fragmentary plays will be discussed. One of the main purposes of this paper is to bring into attention not only the references to Euripides’ Hippolytus in the extant plays but also in the fragments, which have been rather interesting in terms of their scale and nature as they are very different to the ones found in the extant plays, where the focus of the parody is mainly the character of Phaidra. Aristophanes is donning Euripides’ costumes to serve his purposes and scenarios. The present essay navigates through how Aristophanes used the same Euripidean disguise not just to εὐριπιδαριστοφανίζειν but specifically to ἱππολυτίζειν within his oeuvre.

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4

Domenighini, Sara. "EURIPIDE: MISOGINIA O GINOFOBIA?." Revista Internacional de Culturas y Literaturas, no. 16 (2015): 86–95. http://dx.doi.org/10.12795/ricl.2015.i16.05.

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Ripercorrendo le origini della civiltà, è If we go back to the origins of civilization, possibile identificare un momento storico in we find an historic moment characterized by cui la società era matriarcale. Analizzando matriarchal society. Through the analysis of le figure femminili presenti nelle tragedie di the feminine figures of Euripides’ tragedies, Euripide, possiamo comprendere il timore we can understand he fears a hypothetic che prova l’autore di un ipotetico ritorno return to woman’s predominance on man al predominio della donna sull’uomo e and we can interpret his reasons. Moreover, interpretarne le ragioni. Euripide, poi, si serve Euripides makes use of catharsis to prevent della catarsi per scongiurare tale eventualità. this possibility.

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5

Nelson, Paul B. "EURIPIDES'ALCESTISAND THE APOLLONIUS ROMANCE." Classical Quarterly 66, no. 1 (February 26, 2016): 421–23. http://dx.doi.org/10.1017/s0009838816000057.

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In 1924The Classical Quarterlypublished a note by Alexander Haggerty Krappe titled ‘Euripides’Alcmaeonand the Apollonius Romance’. Drawing attention to the obscure origins of the ancient Greek and Roman novels in general and pointing out the scholarly agreement on the role love plays in both the ancient novels and Euripidean tragedy, Krappe observed that ‘Euripides was drawn upon for whole episodes in order to enrich the plot of the [ancient] novel’. Krappe then goes on in his note to attribute the plot of Euripides' lostAlcmaeonas a source of inspiration for one of the major episodes of theHistoria Apollonii Regis Tyri(to wit, the separation and reunion of Apollonius and his daughter, Tarsia). Today, this reliance of the ancient novels on Euripides is generally recognized, but, curiously, Krappe, while identifying an episode from the lostAlcmaeon, failed to identify a clear plot-borrowing from another extant Euripidean play, theAlcestis.

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6

Dimoglidis, Vasileios. "Plot-makers in Euripides’ Ion." Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos 32 (March 2, 2022): 115–34. http://dx.doi.org/10.5209/cfcg.77616.

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The aim of this paper is to examine the plot-makers in Euripides’ Ion, focusing in this way on an aspect of the Euripidean metapoetry. Ion’s four characters (Apollo, Xuthus, Creusa, and Ion) are transformed into plot-makers, with each of them trying to compose a plot. I have suggested that Apollo is the poet’s double, and thus his plot echoes that of Euripides. The fact that, despite the various deviations (unsuccessful sub-plots), the plot is redirected every single time to the god’s original plot, credits Apollo with the title of a successful theatrical writer (internal playwright), a title that finally Euripides himself assumes.

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7

CRAIK, E. M. "MEDICAL REFERENCE IN EURIPIDES." Bulletin of the Institute of Classical Studies 45, no. 1 (December 1, 2001): 81–95. http://dx.doi.org/10.1111/j.2041-5370.2001.tb00233.x.

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Abstract The relation between medical texts and Euripidean drama is explored through a multiplicity of examples drawn from the extant plays and fragments. Emphasis is placed on the problems and limitations, as well as the potential and rewards, of comparing material from these different genres. First, the overlapping character of metaphorical and technical language is addressed, and the testimony of the lexicographer Erotian adduced. Allusion to various aspects of medicine - therapy and regimen; pathology; anatomy and physiology - is then identified in Euripides' output. It is argued that, in addition to general familiarity with many medical ideas, Euripides may have had particular knowledge of the Hippocratic treatises Breaths and Articulations. Finally, linguistic trends in fifth century Greek usage are noted and aspects peculiar to Euripides' poetic technique isolated. Directions for further research are suggested.

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8

Denis, Iris. "Een dramatische selectie." Lampas 52, no. 4 (December 1, 2019): 473–84. http://dx.doi.org/10.5117/lam2019.4.006.dent.

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Summary This article sketches and critically discusses the scenarios that have been postulated for the establishment of a canon of Euripides´ tragedies in what is generally believed to be the second or third century CE. Although the establishment of the canon has received some critical attention over the years, criteria that fit all the canonical Euripidean tragedies are yet to be drawn up. This article discusses the difficulties in doing so, illustrated by an examination of several case studies on the basis of a set of possible criteria extrapolated from an article by Rafaella Cribiore (2001b) on Euripides´ Phoenissae.

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9

Wright, Matthew. "The tragedian as critic: Euripides and early Greek poetics." Journal of Hellenic Studies 130 (November 2010): 165–84. http://dx.doi.org/10.1017/s0075426910000066.

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AbstractThis article examines the place of tragic poetry within the early history and development of ancient literary criticism. It concentrates on Euripides, both because his works contain many more literary-critical reflections than those of the other tragedians and because he has been thought to possess an unusually ‘critical’ outlook. Euripidean characters and choruses talk about such matters as poetic skill and inspiration, the social function of poetry, contexts for performance, literary and rhetorical culture, and novelty as an implied criterion for judging literary excellence. It is argued that the implied view of literature which emerges from Euripidean tragedy is both coherent and conventional. As a critic, Euripides, far from being a radical or aggressively modern figure (as he is often portrayed), is in fact distinctly conservative, looking back in every respect to the earlier Greek poetic tradition.

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10

Cairns, Douglas. "THE DYNAMICS OF EMOTION IN EURIPIDES’ MEDEA." Greece and Rome 68, no. 1 (March 5, 2021): 8–26. http://dx.doi.org/10.1017/s0017383520000212.

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Medea's emotions loom large in a wide range of dramatic, literary, and philosophical sources from Euripides onwards. In focusing on aspects of the emotional texture of the original Euripidean play, all one can do is scratch the surface of an enormous subject, both in that play and in its reception in ancient literature and thought. Fortunately, we have the other articles in this issue of Greece & Rome to supplement this inevitably limited perspective. My procedure in this short paper is simply to highlight certain aspects of the dramatization of emotion in Euripides’ Medea that strike me as especially worthy of analysis in terms of ancient or modern emotion theory.

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11

Fitzgerald, Gerald. "Textual Practices and Euripidean Productions." Theatre Survey 33, no. 1 (May 1992): 5–22. http://dx.doi.org/10.1017/s0040557400009571.

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This paper has two principal, though interrelated, objectives: to survey issues concerning the status of the texts of Greek Tragedy, particularly with respect to specific distinctions between a play as text-based and as audience experienced, between the “eye” of the reader of a play text and the eye of the theatrical spectator; and to consider some implications of these distinctions for Euripidean drama, above all with respect to The Bacchae, since its procedures, albeit more developed or extravagant than elsewhere, may be construed as characteristic for this drama. Much of what I shall say has reference also to the other—Aeschylean, Sophoclean—texts that we have of Greek Tragedy. But it is with Euripides that the terms of the relationship of text and play are most explicit, and controversial, and, it seems to me, most dislocated. We have “read’ Euripides sometimes very wrongly because we have been reading Euripidean texts.

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12

Jansen, Laura. "H of H and the Combustion of Thought." Classical Antiquity 42, no. 2 (October 1, 2023): 237–48. http://dx.doi.org/10.1525/ca.2023.42.2.237.

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This piece looks into the atmospheric and catastrophic environments that punctuate H of H: storms, ice-breaks, volcanic eruptions, and nuclear explosions that give the tragic narrative an electrifying edge. It draws attention to a “chemical” poetics at the heart of Carson’s translation technique and thinking about Euripides’ play. This mannerism, also found in Euripides’s “combustible mixture of realism and extremism” (Grief Lessons, blurb), is not exclusive to H of H. It can be detected across Carson’s oeuvre – a tendency to combust the reader’s mind in ways that become a philosophy for re-reading Euripides and, more ambitiously, Carson’s own sense of the tragic.

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13

Griffith, Mark. "AESCHYLUS’, EURIPIDES’, CACOYANNIS'S—AND SHORTER-SPALDING'S IPHIGENIAS." Ramus 52, no. 1 (June 2023): 40–44. http://dx.doi.org/10.1017/rmu.2023.5.

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Like Euripides’ play, Iphigenia at Aulis, the Shorter-spalding opera is open-ended and unresolved—partly because, again like the Euripidean version, it is multi-authored and somewhat incomplete. Euripides’ play, in the form(s) in which we possess it, presents at least three different endings, none of which is likely to come from Euripides’ own pen; other authors certainly contributed to various sections of the final scene. Euripides himself also had a musical collaborator, Cephisophon, who presumably continued to work on finishing and rehearsing the play after Euripides himself died, up to its first production. The Shorter-spalding opera, …(Iphigenia), likewise is the result of collaboration—often at a distance, and over several years—between musicians, writers, and designers (as Morales describes in her Introduction to this issue). At least six different authors altogether are identified in the program notes as contributing to the libretto, including the three poets whose lyrics were sung in Act II: Ganavya Doraiswamy, Joy Harjo, and Safiya Sinclair, respectively South Asian, Native American, and Jamaican. As for the opera's ending—the most notoriously uncertain aspect of this myth ever since archaic Greek times—esperanza spalding states in her notes on the opera that the process of creating an ending has been one of constant adjustment, wholesale rewriting, and improvisation, and that even through the rehearsals the singers themselves onstage, as well as the instrumental jazz trio, were still trying out new things, right up to and including perhaps the performance that we saw. (I attended the Berkeley performance on February 12, 2022.) The opera is, we may say, unfinished.

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14

Riedweg, Christoph. "TrGF 2.624 – A Euripidean Fragment." Classical Quarterly 40, no. 1 (May 1990): 124–36. http://dx.doi.org/10.1017/s0009838800026835.

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In the authoritative new collection of the Tragicorum Graecorum Fragmenta (TrGF), a five-trimeter passage appears as No. 624 in the second volume which contains the ‘Fragmenta adespota’. Whereas Nauck placed the lines among the ‘Fragmenta dubia et spuria’ of Euripides (Eur. fr. 1131), Kannicht and Snell separate them totally from the Euripidean fragments and associate them with various pseudepigraphical pieces of tragic poetry which are commonly thought to have originated in the ‘workshop of a Jewish forger’. The purpose of my article is to challenge this decision and to show that TrGF 2.624 may well be genuine poetry by Euripides if we restore the lines to their probable original form. An attempt to reconstruct the original context of the fragment will also be added.

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15

Bernard Ackerman, A. "Euripides+." Journal of Cosmetic Dermatology 3, no. 3 (July 2004): 179. http://dx.doi.org/10.1111/j.1473-2130.2004.00124.x.

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16

Taalman Kip, Maria van Erp. "Euripides." Mnemosyne 62, no. 1 (2009): 117–21. http://dx.doi.org/10.1163/156852508x253000.

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17

Power, Timothy. "New Music in New York." Greek and Roman Musical Studies 8, no. 1 (March 13, 2020): 200–206. http://dx.doi.org/10.1163/22129758-12341369.

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Abstract The article reviews a production of Euripides’ Herakles mounted by Barnard Columbia Ancient Drama, with an historically informed vocal and aulos score. I discuss aspects of the treatment of music in both the play and the performance, and I assess the production in light of recent approaches to the musical reconstruction of Euripidean tragedy.

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18

Jansen, Laura. "Introduction: On Anne Carson’s Euripides." Classical Antiquity 42, no. 2 (October 1, 2023): 229–36. http://dx.doi.org/10.1525/ca.2023.42.2.229.

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This essay serves as an introduction to Anne Carson’s Euripides. It discusses Carson’s ongoing engagement with the tragedian, from Grief Lessons to her latest experimental H of H Playbook and The Trojan Women: A Comic, drawing attention to Carson’s cross-pollinating approach to Euripidean tragedy and antiquity more broadly, as well as the characteristic blending of academic and artistic styles that inform her translation poetics. The introduction includes details of the themes explored in the special issue, together with summaries of the eight ‘takes’ that make up the collection.

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19

Czerwinska, Jadwiga. "Agony racji w "Alkestis" Eurypidesa." Collectanea Philologica 1 (January 1, 1995): 91–102. http://dx.doi.org/10.18778/1733-0319.01.12.

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Sophistarum doctrinae, quae ad ingenia civium conformanda multum valuit, magna etiam in Euripidis tragoediis vis fuit. In hac dissertatione praecipue ea tractantur, quae in fabula Alcestidi dicata insunt et cum Protagorae praeceptis rhetoricis comparari possint. Protagoras, sophista clarissimus, qui de oppositionibus mułta disserere solebat, duas de quavis re oppositas opiniones esse existimavit. Qua de causa orationes inter se contrarias haberi posse opinatus est. Euripides, qui sophistarum disciplinam secutus esse creditur, exposuit nobis dupłices orationes, quae lingua graeca

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20

D’Angour, Armand. "Recreating the Music of Euripides’ Orestes." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 175–90. http://dx.doi.org/10.1163/22129758-12341381.

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Abstract The fragment of the chorus of Euripides Orestes preserved on Pap. Vienna G 2315 leaves a host of unanswered questions. For whom was the papyrus inscribed? How much of Orestes was preserved on the roll? Whose music is it, and what melodic and harmonic sounds does it preserve? Can the gaps in the melody be filled so as to (re)create performable music based on the papyrus for the Euripidean text, and if so how? This article sets out in detail the steps that led to the creation of a score that has become part of a widely viewed Youtube video presentation of a performance in Oxford in July 2017.

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21

Komorowska, Joanna. "SPOKOJNY SEN KLITAJMESTRY ALBO CZEGO „BRAK” W EURYPIDESOWEJ „ELEKTRZE"." Colloquia Litteraria 8, no. 1/2 (November 21, 2009): 7. http://dx.doi.org/10.21697/cl.2010.1.01.

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Peaceful dream of Clytemnestra, or what is missing in Euripides’ Electra Clytemnestra’s dream features as an important element of the vengeance dramas of both Aeschylus and Sophocles: still, is remains absent from the Euripidean version. This short essay sketches the possible implications of such an ‘omission’, while simultaneously highlighting the highly contrasting implications of the dream in the Choephorae and in the Sophoclean Electra.

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22

Villalba-Lázaro, Marta. "After Euripides: Esotericism in Medea’s English Literary Tradition." Athens Journal of Humanities & Arts 10, no. 1 (December 20, 2022): 37–54. http://dx.doi.org/10.30958/ajha.10-1-2.

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The Euripidean Medea remains a mystery to human understanding The esotericism of her story has allowed for dramatically different representations. In tracing her English literary history, from classical to contemporary dramatists, this paper follows Medea’s characters throughout the centuries. Drawing on Euripides, it provides a wide perspective on a long tradition, pointing out the distinctive intellectual and moral features of each historical period. In particular, it aims to show how this esoteric figure actually suits the writers’ ideology, who recurrently use Medea as a symbol to serve their different political and moral purposes, proving the malleability and esotericism of myth.

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23

Cropp, Martin, and Donald J. Mastronarde. "Euripides: "Medea"." Phoenix 58, no. 3/4 (2004): 362. http://dx.doi.org/10.2307/4135179.

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24

Lloyd, Michael, Euripides, and M. J. Cropp. "Euripides, Electra." Phoenix 44, no. 2 (1990): 182. http://dx.doi.org/10.2307/1088330.

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Storey, Ian, Euripides, and K. H. Lee. "Euripides Ion." Phoenix 55, no. 3/4 (2001): 427. http://dx.doi.org/10.2307/1089133.

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26

Michelini, Ann, and Richard Seaford. "Euripides: Cyclops." Classical World 80, no. 6 (1987): 448. http://dx.doi.org/10.2307/4350100.

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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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28

Daitz, Stephen G., and M. L. West. "Euripides: Orestes." Classical World 83, no. 2 (1989): 122. http://dx.doi.org/10.2307/4350569.

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29

Rossi, Mary Ann, Euripides, and M. J. Cropp. "Euripides: Electra." Classical World 84, no. 5 (1991): 391. http://dx.doi.org/10.2307/4350858.

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30

Kubiak, David P., Janet Lembke, and Kenneth J. Reckford. "Euripides: Hecuba." Classical World 86, no. 3 (1993): 255. http://dx.doi.org/10.2307/4351349.

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31

Marshall, C. W., Euripides, and John Wilkins. "Euripides: Heraclidae." Classical World 88, no. 3 (1995): 209. http://dx.doi.org/10.2307/4351684.

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32

Hansen, Hardy, and Donald J. Mastronarde. "Euripides: "Medea"." Classical World 97, no. 4 (2004): 454. http://dx.doi.org/10.2307/4352887.

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33

Torrance, Isabelle, D. Egan, and D. Egan. "Euripides: Medea." Classics Ireland 13 (2006): 97. http://dx.doi.org/10.2307/25528451.

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34

Maitland, Judith. "EURIPIDES REVIEWED." Classical Review 52, no. 2 (September 2002): 243–44. http://dx.doi.org/10.1093/cr/52.2.243.

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35

Mastronarde, Donald J. "EURIPIDES’ CRETANS." Classical Review 53, no. 2 (October 2003): 287–88. http://dx.doi.org/10.1093/cr/53.2.287.

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36

Powers, Melinda. "Unveiling Euripides." Journal of Dramatic Theory and Criticism 23, no. 2 (2009): 5–19. http://dx.doi.org/10.1353/dtc.2009.0007.

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37

Heath, Malcolm. "Euripides' Telephus." Classical Quarterly 37, no. 2 (December 1987): 272–80. http://dx.doi.org/10.1017/s0009838800030494.

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Whom did Telephus defend in Telephus? We know that he defended himself; fr. 710 proves that. It is widely, and I believe rightly, held that he defended the Trojans also; but this has been denied by some scholars, most recently by David Sansone in an article on the date of Herodotus' publication. In the first part of this paper I shall comment on Sansone' arguments and offer a defence of the conventional view; I shall then make some rather speculative suggestions concerning the reconstruction of the play.

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38

Arnott, W. Geoffrey. "Euripides’ NewfangledHelen." Antichthon 24 (1990): 1–18. http://dx.doi.org/10.1017/s0066477400000502.

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When Euripides’Helenwas first produced in 412 B.C., it seems to have created a literary sensation. We have Aristophanes’ word for it. In theThesmophoriazusae, staged almost certainly at the Dionysia of the following year, the comic poet introduces an old relative of Euripides, who says at line 850 ‘I’m going to copy that newfangled Helen’τήν καινήν ΈΧένψ μιμήσομαι, and this he proceeds to do by burlesquing four scenes from the tragedy.

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39

Knöbl, Ranja. "Euripides: Helen." Mnemosyne 64, no. 3 (2011): 494–98. http://dx.doi.org/10.1163/156852511x548252.

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40

Bain, D. "Notice. Euripides Andromache. (The plays of Euripides.). M Lloyd." Classical Review 47, no. 1 (January 1, 1997): 195. http://dx.doi.org/10.1093/cr/47.1.195.

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41

Willink, C. W. "The goddess ΕΥΛΑΒΕΙΑ and pseudo-Euripides in Euripides' Phoenissae." Proceedings of the Cambridge Philological Society 36 (1990): 182–201. http://dx.doi.org/10.1017/s0068673500005277.

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Few, if any, Euripidean plays are altogether free from interpolation. The Phoenician Women, apart from the posthumous Iphigenia at Aulis, has incurred more suspicion than any other. No reputable scholar now doubts that this play contains numerous intrusive verses; and few would deny, though there is almost infinite room for disagreement in detail, that some of these intrusions are of passages rather than odd lines.More controversial, but also more important, are the related issues, whether it contains longer or otherwise structurally significant interpolations that affect the play's essential integrity; and (if so) whether in a purely additive way (so in principle still remediable by excision) or with an element of retractatio (not so remediable, the Urtext having been deliberately altered with some cutting to make way for new material).

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42

Belikov, Grigory S. "A Euripides quote in the prologue to The Knights (Eq. 14–20)." Shagi / Steps 10, no. 2 (2024): 118–27. http://dx.doi.org/10.22394/2412-9410-2024-10-2-118-127.

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This article deals with the distribution of dialogue lines between two slaves in the prologue of Aristophanes’ The Knights. There is no agreement among editors which slave utters the quote from Euripides’ Hippolytus (Eur. Hipp. 345) and where this quote should be located. The main question is whether it is necessary to transpose this quote. Many editors have followed Hermann Sauppe in transposing verses 15 and 16 (Meineke, Dindorf, Bergk, van Leeuwen, and Hall–Geldart). In 1835 C. F. Hermann placed the quote from Euripides after verse 18 and added it to the words of the Second Slave (Nikias). Coulon, Sommerstein, Kraus, and Wilson published the text with Hermann’s emendation. The text presented in Wilson’s edition in fact diminishes the comical effect of this dialogue. It seems unlikely that Aristophanes introduces the quote from Euripides into the text with a direct foreshadowing in a previous verse: the Second Slave says he would like to enunciate something Euripides-like and then cites the whole verse from Hippolytus without any modification. When Euripides is quoted, his name is normally omitted (Nub. 1165–1166 / Eur. Hec. 172–174; Nub. 1415 / Eur. Alc. 691). The main argument for conserving the manuscript text is the comical effect, which is connected with the order of verses offered by codex R. The First Slave quotes Euripides, the Second Slave also wants to say something exquisite (like Euripides) but is interrupted by the First Slave

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43

GURD, SEAN. "On Text-Critical Melancholy." Representations 88, no. 1 (2004): 81–101. http://dx.doi.org/10.1525/rep.2004.88.1.81.

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ABSTRACT This essay discusses a lost chapter in the history of the textual criticism of Euripides' Iphigenia at Aulis: G. Hermann's 1847 De Interpolationibus Euripideae Iphigeniae in Aulide. I argue that this work, like all textual criticisms in classics, aims to represent not the image of a lost original, but rather a singular image of textual history and formal change. This has consequences for the reading of critical texts in general, which do not aim to return us to the past but to provide a charter of history conceived as a temporally heterogeneous textual multiplicity.

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Skoutelas, Charissa. "Knowledge Bearers and Narrative Swayers." Selected Proceedings of the Classics Graduate Student Symposia at the University of Florida 2 (March 25, 2023): 141–60. http://dx.doi.org/10.32473/pcgss.2.133019.

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Euripidean tragedy and Aristophanic comedy often feature enslaved women as confidantes and messengers, though scholarship has largely overlooked the narratological importance of this group. Through an analysis of enslaved women who receive guests, serve as decoys, act as advisors, and deliver fateful news, this article explores how enslaved women in Euripides and Aristophanes hold access to or withhold critical information. I argue that these women exert a degree of control over surrounding characters and circumstances through their possession of essential knowledge, thus influencing the progression of dramatic plots.

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Schmiel, Robert. "Texture in Euripides." Quaderni Urbinati di Cultura Classica 20, no. 2 (1985): 77. http://dx.doi.org/10.2307/20538874.

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Mastronarde, Donald J., and Michael R. Halleran. "Stagecraft in Euripides." Phoenix 40, no. 4 (1986): 456. http://dx.doi.org/10.2307/1088174.

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47

Gregory, Justina. "Euripides "Hecuba" 54." Phoenix 46, no. 3 (1992): 266. http://dx.doi.org/10.2307/1088696.

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Holschuh Simmons, Robert. "Isabelle Torrance. Euripides." Mouseion 17, no. 1 (September 2020): 81–84. http://dx.doi.org/10.3138/mous.17.1.br3.

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Slater, Niall W., and Michael R. Halleran. "Stagecraft in Euripides." Classical World 79, no. 6 (1986): 418. http://dx.doi.org/10.2307/4349953.

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Wiltshire, Susan Ford, Euripides, and Shirley A. Barlow. "Euripides: Trojan Women." Classical World 82, no. 2 (1988): 133. http://dx.doi.org/10.2307/4350328.

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