Medea Of Euripides Research Articles

Scapegoat Carnivale's Tragic Trilogy: Euripides's Medea, Euripides's Bacchae, and Sophocles's Oedipus Tyrannus ed. by Lynn Kozak (review)

Scapegoat Carnivale's Tragic Trilogy: Euripides's Medea, Euripides's Bacchae, and Sophocles's Oedipus Tyrannus ed. by Lynn Kozak (review)

Judith, and: Target Practice

Judith, and: Target Practice Jordan Honeysucker (bio) Judith *based on the story of Judith **lines in bold from Euripides's Medea the context of slaying is one predisposed amongst the wicked to what extent is my grace a symbol of femininity and my blood of weaknessi lay here—hand on the throat emaciated by the contradiction of the vulgate a woman's marriage bed so full of painhow many evils has it brought to mankind? crimson stains our praises to dionysus and yet our pious tears rattle the doors of nineveh unhappy man, you don't know the full extent of your misfortune,or you would not say this. why must one inculcate the idea of the divine feminine? alas, the breath of this sword will liberate the consciousness of the female gazeyet we lay here—sick around her head, the golden diadem shot out amazing molten streams of fire snakes of kerosene slither from his pores and im alive for the first timethe despair of the man is one i consume let this be his saving grace Target Practice on the river bendjust beyond thetrees that creak when you step too closethe raspberries taste bitterand the men exhale with relief I sit in the willow treewith the aching wind of a Mississippi summerpenetrating my skin a clap of the hands comes from three trees overa group of men chant and screamI look for momma [End Page 235] I see my daddymy Granddaddy my uncle my brotherhis flesh being pulled by the pale snake on his neckhe is sleeping another clap I starewondering why the man is floatinghe says nothing but he flies like a doveI think of when momma pushes me on the swings another clap. I get scaredit is only June why are there fireworksI start to shiver even though it is 85 degreesthe ants crawl up my skin but I can only taste the raspberries I think the man is eating raspberries too butdoes he know he has juice all over his shirt? [End Page 236] Jordan Honeysucker Jordan Honeysucker has always thought of herself as a young poet. A Florida native, Jordan is consistently inspired by her relationship with her environment and the racial tensions within her community. Currently a sophomore at the University of California, Berkeley, Jordan plans to study psychology as well as pursue a minor in African American studies in order to reflect on the history that has shaped her. Copyright © 2022 Jordan Honeysucker

Античний жанр трагедії як суспільна «школа».

Review of a new monograph by contemporary Greek philosophers Panos Eliopoulos and Christopher Vasilopoulos (Eliopoulos, P., & Vasillopulos C. (2021) Interpreting Euripides's Medea from Aristotelian and Nietzschean Perspectives. Lewiston, New York: Edwin Mellen Press. 530 p.). The relevance of scientific research is highlighted and the key concepts and ideas on which scientists focus in the reviewed book are highlighted.

Mother Medea and Her Children: Maternal Ambivalence in the Medean Plays of Marina Carr, Cherríe Moraga, and Rachel Cusk

Mother Medea and Her Children:Maternal Ambivalence in the Medean Plays of Marina Carr, Cherríe Moraga, and Rachel Cusk Verna A. Foster (bio) Euripidean Medea as a Model for Maternal Ambivalence When Euripides's Medea killed her children, she gave birth to a seemingly unending number of literary progeny over twenty-five centuries. Euripides's play is one of the most frequently performed Greek tragedies in Europe and America and has generated numerous translations and adaptations throughout the world, because in both translated and adapted forms this play in particular lends itself to some of the most pressing issues that have engaged the cultures that have reworked it. Over the last five centuries, as Fiona Macintosh explains, versions of Euripides's play have successively emphasized Medea as witch, infanticide, abandoned wife, protofeminist, outsider, and latterly as an amalgam of these earlier manifestations.1 Euripides's Medea killed her children to deprive her husband, Jason, of posterity because he abandoned her for a younger royal bride. The vengeance of a foreign woman scorned still shadows contemporary Medeas, who continue to appear as feminists, as ethnic and cultural others, and as exemplars of the dispossessed fighting back.2 However, in the popular imagination, Medea is first and foremost the mother who kills her own children. Three recent versions of Euripides's play, while still evoking the multiple ways in which Medea resonates with contemporary concerns, address in particular the maternal ambiguity that finds its most extreme symbolic expression in infanticide. Marina [End Page 83] Carr's By the Bog of Cats … (1998), Cherríe Moraga's The Hungry Woman: A Mexican Medea (2000), and Rachel Cusk's Medea (2015) critique the coercive norms of patriarchal motherhood as it exists, respectively, in late twentieth-century Catholic Ireland, Chicanx America, and contemporary England. These critiques are advanced from the viewpoints of the Medean mothers, each of whom is motivated by her own particular circumstances and her own understanding of motherhood. By focusing on their protagonists' individual experiences as mothers; complicating their motives for committing infanticide; and developing the roles their children play, Carr, Moraga, and Cusk illuminate, from different perspectives, why Medea offers audiences an important resource for coming to terms with the conflicts of contemporary motherhood. In Euripides's dramatization of the elemental conflict between maternal love and vengeful infanticide, Medea is motivated to kill her children chiefly by wounded pride—"I will not let my enemies laugh at me"—but also by a sense of divine justice—"The gods and I / devised this strategy" to punish Jason for his oath-breaking, as she says of her revenge.3 The complexity of her feelings and her self-awareness (she is the only character in extant Greek tragedies to talk to herself) give Euripides's rendering of the Medea myth its peculiar power to generate new versions of Medean motherhood in a variety of social, historical, geographical, and cultural contexts. There is no question that, viscerally, Medea loves her children: "Oh, how I love these hands, how I love these mouths, / the way the children stand, their noble faces!" (1094-95). She has to steel herself to kill them, and she knows that she will suffer the pain of their loss. However, from the beginning of the play, Medea's feelings about her children and about motherhood are ambivalent. Describing her mistress's suffering, the Nurse says, "She hates her children, feels no joy in seeing them" (42). Medea wishes for the children's death even before she thinks of killing them herself: "O children, accursed, / may you die—with your father!" (118–19). And, famously, Medea tells the Women of Corinth, "I'd rather take my stand behind / a shield three times than go through childbirth once" (253–54). She asserts that it is safer as well as more desirable to be an arms-bearing man than a childbearing woman. Medea's murder of her children cannot be excused as madness. She consciously "work[s] up [her] nerve / for overwhelming evil," asserting, "my spirit/ [End Page 84] is stronger than my mind's deliberations" (1101–03). Medea's intellectual honesty, complex reasoning, and emotional turmoil make her a particularly compelling paradigm for...

Medea of Euripides and the Old Testament: Cultural critical remarks with special reference to the background of the Septuagint

This article expands upon the range of options and methods of some of my earlier studies on Euripides and the Old Testament. These studies have sought to discover similar linguistic features and concepts in the texts of Euripides and the Old Testament, and to discuss how Euripidean tragedies can be read as Greek responses to Hebrew anthropological beliefs, more specifically as poetic-philosophical approaches to the anthropo-theological narratives of Genesis 2–4 and related biblical texts. These biblical texts probably transmitted through improvised oral or written Greek translations preceding the Septuagint (LXX), reorganise and transform the meaning of Hebrew expressions. This article presents the basic problems and aspects of a cultural-critical and comparative analysis and illustrates them with shared motifs from Medea, one of the eight Euripidean tragedies named after a female protagonist, and the Old Testament, thus expanding the boundaries of the traditional historic-critical exegesis.Contribution: The article contributes to the investigation of the background of the Septuagint from a cultural critical perspective with special reference to the Euripidean tragedies.

Un derecho que se pueda danzar: Apuntes para una(s) coreografía(s) jurídica(s)

The present work aims to analyze the approximation between Law and Literature. In order to do so, a bibliographical review on the development of the subject in an American and European context is made. This interdisciplinarity is then brought into the context of the Greek Tragedy. In Euripides's Medea, the characterization of the character is questioned as an infanticide, in addition to a brief comparison between the Criminal Codes of other Latin American countries, and in Sophocles Antigone presents the three faces of justice and the dichotomy between Natural Right and Positive Right. It is concluded that, in a way, the intensification of the studies in the area causes the jurist to reach wide and different views of the world, all stimulated by the imagination.

Macbeth

Reviewed by: Macbeth Gemma Miller MacbethPresented by the Ninagawa Company at the Barbican Theatre, London, England, in association with Thelma Holt Ltd, Saitama Arts Foundation, and HoriPro Inc. 10 5–8, 2017. Directed by Yukio Ninagawa. Set by Kappa Senoh. Lighting by Sumio Yoshii. Costume by Jusaburo Tsujimura. Sound by Katsuji Takahashi. Wigs by Nihiro Fukamachi. Choreography by Juraku Hanayagi. Fight choreography by Masahiro Kunii and Naoki Kurihara. With Masachika Ichimura (Macbeth), Yuko Tanaka (Lady Macbeth), Kazunaga Tsuji (Banquo), Keita Oishi (Macduff), Tetsuro Sagawa (King Duncan), Kenichi Ishii (Porter), Kyoko Nakamura (Witch 1), Tatsumi Aoyama (Old Man/Siward), Hayata Tateyama (Malcolm), Eiichi Seike (Witch 3), Hiroyuki Mamiya (Ross), Hideaki Tezuka (Angus), Kunihiro Iida (Doctor), Yamato Kamiyama (Witch 2), and others. The first time I saw Macbethby the Ninagawa Company was on an old VHS recorder in the performance archives at Shakespeare's Globe. In spite of the grainy images and almost unintelligible soundtrack, I was completely transfixed. It was the first time I had seen such an arresting display of aesthetic beauty and dramatic intensity, combining the visual sensations of Victorian stage spectacle with the stylized beauty of kabukitheatre. Ninagawa's Macbethpremiered in Japan in 1980 and first came to the United Kingdom in 1985 when it was staged at the Edinburgh Festival alongside Euripides's Medea. Theatre impresario Thelma Holt was in the audience for this seminal performance and, struck by Ninagawa's "visual imagination," immediately scheduled a meeting with his producer, Tadao Nakane. They arranged for the two productions to be staged at the National Theatre for "International 87" and Thelma Holt Ltd has since been responsible for bringing numerous Ninagawa productions to the United Kingdom, including A Midsummer Night's Dreamin 1996, Periclesin 2003, Titus Andronicusin 2006 and no fewer than three productions of Hamlet, in 1998, 2004 and 2015. This particular Macbethwas a revival of the original 1980 production, staged to commemorate the life and work of Ninagawa who passed away in May 2016 at the age of eighty. Using the same creative team, it re-created the stunning stage visuals that had impressed Holt in Edinburgh and cemented Ninagawa's legacy as an international, innovative, and enduring talent. The play was transposed to sixteenth-century feudal Japan, drawing on obvious parallels with the political situation of eleventh-century Scotland, the setting for Shakespeare's Macbeth. Both [End Page 160]countries had networks of landowning lords ( daimyoin Japan and thanes in Scotland) who pledged military and political allegiance to the overall ruler in exchange for property and power. The position of the regent (known as a shogunin Japan) was notoriously precarious, with regular attempts at usurpation by rebellious subjects. Although Japan did not face any serious threat from foreign invaders at this point, civil unrest was a common occurrence, as peasants regularly rose against their landlords and samuraiagainst their overlords. Until Tokugawa Ieyasu came to power and established the Tokugawa shogunate in 1603, ushering in a prosperous and peaceful era known as the Edoperiod, Japan was plagued by civil war. Setting the play in this era not only resonated with the unstable political situation of eleventh-century Scotland but also evoked the bloody and destructive War of the Roses, a period of history that still haunted Jacobean England when Macbethwas first staged. Over-weening ambition, an all-pervading sense of suspicion and distrust and an honor code that was more honored in the breach than the observance, the themes of Macbethseemed, in the handling of Ninagawa and his team, a natural fit for its feudal samuraisetting. Ninagawa's Macbeth, however, was much more than a wholesale transposition of Shakespeare's play to a feudal Japanese context. It was an intercultural hybrid that combined stylized kabukitheatre practices with psychological realism and drew upon traditional Japanese imagery underscored by European classical music. The dominant musical refrains were from Faure's "Requiem" and Barber's "Adagio for Strings," works full of pathos and passion, and the soaring voice of a boy soprano was heard singing "Pie Jesu" in Macbeth's dying moments. Following the dazzling swordsmanship of Macbeth and Macduff's final stand...

A tragédia de Eurípedes: relações entre a performance e a resistência dos personagens nas narrativas literária e fílmica Medeia

Considerando o que propõe Alfredo Bosi, em Narrativa e Resistência (1996), entendemos que a oposição a uma força alheia, apontada por Bosi como sendo um dos principais atributos da narrativa de resistência, se faz presente no âmbito da dramaturgia tanto quanto no âmbito da literatura, bem como em outras formas artísticas. E ainda que o pesquisador localize seu corpus em contextos do Século XX, nossa hipótese é a de que a resistência, especialmente a resistência imanente, é antes um aspecto que transcende formas e temporalidades. Para analisar esta possibilidade faremos um paralelo entre a Medeia de Eurípedes e a Medeia de Pasolini.

From the Medea of Euripides

The four passages that follow are part of a translation in progress, all taken from the first half—the ascending blade, as it were—of Euripides's great tragedy. Medea holding out patera of food to ...

Epilogue: The Multiple Medeas of the Middle Ages

Insofar as we can know, Medea has always been multiple, existing in many different versions simultaneously. She is never simply a literary construction, a stratified intertextual ensemble made up of all the other literary Medeas that came before her, but a product of the values and fears of each culture that imagines her, recreates her, and uses her to represent meaning. The Middle Ages were no different: Medea could figure as an alchemist's guide, as in the Pretiosa Margarita Novella (the New Pearl of Great Price); as an allegory of God fighting the Antichrist in the Ovide Moralisé; as wronged wife in Geoffrey Chaucer's Legend of Good Women; or as a nightmare figure that appears like Grendel in Beowulf to destroy Jason's wedding feast in Raoul Lefèvre's History of Jason. The flexibility of the medieval myth of Medea is staggering—even more staggering than that of the Roman period—stretched as it was across a continent of warring kingdoms, with different authors and audiences pressing classical texts to generate new and culturally relevant and acceptable meanings. However, appropriately enough for a volume titled ‘Roman Medea’, there is one multiple of Medea that drops out of the equation as a direct influence: the Greek Medea, the Medea of Euripides and Apollonius. The loss of the Greek tradition did not impede medieval authors, who found more than enough in Latin texts to inspire them. The basic Latin materials upon which the Middle Ages built their Medeas were Ovid's Metamorphoses and Heroides, along with scattered references in other popular authors like Statius, presentations of irrational women in love like Dido in Virgil, descriptions of child murderers such as Procne also taken from the Metamorphoses, and terrifying witches such as Lucan's Erictho. However, some Latin texts which we might have expected to be influential, such as Seneca's Medea, were marginal to the medieval tradition.

From Melissa to Pandora: a reading of Medea as gender representation

The text here summarized aims to examine the tragedy Medea of Euripides, from the gender concept stand point, trying to emphasize the gender relationships in it described and the tactics of the female universe in it reported.

Euripides’ Corinthian Princess in theAeneid

s he begins his commentary on the fourth book of the Aeneid, Servius declares the entire book to be derived from Apollonius’ depiction of Medea in love in the third book of the Argonautica: Apollonius Argonautica scripsit et in tertio inducit amantem Medeam: inde totus hic liber translatus est.1 While the makeup of Dido’s character is one of the most complex in the poem (it alludes to, among others, Nausicaa, Ariadne, and Cleopatra2), Medea may be the most powerful and sustained presence. Two Medeas are evoked in Vergil’s depiction of his heroine. Encouraged by Venus and Juno to fall in love with the handsome stranger who needs her help to continue on his quest, Dido is likened to the young Medea of Apollonius. In the bitter exchange of speeches with Aeneas, and her turn to magic in despair, she is linked to the older, aggrieved Medea of Euripides.3 But there are echoes in the poem that point to another young princess, similar in many ways to the young Medea of Apollonius, but tragically connected to the destructive Medea of Euripides.4 My goal is to explore Dido’s relationship to the Corinthian princess who burns and melts by Medea’s design in Euripides’ play. I will argue that this additional Euripidean connection complicates the allusions to Medea and sheds new light on two important episodes, the gift-giving scene in Book 1 and Dido’s suicide in Book 4.5 I will also show that, once initiated through the character of Dido, the presence of the princess contributes to the allusive makeup of other characters, especially Creusa and Lavinia, who are connected to each other and to Dido within the poem through their relationship to Aeneas.

"An Orchid in the Land of Technology": Narrative and Representation in Lars von Trier's Medea

Abstract: Applying Walter Benjamin's idea that the techniques of film may give a comprehensive view of unfathomable behavior, this paper demonstrates how Lars von Trier's made-for-television film supplements our understanding of the Medea plot first presented by Euripides. We demonstrate how von Trier applies the art of montage to present a dynamic picture of Medea that adds to our understanding of Euripides' themes concerning the painful split in personality that befalls a woman forced to live on the fringes of society. Of particular interest are the changes of emphasis, location, and ordering of events that von Trier made from his two most important sources, the Medea of Euripides and Carl Theodor Dreyer's unrealized scenario of Medea .

The Byron Collection at Harrow School

The Byron collection at Harrow School is a rich, fascinating, varied and relatively unknown archive. The Collection and its Benefactors Byron himself gave a set of his works to the Monitors' Library in 1816. Until quite recently these volumes sat on the open shelves of the Vaughan Library and are referred to in an 1866 catalogue as having been presented 'by the author'.1 They were, perhaps, the same volumes used by Henry Drury, Byron's tutor,2 when he set his pupils passages from Childe Harold to translate into Greek. In 1829 John Murray II agreed to make up the missing volumes from the set at the request of Dr Butler (Head Master, 1805-29). Not long afterwards Murray presented the Library with a copy of Moore's Life and a further complete (octavo) set of Byron's works, 'in a more handsome form and attire' that, he explains in a letter pasted into the first volume, had for some years been in his private library but that he was happy to part with to 'such a destination'. It was to the same Monitors' Library that Byron, himself a School Monitor, had donated four of his Greek texts on leaving Harrow at Christmas 1805. He of course changed his mind and returned for two more terms, but does not appear to have reclaimed the books. The Harrow curriculum in Byron's time put an unusual emphasis on Greek. It was as a Harrow schoolboy that Byron first became enthralled by the character of Prometheus and his annotated copy of the Aeschylus tragedy is one of the four school books in the collection. Dr Drury, Byron's first Head Master, encouraged the boys to write free translations of the classical poets into English verse. On 1 December 1804 Byron wrote: 'My first Harrow verses, a translation of a chorus from the Prometheus of Aeschylus, were received by [Dr Drury] but coolly'. His translation opens: Great Jove! to whose Almighty throne, Both Gods and mortals homage pay, Ne'er may my soul thy power disown, Thy dread behests ne'er disobey.3 Byron later caricatured such exercises. On 17 June 1810, he sent Henry Drury at Harrow a doggerel version of the Nurse's dole in the Medea of Euripides: Oh how I wish that an embargo Had kept in port the good ship Argo! Who, still unlaunch'd from Grecian docks, Had never pass'd the Azure rocks; But now I fear her trip will be a Damn'd business for my Miss Medea.4 It was also to the Monitors' Library that Lord Dungannon presented the 1826 version of E. H. Baily's bust of Byron which offers an iconic, finely chiselled, post humous representation of the Greek hero. A second version, sculpted by Baily in 1848, was bequeathed by H. Panmure Gordon and is displayed in the Private Side of Druries, the House whose name commemorates the academic family that dominated Harrow in Byron's time.5 In 1871 a young Harrow boy, Walter Sichel, later to write a life of Richard Brinsley Sheridan, devoted four stanzas of his prize poem, The Tercentenary of Harrow School, to Byron's fame and fortune. Sichel shows a mature awareness of the 'fevered pangs that [Byron's] heart was soon to know', expressing a deep sympathy for the poet who, although showered with the best gifts of fortune, had 'each boon crossed with chequered ill'. He concludes: And yet his spirit could be stirred by aims As noble as e'er entered mortal breast; For Freedom ever potently reclaims The erring children whom she loves the best. Ere yet his sun had faltered in the west, She called him for the tyrant Turk to brave. Hark! How the thunder o'er each mountain crest Tolls, and bids those whom Byron died to save Know that their hero finds his glory and his grave.6 An early interest in the poet was thus kindled during Sichel's schooldays. Thirtyfi ve years later he presented his collection of letters and memorabilia relating to Teresa Guiccioli to the Harrow collection. …

The Medea Project: Mythic Theater for Incarcerated Women

PERFORMANCE ARTIST AND SOCIAL ACTIVIST Rhodessa Jones began conducting drama workshops with incarcerated women in the late 1980s. Inspired by the success of her one-woman show based on the lives of four inmates in her class, Big Butt Girls-Hard Headed Women, Jones decided to cre ate an ensemble with the inmates at San Francisco County jail. She used as a model Jean Trounstine's theater workshop inside Framingham, Massa chusetts, Prison for Women.' Never one to think small, Jones envisioned a troupe that would not only write and stage original works, but one that would perform in professional theaters for public audiences. She enlisted the help of Sean Reynolds, a social worker and health educator at the jail, and together they assembled a talented collective of artists and activists to work with the inmates, but it took three years to persuade the Sheriff's Department to allow incarcerated women to participate in a public per formance. In 1992, the group staged its first production, Reality IsJust Outside the Window: The Tragedy of Medea Jackson, to a standing-room-only crowd at the Theatre Artaud in San Francisco. The performance was loosely based on Euripides's Medea, and Jones dubbed their experiment the Medea Project: Theater for Incarcerated Women.2 The decision to use Medea stemmed from the fact that a young woman

Medea's Divided Self

following frequently cited works are referred to by author's name: Elizabeth B. Bongie, Heroic Elements in the of TAPA 107 (1977) 27-56; Anne P. Burnett, Medea and the Tragedy of Revenge, CP 68 (1973) 1-24; T. V. Buttrey, Accident and Design in Medea, AJP 79 (1958) 1-17; Eckhard Christmann, Bemerkungen zum Text der des Euripi des, Diss. Heidelberg 1962; Albrecht Dihle, Euripides' Medea, Sitzungsberichte der Heidel berger Akademie der Wissenschaften (Heidelberg 1977); Hans Diller, OYMO AE KPEIZ2QN TQN EMQN BOYAEYMATQN, Hermes 94 (1966) 267-75, rep. in Kleine Schriften (Munich 1971) 359-69; P. E. Easterling, The Infanticide in Medea, YCS 25 (1977) 177-91; Stewart Flory, Right Hand: Promises and Revenge, TAPA 108 (1978) 69-74; W. W. Forten baugh, On the Antecedents of Aristotle's Bi-partite Psychology, GRBS 11 (1970) 233-50; Christo pher Gill, Did Chrysippus Understand Medea? Phronesis 28 (1983) 136-49; Bernard M. W. Knox, The of YCS 25 (1977) 193-225; David Kovacs, On Medea's Great Mono logue, CQ 36 (1986) 343-52; Albin Lesky, Greek Tragic Poetry, trans. M. Dillon (New Haven 1983); Hugh Lloyd-Jones, Euripides' 1056-80, WJA n.f. 6a (1980) 51-59; Gerhard Muller, Interpolationen in der des SIFC n.s. 25 (1951) 65-82; Denys Page, (Oxford 1938; rep. 1971); Pietro Pucci, Violence of Pity in (Ithaca 1980); Kenneth Reckford, First Exit, TAPA 99 (1968) 329-59; Michael D. Reeve, Euripides' 1021-80, CQ n.s. 22 (1972) 51-61; Hermann Rohdich, Euripideische Tragodie (Heidel berg 1968); Eilhard Schlesinger, Zu Medea, Hermes 94 (1966) 26-53; W. Steidle, Studien zum Antiken Drama (Munich 1968) 151-68; H.-D. Voigtlinder, Spatere Uberarbeitungen im grossen Medeamonolog? Philologus 10 (1957) 217-37; George B. Walsh, Public and Private in Three Plays of CP 74 (1979) 294-309; J. J. Walsh, Aristotle on Moral Weakness (New York 1973); Christian Wolff, Euripides, in Ancient Writers: Greece and Rome, vol. 1, ed. T. James Luce (New York 1982) 233-65; Otto Zwierlein, Die Tragik in den Medea-Dramen, Literatur wissenschaftliches Jahrbuch 19 (1978) 27-63. following articles were unavailable to me until after

Heroic Elements in the Medea of Euripides

Heroic Elements in the Medea of Euripides

The Entrances and Exits of Actors and Chorus in Greek Plays

M ANY excellent papers and books have been written on the Greek theater buildings in the different periods, and there are many good reconstructions of the classical, Hellenistic and Roman theater buildings. I need only mention those by Fiechter and Frickenhaus and more recently those by Pickard-Cambridge, Stillwell and Dinsmoor.' But the scene building is only the background for the plays in the classical period, and attempts to show the scenes performed in the orchestra, like those of Bulle, called extraordinary by Dinsmoor, and fantastic and mostly wrong by the author,2 are at least unsatisfactory and misleading. Few attempts have been made to draw diagrams of the entrances and the movements of the actors, like the one by Flickinger for the Frogs, which, however, suffers from the fact that the Frogs was not performed in the theater of Dionysos, as Flickinger assumed but, as Anti has shown, in the Lenaion theater.3 Yet it is of the greatest importance to try to visualize a contemporary production of the only thirty-two Greek tragedies, two satyr plays, and fourteen comedies preserved to us against hundreds of others which are lost. The best way to visualize the possibilities of a Greek drama is, of course, to produce it or to see it produced. This is possible in Greece, where tragedies were performed in the Roman theater of Herodes Atticus at Athens, and the Greek theaters in Epidauros and in Delphi; in Italy particularly in the ancient theater of Syracuse; in Berlin in the Grosse Schauspielhaus, where Max Reinhardt produced Aeschylos' Orestie and King Oedipus of Sophokles, and Aristophanes' Lysistrate before he came to Hollywood, and in other German cities; in England in Reading, where the Agamemnon was produced by high school students under the leadership of Oxford scholars; and in the United States, where on the campus of Columbia University Euripides' Medea, Trojan Women, Iphigenia in Tauris, Iphigenia in Aulis were performed by students under the guidance of Milton Smith, and excellent performances of Aeschylos' Agamemnon in Fordham University; many other colleges in the United States have had more or less successful productions of Greek plays. On Broadway in New York City, Olivier played in King Oedipus and Judith Anderson in the Medea of Euripides. The best performances which I have seen are those by the Greek National Theater under Kathina Paxinu in 1E. Fiechter, Antike griechische Theaterbauten, 1-9, 1930-1950; A. Frickenhaus, Die altgriechische Biihne, 1917; id. in BonnJbb 125 (1919); A. W. PickardCambridge, The Theatre of Dionysos in Athens, 1946; R. Stillwell, The Theater in Corinth, in Results of Excavations conducted by the American School of Classical Studies at Athens II, 1952; W. B. Dinsmoor,

D. W. Lucas: (I) The Medea of Euripides; (2) The Ion of Euripides. Translated into English Prose with Introduction and Notes. Pp. xix+58; xix+71. London: Cohen and West, 1949. Cloth, 5s. net each.

D. W. Lucas: (I) The Medea of Euripides; (2) The Ion of Euripides. Translated into English Prose with Introduction and Notes. Pp. xix+58; xix+71. London: Cohen and West, 1949. Cloth, 5s. net each. - Volume 1 Issue 1

Earle's Medea - The Medea of Euripides. Edited by Mortimer Lamson Earle, Professor of Classical Philology at Columbia University. New York: American Book Company, 1904. Pp. 300. $ 1.25.

Earle's <i>Medea</i> - The Medea of Euripides. Edited by Mortimer Lamson Earle, Professor of Classical Philology at Columbia University. New York: American Book Company, 1904. Pp. 300. $ 1.25.