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Women on the edge : four plays
Women on the Edge, a collection of Alcestis, Medea, Helen,and Iphegenia at Aulis,provides a broad sample of Euripides' plays focusing on women, and spans the chronology of his surviving works, from the earliest, to his last, incomplete, and posthumously produced masterpiece. Each play shows women in various roles--slave, unmarried girl, devoted wife, alienated wife, mother, daughter--providing a range of evidence about the kinds of meaning and effects the category woman conveyed in ancient Athens. The female protagonists in these plays test the boundaries--literal and conceptual--of their lives.Although women are often represented in tragedy as powerful and free in their thoughts, speech and actions, real Athenian women were apparently expected to live unseen and silent, under control of fathers and husbands, with little political or economic power. Women in tragedy often disrupt \"normal\" life by their words and actions: they speak out boldly, tell lies, cause public unrest, violate custom, defy orders, even kill. Female characters in tragedy take actions, and raise issues central to the plays in which they appear, sometimes in strong opposition to male characters. The four plays in this collection offer examples of women who support the status quo and women who oppose and disrupt it; sometimes these are the same characters.
eBook
Women on the Edge
Women on the Edge , a collection of Alcestis, Medea, Helen, and Iphegenia at Aulis, provides a broad sample of Euripides' plays focusing on women, and spans the chronology of his surviving works, from the earliest, to his last, incomplete, and posthumously produced masterpiece. Each play shows women in various roles--slave, unmarried girl, devoted wife, alienated wife, mother, daughter--providing a range of evidence about the kinds of meaning and effects the category woman conveyed in ancient Athens. The female protagonists in these plays test the boundaries--literal and conceptual--of their lives. Although women are often represented in tragedy as powerful and free in their thoughts, speech and actions, real Athenian women were apparently expected to live unseen and silent, under control of fathers and husbands, with little political or economic power. Women in tragedy often disrupt \"normal\" life by their words and actions: they speak out boldly, tell lies, cause public unrest, violate custom, defy orders, even kill. Female characters in tragedy take actions, and raise issues central to the plays in which they appear, sometimes in strong opposition to male characters. The four plays in this collection offer examples of women who support the status quo and women who oppose and disrupt it; sometimes these are the same characters.
Ruby Blondell is Associate Professor of Classics at the University of Washington. Mary-Kay Gamel is Associate Professor of Classics and Comparative Literature at the University of California, Santa-Cruz. Nancy Sorkin Rabinowitz is Professor of Comparative Literature at Hamilton College. Bella Vivante is Senior Lecturer in Humanities at the University of Arizona.
eBook
Helen
Transcending the literal bounds of genre, Euripides' Helen has been characterized as both a comedy and a tragedy. In this evocative translation by James Michie and Colin Leach, Euripides' delicate balance--in all its subtlety of texture and tone--is beautifully captured. Finding its source in a myth ascribed to the Sicilian poet Stesichorus, this drama centers on the myth of two Helens--a god-wrought phantom that was carried of by Paris to Troy, and the real, flesh-and-blood Helen who was mysteriously sent to Egypt. The reader encounters myriad reversals, worlds--real/ideal, tragic/comic--surprisingly juxtaposed and, as in any story of Helen, the pathos of the impossible, all allowing Euripides to comment of the futility of war and the difficult distinction between appearance and reality.
eBook