Euripides
Average customer rating:
- Family love and hate
- Whose got a mop?
- simple, clear, beautiful
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Grief Lessons: Four Plays by Euripides (New York Review Books Classics)
Euripides
Manufacturer: NYRB Classics
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ASIN: 1590171802
Release Date: 2006-08-01 |
Book Description
Euripides, the last of the three great tragedians of ancient Athens, reached the height of his renown during the disastrous Peloponnesian War, when democratic Athens was brought down by its own outsized ambitions. “Euripides,” the classicist Bernard Knox has written, “was born never to live in peace with himself and to prevent the rest of mankind from doing so.” His plays were shockers: he unmasked heroes, revealing them as foolish and savage, and he wrote about the powerless—women and children, slaves and barbarians—for whom tragedy was not so much exceptional as unending. Euripides’ plays rarely won first prize in the great democratic competitions of ancient Athens, but their combustible mixture of realism and extremism fascinated audiences throughout the Greek world. In the last days of the Peloponnesian War, Athenian prisoners held captive in far-off Sicily were said to have won their freedom by reciting snatches of Euripides’ latest tragedies.
Four of those tragedies are here presented in new translations by the contemporary poet and classicist Anne Carson. They are Herakles, in which the hero swaggers home to destroy his own family; Hekabe, set after the Trojan War, in which Hektor’s widow takes vengeance on her Greek captors; Hippolytos, about love and the horror of love; and the strange tragic-comedy fable Alkestis, which tells of a husband who arranges for his wife to die in his place. The volume also contains brief introductions by Carson to each of the plays along with two remarkable framing essays: “Tragedy: A Curious Art Form” and “Why I Wrote Two Plays About Phaidra.”
Customer Reviews:
Family love and hate.......2007-01-12
This translation of four plays by Euripedes is brilliant, clean and clear, without pretension. It offers the direct gaze of an Athenian at human emotion and human fate, which is considered a matter of luck more than chara
Iniciación al Euskara (1 livre + coffret de 3 CD) (en espagnol)
Iniciación al Euskara (1 livre + coffret de 3 CD) (en espagnol)
Authors: Assimil - Collection Langues Régionales
Catalog: Book
Media: CD audio
Release Date: 13 February, 2004
Publisher: Assimil
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--the acceptance of death as well as the duty to live--which, according to Euripides, makes people meaningfully human and capable of both courage and compassion. This new interpretation compellingly argues that, for Euripides, suffering humanizes, that exemption makes a man selfish and childish, and that only the courage to accept both life and death leads to the realization of one's humanity, and, in the case of Alcestis, to heroism.
Customer Reviews:
The closest thing we have to a Greek satyr play.......2003-02-03
"Alcestis" is the oldest surviving play of Euripides, although he had been writing tragedies for almost twenty years when it was written. Apparently it ws the fourth play in a tetralogy, taking the place of the ribald satyr play which traditionally followed a series of three tragedies. Consequently, this play has more of a burlesque tone, best represented in the drunken speech of Heracles to the butler and his teasing of Admetus at the end. So while "Alcestis" is a tragedy, it does offer up an unusal happy ending.
In Greek mythology Alcestis was the daughter of Pelias and wife of Admetus, an Argonaut and the king of Pherae. In Western literature Alcestis is the model wife, for when her husband is to die she alone agrees to die in his place. However, the key in this drama is how Admetus finds this sacrifice totally acceptable. Admetus is represented as a good and honorable man, but then his ethos is established in this play by the god Apollo in the opening scene, and even though it was written later it is hard not to remember the expose Euripides did on the god of truth in "Ion." Euripides adds a key twist in that Alcestis agrees to the sacrifice before she fully understands that her husband will suffer without her. She is brought back from the underworld by Heracles and restored to her relieved husband, but the play clearly characterizes Admetus as a selfish man and it is this view that other writers have imitated every since.
The story of Alcestis has been addressed by more modern writers from Chaucer and Milton to Browning and Eliot. The sacrifice of Alcestis has also been the subject of several operas. "Alcestis" is not a first rate play by Euripides, but it does represent both his cynicism and his attempt to make the audience confront the problematic elements of its belief system. So while I would not teach "Alcestis" by itself, in conjunction with other play by Euripides, specifically "Ion," it can definitely have value in class.
Offer you this treat!.......1998-09-02
Alcestis was the first Greek tragedy I read, and it is still the one I love most, though Ajax and both Iphigenias are tough competitors. Heracles, a.k.a. Hercules, accepts hospitality at a home where, unknown to him, the housewife, Alcestis, is being mourned. He drinks and raises hell (the pun will be noticed by he who reads the play!). Informed of the tragedy, much embarrassed, he decides to add a new task to his tight schedule: bringing back the lady. This is a tragedy that ends well. Actually, it runs well all the time, being one of the greatest creation of human imagination.
Average customer rating:
- Excellent for undergraduates
- What Electra Complex?
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The Complete Greek Tragedies: Euripides V
Euripides
Manufacturer: University Of Chicago Press
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Binding: Paperback
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- The Complete Greek Tragedies: Euripides I (The Complete Greek Tragedies)
- The Complete Greek Tragedies: Sophocles I (The Complete Greek Tragedies, Vol 1)
- Aeschylus I: Oresteia (The Complete Greek Tragedies)
- The Complete Greek Tragedies: Euripides II
- The Complete Greek Tragedies: Euripides IV (The Complete Greek Tragedies)
ASIN: 0226307840 |
Book Description
In nine paperback volumes, the Grene and Lattimore editions offer the most comprehensive selection of the Greek tragedies available in English. Over the years these authoritative, critically acclaimed editions have been the preferred choice of over three million readers for personal libraries and individual study as well as for classroom use.
Customer Reviews:
Excellent for undergraduates.......2000-05-15
A readable translation of the plays of Euripides. Enough historical background is given in the foreword and the introductions to each play that the reader has a better grasp of the meaning of the play to those who viewed in antiquity. A bit conservative in the translation at times but nonetheless well done.
What Electra Complex?.......2000-05-08
Euripides V contains some of the most popular and famous tragedies by the Greek playwrite Euripiedes. Electra, the first play, is a must for anyone studying or interested in mythology and tragedies. The Phoenician Women adn The Bacchae are also wonderful plays that prime examples of what Greek tragedies are all about. Even if this is your first time reading tragedies, as was mine, the introduction by Grene and Lattimore pave the road for the stories.
Book Description
In nine paperback volumes, the Grene and Lattimore editions offer the most comprehensive selection of the Greek tragedies available in English. Over the years these authoritative, critically acclaimed editions have been the preferred choice of over three million readers for personal libraries and individual study as well as for classroom use.
Customer Reviews:
another rare play.......2000-05-15
This fourth book in the Euripides series gives the reader another fairly rare play: Rhesus. Readable translation that is easily affordable with good general introductions. A bit too conservative in translation at points.
Average customer rating:
- Three breath-taking Greek tragedies!
- Euripides plays about Hercules, Jason, and Theseus
- Cyclops and gargoyles oh my!
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The Complete Greek Tragedies: Euripides I (The Complete Greek Tragedies)
Euripides
Manufacturer: University Of Chicago Press
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ASIN: 0226307808 |
Book Description
In nine paperback volumes, the Grene and Lattimore editions offer the most comprehensive selection of the Greek tragedies available in English. Over the years these authoritative, critically acclaimed editions have been the preferred choice of over three million readers for personal libraries and individual study as well as for classroom use.
Customer Reviews:
Three breath-taking Greek tragedies!.......2005-04-20
This is a review for three of Euripides' plays - "Medea", "Hippolytus" and "The Bacchae". If you are interested in Greek tragedy, you must read some of Euripides' plays. His work is as different as can be from some of the others (like Sophocles and Aescylus.) Contrary to these other two, Euripides did not abandon the religious view of life, but he redirected it and found the values which evoke reverence in spheres other than in moral spheres. The moral sphere, in his view, belonged exclusively to man. The gods, according to Euripides, are not man's friend, nor enemy, nor moral guides. They are the unchangeable facts of existence like sun, wind, rain, the sea and fire. He also has very definite views of the place that women must keep in society, and he states in no uncertain terms that they should not rise above their station. In "Medea," we are introduced to a complex and dynamic heroine villainess. She takes us through the whole gamut of human emotions. We see how she reduces the masculine elements to nothing in this play in her handling of Jason. In "Hippolytus" we see a wrong committed by one man against another and it results in true repentance and forgiveness. We also see another strong female character in Phaedra, and Euripides presents her sad case with truth and candor. "The Bacchae" is my favourite of the three, and it is a complex and disturbing drama. We get a good look at Euripides' ideas of what a god is like in his portrayal of Dionysus. We see how the gods are driven past all reason to achieve justice for past slights. There is no forgiveness in this play. I would love to see this play acted. It would be stunning.
Euripides plays about Hercules, Jason, and Theseus.......2003-04-07
Volume I of "The Complete Greek Tragedies" of Euripides offers the playwrights rather unique view on some of the greatest heroes of Greek Mythology: Hercules, Jason, and Theseus.
"Alcestisý (translated by Richard Lattimore) is the oldest surviving play of Euripides and the closest thing we have to an extant example of a satyr play. Consequently, this play has more of a burlesque tone, best represented in the drunken speech of Hercules to the butler and his teasing of Admetus at the end. Alcestis was the model wife of Admetus, for when her husband is to die she alone agrees to die in his place. However, the key in this drama is how Admetus finds this sacrifice totally acceptable. Admetus is represented as a good and honorable man, but then his ethos is established in this play by the god Apollo in the opening scene, and even though it was written later it is hard not to remember the expose Euripides did on the god of truth in "Ion." Euripides adds a key twist in that Alcestis agrees to the sacrifice before she fully understands that her husband will suffer without her. She is brought back from the underworld by Hercules and restored to her relieved husband, but the pla
Introduction au Thaï
Introduction au Thaï
Authors: Assimil - Collection Sans Peine
Catalog: Book
Media: Relié
Release Date: 13 February, 2004
Publisher: Assimil
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Customer Review:
Pas très efficace
Nombreux défauts dans cette méthode. D'abord, on n'apprend pas l'écriture thaïe. Elle n'est pas si difficile, pourtant. Il faut alors passer par une transcription dans laquelle on utilise des conventions aberrantes et déroutantes (par exemple le signe ø pour o ouvert, alors que ce signe signifie eu fermé dans les transcriptions phonétiques). L'apprentissage de l'écriture est primordial ne serait-ce que pour pouvoir "photographier" mentalement les mots et associer une image visuelle à un son, ce qui permet aussi de mieux mémoriser les tons. Sans parler du fait, évidemment, que si on ne sait pas lire les caractères thaïs, on se retrouve proprement illettré en Thaïlande. Autre gros défaut, inhérent à la méthode Assimil et plus ou moins marqué selon les langues, mais qui est ici flagrant: la méthode n'est pas assez progressive. Dès la leçon 1, on est bombardé de commentaires explicatifs et d'une multitude de choses à mémoriser. Les leçons devraient être beaucoup plus courtes et introduire les nouveautés au compte-goutte. On aurait ainsi une chance d'apprendre sans effort. Il est vrai que le livre ne s'appelle pas le "Thaï sans effort" ou "sans peine", comme les autres méthodes, ce n'est sans doute pas un hasard. La seule utilité du livre c'est, quand on a appris l'écriture, qu'il peut servir de support à des exercices quotidiens en constituant une sorte de fil rouge d'une méthode progressive. Les enregistrements sont utiles et clairs.
La moins bonne des méthodes Assimil
Introduction au Thaï a le mérite d'avoir un titre qui ne ment pas: achetez cette méthode et tout ce que vous aurez c'est ... une introduction et rien que ça à une langue très difficile au demeurant. A la fin de la méthode, tout ce que vous arriverez à faire c'est baragouiner quelques mots en Thailande et encore si tant est que les Thais vous comprennent! La grammaire n'est pas très dure mais à l'issue de cette méthode, les connaissances en vocabulaire que l'on a acquises sont limitées et ne permettent pas de se débrouiller correctement dans la plupart des situations de la vie quotidienne. Ensuite cette méthode n'apprend pas l'écriture, ce qui est aberrant. Car comment apprendre une langue sans en connaître l'écriture? Une fois en Thailande, la méconnaissance de cet alphabet original est un réel handicap
.
Franchement de toutes les méthodes assimil que j'ai pratiqué c'est vraiment la plus mauvaise.
tres progressif mas uniquement basé sur l"oral
cette methode est tres progressive, les leçon se compliquent peu à peu mais en douceur. La langue thai n'est pas si difficile que ca à acquérir à un niveau de base, la grammaire étant relativement simple; par contre il faut absolument avoir les enregistrements audio pour acquerir une prononciation qui a du sens. Le gros défaut de cette methode est de ne pas du tout présenter l'écriture... ce qui est apparemment une exception dans les méthodes assimil. Dommage... vivement un remaniement du bouquin en plus epais avec l'ecriture!
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- Odyssey
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ASIN: 0872203921
Book Description
Cambridge Translations from Greek Drama aims to eliminate the boundary between classics students and drama students. Euripides: Bacchae is the second in the series, and is aimed at college level students in North America. Features of the book include full commentary running alongside the translation, notes on pronunciation and a plot synopsis. Background information is also provided, along with suggestions to encourage discussion.
Customer Reviews:
The Greatest Play Extant!.......2007-06-23
Dionysos returns to the city of his birth, anxious for those honors which are due him. Pentheus, current ruler of Thebes and a cousin of our hero, doesn't accept him. Pentheus finds out he made a really bad mistake, when he ends up at the top of a pine tree! What more could you ask for? Euripides' masterpiece is a great as ever, and for the price it can't be beat.
Highest rating!
Modernized, but Helpful.......2006-11-16
This translation is more modernized, making for an easy read. The pages are set up with the translation on the right and explanations about concepts and themes on the left. The explanations are insightful and did benefit me. I would suggest this version for high school students or for leisure, but I suggest a more true to the text translation for higher education.
Down to Earth Cosmicness.......2005-07-04
After having my eyes opened by Willaims' translation, I decided to revisit Rudall's work. While Williams is poetic and prone to flights of fancy, Rudall is more down to earth, which is appropriate for a god like Dionysus.
Yes he is a god of frenzy, but he is also a god of dying. I think this is why dance is sacred to him. Dance feels gravity's pull, leaps against it, succumbs to it, and leaps yet again. Life that is tied to the earth tries to transcend it, and struggles until it falls exhausted to the ground, only to rise and struggle again. It ain't all about exaultation, but is also about falling down.
Williams' translation sometimes flies away like a flock of pretty birds. Rudall keeps pulling us back to earth, back to the mysteries, and helps us plumb the depths of this play's truths. He doesn't let a bunch of pretties get in the way. He makes sure we see Everything.
One of the best translations out there.......2003-06-11
I am a classical history major with a focus on poetry and drama. I have actually read Bacchae in Attic Greek and I have to say that I find this translation to be one of the most fluid and natural of any that I have ever read. I would highky recommend this to anyone looking for a well-written, very gory introduction to Greek theatre. This edition is also great for using as a script, wheras many translations are good only for reading. I just put up a production using this translation and my actors were very comfortable with the wonderful language Woodruff uses.
Foolish Pentheus does not welcome Dionysius to Thebes.......2003-05-01
"The Bacchae" was written by Euripides when he was living in Macedonia in virtual exile during the last years of his life. The tragedy was performed in Athens after his death. These factors are important in appreciate this particular Greek tragedy because such plays were performed at a festival that honored the Dionysus, and in "The Bacchae" he is the god who extracts a horrible vengeance. The tragedy clearly demonstrates the god's power, but it is a terrible power, which suggests less than flattering things about the deity himself.
Pentheus was the son of Echion and Agave, the daughter of Cadmus, the founder of the Royal House of Thebes. After Cadmus stepped down the throne, Pentheus took his place as king of Thebes. When the cult of Dionysus came to Thebes, Pentheus resisted the worship of the god in his kingdom. However, his mother and sisters were devotees of the god and went with women of the city to join in the Dionsysian revels on Mount Cithaeron. Pentheus had Dionysus captured, but the god drove the king insane, who then shackled a bull instead of the god. When Pentheus climbed a tree to witness in secret the reverly of the Bacchic women, he was discovered and torn to pieces by his mother and sisters, who, in their Bacchic frenzy, believed him to be a wild beast. The horrific action is described in gory detail by a messenger, which is followed by the arrival of the frenzied and bloody Agave, the head of her son fixed atop her thytsus.
Unlike those stories of classical mythology which are at least mentioned in the writings of Homer, the story of Pentheus originates with Euripides. The other references in classical writing, the "Idylls" written by the Syracusean poet Theocritus and the "Metamorphoses" of the Latin poet Ovid, both post-date"The Bacchae" by centuries. On those grounds, the tragedy of Euripides would appear to be entirely his construct, which would certainly give it an inherent uniqueness over his interpretations of the stories of "Medea," "Electra," and "The Trojan Women."
I see "The Bacchae" as being Euripides' severest indictment of religion and not as the recantation of his earlier rationalism in his old age. The dramatic conflicts of the play stem from religious issues, and without understanding the opposition on Appollonian grounds of Pentheus to the new cult readers miss the ultimate significance of the tragedy. This is not an indictment of Appollonian rationalism, but rather a dramatic argument that, essentially, it is irrational to ignore the irrational. As the fate of Pentheus amply points out, it is not only stupid to do so, it is fatal.
Book Description
The first playwright of democracy, Euripides wrote with enduring insight and biting satire about social and political problems of Athenian life. In contrast to his contemporaries, he brought an exciting--and, to the Greeks, a stunning--realism to the "pure and noble form" of tragedy. For the first time in history, heroes and heroines on the stage were not idealized: as Sophocles himself said, Euripides shows people not as they ought to be, but as they actually are.
Customer Reviews:
One of the greatest greek dramatist.......2006-04-10
10 beautiful and powerful plays by a man whose genius can still be felt today
The evolution of drama.......2005-12-20
Some reviewers say that Euripides is not strictly a tragedian in the Greek sense, but a playwright who took Greek drama to a next level of development. I agree, and this can be seen both in structural and styilistic innovations, as well as in the way of treating his subjects, remarkably the Gods, myths, religion and the situation of women. Maybe that's why he was the least successful of the three known Greek "tragedians", the other two being Aeschylus and Sophocles. Structural and styilistic innovations include the opening monologue in which one of the characters explains the situation such as it is at the beginning of the action. Other ones are: a lesser use of the Chorus and the treatment of the final deus-ex-machina. But in my view, the most important aspect of his dramas is the controversial stance he takes against traditions and myths. If Aschylus lives in a world of gods, heroes and titans, and if Sophocles is the great tragedian of Fate, glory, downfall and grandilocuent suffering, for Euripides humans are just humans and the gods are, in the best case, distant, cruel and frivolous entities. With Euripides, it is not so much Fate but every individual's decisions which decide their fortune. He also exposes crudely the disadvantaged situation of women, hand-tied by laws and traditions which preclude their human development. Finally, for him war is not an opportunity for glory, but only destruction, misery and disgrace. War does not purify or ennoble, it just destroys and saddens. In spite of this vision, his plays do not entirely lack a sense of humor, even if it's black humor. Some of the plays included in this volume are:
"Alcestis", a good example of Euripides's anti-tragedy which begins sad and ends joyful. Alcestis volunteers to die instead of her husband, Admetus (whose own parents refuse to sacrifice for him). Admetus has to be one of the most despicable characters in literature. In the end, a drunk Hercules saves the woman and all ends well (more or less).
"Medea" is the terrifyingly cruel story of Jason's wife, who goes mad at his infidelities and punishes him by murdering their children. Chilly.
"Hippolytus", which is more properly a tragedy in the old style. Here the gods do intervene decisively: Aphrodite inspires in Phaedra a lustful love for her stepson, Hippolytus. When the boy finds out about it, he sternly rejects the idea and Phaedra kills herself. She lefts behind a letter accusing Hippolytus of having tried to seduce her, which brings about the boy's death.
"Andromache", a drama about jealousy in which Hector's widow is about to die at the hands of her raptor's wife (the raptor is Neoptolemus, Achilles's son). In the end, she is saved by the wisdom and mercy of Achilles's father.
"Ion", apocryhphal son of Apollo, who is adopted by another man and made priest of his true father's temple (he ignores his true lineage).
"The Trojan Women", where the cruel deaths of Priamus's children are told.
"Electra", very different from the one written by Aeschylus where Electra is a hysterical crazy. Here, she is a cold and firm avenger.
"Ifigenia among the Taurus", where the supposedly sacrificed daughter of Agamemnon and Clytemnestra appears as the guardian of Artemisa's temple in the country of the Taurus, nowadays Crimea. Her brother Orestes arrives to the place with his friend Pilades, escaping from the cruel Erinnis (deities in charge of punishing parricide or matricide). His goal is to steal the statuette of the godess in order to perform some ritual of atonement for his sins. Brother and sister recognize each other and run away together. This isn't either a proper tragedy, but more of a farce.
Euripides laid down the basis for what would be modern drama. The plays are quite good and relevant and so completely recommended.
Ten plays by Euripides, the first playwright of democracy.......2003-07-25
Euripides was the youngest and the least successful of the great triad of Greek tragic poets. Criticized by the conservatives of his time for introducing shabby heroes and immoral women into his plays, his plays were ridiculed by Aristophanes in "The Frogs." His plays exhibited his iconoclastic, rationalizing attitude toward the ancient myths that were the subject matter for Greek drama. For Euripides the gods were irrational and petulant, while heroes had flawed natures and uncontrolled passions that made them ultimately responsible for their tragic fates. Ultimately, your standard Euripides tragedy offers meaningless suffering upon which the gods look with complete indifference (until they show up at the end as the deux ex machina). However, today Euripides is considered the most popular of the Greek playwrights and is considered by many to be the father of modern European drama.
This volume does not include all of the extant plays of Euripides (we believe he authored 92 plays, 19 of which have survived), but what are arguably the ten most important: "Alcestis," "Medea," "Hippolytus," "Andromache," "Ion," "Trojan Women," "Electra," "Iphigenia Among the Taurians," "The Bacchants," and "Iphigenia at Aulis." The translations by Moses Hadas and John McLean are not as literate as you will find elsewhere, but they are eminently functional and make this volume one of the most cost-effective ways of providing students an opportunity to study the work of a great dramatist.
After reading several Euripides tragedies several things emerge in our understanding of his work. First, he has a unique structure for his plays decidedly different from those of Aeschylus and Sophocles. Usually the play begins with a monologue that provides the necessary exposition regarding the situation with which the characters are confronted. At the end of the play a god usually descends from heaven to provide an epilogue to say what happens afterwards (e.g., "Hippolytus"). Second, Euripides is much more interested in the dynamic interaction of his characters than the role of the chorus. The stasimons and occasional monodies are more what exists between scenes for Euripides instead of an opportunity to comment upon the story as with Aeschylus (e.g., "Agamemnon"). Third, the idea that Euripides is a misogynist just does not bear up under even a basic reading of these plays. This misconception might stem from our understanding of the culture of the times, because the "worst" thing you can say about the women of Euripides is that they are realistic characters.
Fourth and most importantly, clearly Euripides is at his best when there is a political agenda embedded in his story. "The Trojan Women" offers a fascinating counterpoint to the reactions of those same characters at the end of the "Iliad" when Hector's body is returned to Troy, but Euripides is not concerned with commenting on Homer but rather on the Athenian destruction of the city of Melos, which had tried to stay neutral in the Peloponnesian War (compare this with Euripides in a patriotic mode in "Andromache"). Much more is made of Euripides irreverence towards the gods (e.g., "The Bacchants"), however I think his greatness lies not in being an atheist but in being a strong advocate of democratic principles (e.g., the treatment of foreigners at the heart of "Medea"). Hadas reinforces this latter idea in his translations, admitting that for the modern reader it might be better to think of Euripides "as a pamphleteer rather than a poet." Still, Hadas emphasizes that despite the parodies provided by Aristophanes, Euripides was a great poet. Furthermore, Hadas is committed to keeping the translations as poetry rather than prose.
But there is also a sense in which Euripides provides psychological insights into his characters as much as Sophocles, who usually gets the edge in that respect because Freud derived the Oedipal and Electra complexes from his writings. Even though there was a limit of only three characters on stage at a time, Euripides would often made one of these characters, such as the nurse in "Hippolytus" or Pylades (friend of Orestes in both "Electra" and "Iphigenia Among the Taurains"), a normal person, who served as a means for showing the profoundly disturbed nature of the tragic hero.
Reading a single Euripides play is not going to make the validity of any or all of these points clear, but if you read most of these ten plays you should come to similar conclusions. I still like to use Euripides in bracket Homer's "Iliad," looking at the way he presages the conflict between Achilles and Agamemnon in "Iphigenia at Aulis," and the fate of "The Trojan Women," but there is much value to studying the plays of Euripides on their own terms. Granted, you can find better (i.e., more "modern") translations, but finding ten Euripides plays in one volume is going to be impossible and/or expensive.
More a dramatist, less a tragedian.......2003-05-19
Euripides is not a definitive tragedian (in the Aristotelian notion) like his contemporary Sophocles; although he mines the same subject matter, he exhibits a number of stylistic differences and peculiarities. His plays tend to begin with a single character delivering a soliloquy that introduces the background of the story, and he makes frequent use of a "deus ex machina" at the end in order to set things right, or as right as they can be.
The biggest difference between Sophocles and Euripides is their app
Introduction au Thaï (1 livre + coffret de 3 cassettes)
Introduction au Thaï (1 livre + coffret de 3 cassettes)
Authors: Assimil - Collection Sans Peine
Catalog: Book
Media: Cassette audio
Release Date: 13 February, 2004
Publisher: Assimil
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