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This translation of the only extant satyr play of Euripides is designed for the non-specialist reader, and is accompanied by a critical introduction and notes designed to clarify obscure references and to explain the conventions of the Athenian stage.

This translation shows the striking interplay of voices in Euripides' 'Suppliant Women'. Torn between the mothers' lament over the dead and proud civic eulogy, between calls for a just war and grief for the fallen, the play captures the competing poles of the human psyche.

Includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the plays.

The latest title to join the acclaimed Greek Tragedy in New Translations series, Sophocles' Oedipus at Colonus tells the story of the last day in the life of Oedipus.

A new translation of a long-neglected Greek drama that has become increasingly popular in classrooms and on the stage. The two editors, Alan Shapiro and Peter Burian, a poet and classicist, collaborated previously on The Oresteia. This is the final volume of the Greek Tragedy in New Translations series.

Euripides' "Bakkhai" is the staple of the canon of Greek tragedy, as its structure and thematics offer exemplary models of the classic tragic elements. The plot centres around the actions of Pentheus, King of Thebes, who refused to recognize the god Dionysus or permit Thebans to worship him.

This is a new translation in verse of Medea by a well-regarded poet with an introduction and notes by a scholar of Euripides. The result is a distinguished new edition of a canonical play, one of the most widely read and performed of all the Greek dramas.

Merwin and Dimock have provided a new translation for this celebrated tragedy, with a comprehensive introduction, notes on the text, and a glossary of mythical and geographical terms.

In this sensitive new translation by James Michie and Colin Leach, Euripides' fragile structure of subtlety, in both timing and tone, is beautifully preserved.

In this new translation, Sophocles early masterpiece comes boldly to life. In Greek tradition, Aias is the outmoded warrior whom time passes by. In Sophocles play, he becomes the man who moves resolutely beyond time. Most previous versions and interpretations have equivocated over Sophocles bold vision. This version attempts to translate precisely that transformation of the hero from the bygone figure to the man who stops time. In Homer, Aias is the immovable bulwarkof the Achaians, second only to Achilles in battle prowess and size. But when Achilles dies, his armor is given to the wily Odysseus, not Aias. Shamed, and driven to madness, Aias dies a dishonorable death by suicide. He becomes, in death, the symbol of greatness lost; his death signals the end of aheroic age; in the visual arts, draped hideously over his huge sword, he becomes a momento mori. Sophocles plays upon his audiences expectation of all this. In the first scene Aias appears as the Homeric warrior turned mad butcher. It is harder to imagine a more degraded image of the hero. But with each scene, Aias moves from darkness into greater and greater light, and speaks, contrary to the audiences expectations, more like a Heraclitean philosopher of the worlds flux than the laconic figureknown from Homer. In fact, Sophocles Aias clearly sees his madness and the betrayal by the Greeks as merely symptomatic of a world in which nothing remains constant, not loyalties, not oaths, not friendship, not love. Not content to live in a world where nothing lasts, he resolves to live andtherefore to die in accord with the more absolute law of his own inner nature. He thereby transforms his death into destiny, dying with his grip on the absolute rather than living on in a world of uncertainties. In death, he thus becomes the paradigm of permanence, of the human possibility of snatching the eternal from the desperately fleeting. This version embodies, and the introduction and notes hope to elucidate, how Sophocles brings this tragic vision of human greatness powerfully tolife.

The modern reader may have difficulty conceiving of Iphigeneia in Tauris as tragedy, for the term in our sense is associated with downfall, death, and disaster. But to the ancient Greeks, the use of heroic legend, the tragic diction and meters, and the tragic actors would have defined it as pure tragedy, the happy ending notwithstanding. While not one of his "deep" dramatic works, the play is Euripidean in many respects, above all in its recurrent theme ofescape, symbolized in the rescue of Iphigeneia by Artemis, to whom she was about to be sacrificed. Richmond LattimoreΓÇöwho has been called the dean of American translatorsΓÇöhas translated Iphigeneia in Tauris with skill and subtlety, revealing it as one of the most delicately written and beautifully contrived of the Euripidean "romances."

The story of a futile quest for knowledge, this ancient anti-war drama is one of the neglected plays within the corpus of Greek tragedy. Euripides'' shortest tragic work, Rhesos is unique in lacking a prologue, provoking some scholars to the conclusion that the beginning of the play has been lost. In this exciting translation, Rhesos is no longer treated as a derivative Euripidean work, but rather as the tightly-knit tragedy of knowledge it really is. A drama in which profound problems of fate and free will come alive, Rhesos is also an exploration of the perversion of values that come as the result of war. Charged with a striking immediacy, this play is contemporary in the questions it raises, and eternal in its quest for truth.

One of the shortest plays in Greek drama, The Children of Herakles offers enough action for two or three plays of normal length. But this very richness and complexity have made the play elusive, subject to dismissive readings, and extraordinarily difficult to translate; in consequence, it has suffered from neglect over the ages. This vibrant new translation makes clear that The Children of Herakles is actually a wonderfully well-crafted work ofart, a play offering a wealth of rewards to the modern reader. It is a play about war and the effects of war within the state. Herakles, the legendary hero cursed from birth, was never permitted a triumphant homecoming. Here, his descendants continue the effort to return home, seeking asylum from the persecution of the king who had imposed on Herakles the famous twelve labors. While it pursues concepts of deep moral grandeur, it ends with a denouement of astonishing physical and ethical brutality, and affords Euripides a severe comment on what hebelieved was the decline of the Athenian character.

The formidable talents of Anthony Hecht, one of the most gifted of contemporary American poets, and Helen Bacon, a classical scholar, are here brought to bear on this vibrant translation of Aeschylus'' much underrated tragedy The Seven Against Thebes. The third and only remaining play in a trilogy dealing with related events, The Seven Against Thebes tells the story of the Argive attempt to claim the Kingdom of Thebes, and of the deaths of thebrothers Eteocles and Polyneices, each by the others hand. Long dismissed by critics as ritualistic and lacking in dramatic tension, Seven Against Thebes is revealed by Hecht and Bacon as a work of great unity and drama, one exceptionally rich in symbolism and imagery.

Peter Burian and Brian Swann re-create Euripides' controversial play in a new translation accompanied by critical introductions, stage directions, a glossary of mythical Greek terms, and a commentary on difficult passages.

In "Herakles", Euripides reveals with subtlety and complexity the often brutal underpinnings of our social arrangements. The play depicts Herakles being driven mad by Hera, the wife of Zeus. Hera hates Herakles because he is one of Zeus' children born of adultery.

"The Oresteia" by Aeschylus, a trilogy among the Greek tragedies, is considered to be one of the great foundational texts of Western culture. This title is a translation of this work.

A translation of Euripides's Orestes by Peck, a poet, and Nisetich, a classicist, with introduction, glossary, and full stage directions.

One of Euripides' late plays, Ion is a complex enactment of mortals' attempts to understand the actions of the gods and their own conflicted natures. The play's beauty and violence, its lyrical delicacy and nearly tragic action, offer a compelling view of the human condition.