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general books on greek tragedy

P. E. Easterling (ed.), The Cambridge Companion to Greek Tragedy (Cambridge, 1987); Simon Goldhill, Reading Greek Tragedy (Cambridge, 1986); Rush Rehm, Greek Tragic Theatre (London, 1992); Charles Segal, Interpreting Greek Tragedy: Myth, Poetry, Text (Ithaca, NY, 1986); Oliver Taplin, Greek Tragedy in Action (London, 1978); J. P. Vernant and P. Vidal-Naquet, Tragedy and Myth in Ancient Greece (English trans., Brighton, 1981); John J. Winkler and F. I. Zeitlin (eds.), Nothing to do with Dionysos? Athenian Drama in its Social Context (Princeton, 1990).

general books on euripides

P. Burian (ed.), New Directions in Euripidean Criticism (Durham, NC, 1985); Christopher Collard, Euripides (Greece & Rome New Surveys in the Classics, 24, Oxford, 1981); D. J. Conacher, Euripidean Drama (Toronto, 1967); Euripide, Entretiens sur l'antiquité classique, vi, published by the Fondation Hardt (Vandouvres-Geneva, 1960); Helene P. Foley, Ritual Irony: Poetry and Sacrifice in Euripides (Ithaca, NY, 1985); G. M. Grube, The Drama of Euripides (2nd edn., London, 1962); M. Halleran, Stagecraft in Euripides (London, 1985); A. N. Michelini, Euripides and the Tragic Tradition (Madison, 1987); James Morwood, The Plays of Euripides (Bristol, 2002); Judith Mossman (ed.), Oxford Readings in Euripides (Oxford, 2000); E. Segal (ed.), Euripides: A Collection of Critical Essays (Englewood Cliffs, NJ, 1968); P. Vellacott, Ironic Drama: A Study of Euripides' Method and Meaning (Cambridge, 1976); C. H. Whitman, Euripides and the Full Circle of Myth (Cambridge, Mass., 1974).

euripides' life and biographies

Hans-Ulrich Gösswein, Die Briefe des Euripides (Meisenheim am Glan, 1975); J. Gregory, Euripides and the Instruction of the Athenians (Ann Arbor, 1991); P. T. Stevens, 'Euripides and the Athenians', JHS 76 (1956), 87–94; M. R. Lefkowitz, The Lives of the Greek Poets (London, pg xliv1981), 88–104, 163–9; R. E. Wycherley, 'Aristophanes and Euripides', G&R 15 (1946), 98–107.

opinions and interpretations

R. Aélion, 'La Technique dramatique d'Euripide et sa conception de la destinée humaine', in J. Duchemin and F. Jouan (eds.), Visages du destin dans les mythologies (Paris, 1983), 69–85; R. B. Appleton, Euripides the Idealist (London, 1927); Robert Eisner, 'Euripides' Use of Myth', Arethusa, 12 (1979), 153–74; for 'historicist' approaches see E. Delebecque, Euripide et la guerre du Péloponnèse (Paris, 1951), and V. Di Benedetto, Euripide: teatro e societa (Turin, 1971); E. R. Dodds, 'Euripides the Irrationalist', CR 43 (1929), 97–104; H. Reich, 'Euripides, der Mystiker', in Festschrift zu C. F. Lehmann-Haupts sechzigsten Geburtstage (Vienna, 1921), 89–93; K. Reinhardt, 'Die Sinneskrise bei Euripides', Eranos, 26 (1957), 279–317—Euripides as a nihilist; in his Existentialism and Euripides (Victoria, 1977) William Sale draws on both Heidegger and Freud; A. W. Verrall, Euripides the Rationalist (Cambridge, 1895).

reception of euripidean tragedy

Peter Burian, 'Tragedy Adapted for Stages and Screens: The Renaissance to the Present', in Easterling (ed.), The Cambridge Companion to Greek Tragedy (see above), 228–83; Pat Easterling, 'Gilbert Murray's Readings of Euripides', Colby Quarterly, 33 (1997), 113–27; Stuart Gillespie, The Poets on the Classics (London, 1988), 90–4; Edith Hall, 'Talfourd's Ancient Greeks in the Theatre of Reform', International Journal of the Classical Tradition, 3 (1997), 283–407; Edith Hall, 'Medea and British Legislation before the First World War', G&R 46 (1999), 42–77; Edith Hall, 'Greek Tragedy and the British Stage', Cahiers du GITA, 12 (1999), 113–34; Edith Hall, Fiona Macintosh, and Oliver Taplin (eds.), Medea in Performance 1500–2000 (Oxford, 2001); K. Mackinnon, Greek Tragedy into Film (London, 1986); Fiona Macintosh, 'Tragedy in Performance: Nineteenth- and Twentieth-Century Productions', in Easterling (ed.), The Cambridge Companion to Greek Tragedy (see above), 284–323; Fiona Macintosh, 'Alcestis on the British Stage', Cahiers du GITA, 14 (2001), 281–308; Martin Mueller, Children of Oedipus and Other Essays on the Imitation of Greek Tragedy pg xlv1550–1800 (Toronto, 1980), 46–63; F. L. Lucas, Euripides and his Influence (New York, 1928).

visual arts

Vase-paintings illustrating scenes from Euripides are collected in A. D. Trendall and T. B. L. Webster, Illustrations of Greek Drama (London, 1971), 72–105, and supplemented in the articles under the names of each important mythical character (e.g. 'Theseus') in the multivolume ongoing Lexicon Iconographicum Mythologiae Classicae (Zurich, 1984–). See also Richard Green, Theatre in Ancient Greek Society (London, 1994); Richard Green and Eric Handley, Images of the Greek Theatre (Austin, Tex., 1995); Oliver Taplin, 'The Pictorial Record', in Easterling, Cambridge Companion to Greek Tragedy (see above), 69–90; Kurt Weitzmann, 'Euripides Scenes in Byzantine Art', Hesperia, 18 (1949), 159–210.

production and performance context

Giovanni Comotti, Music in Greek and Roman Culture (English trans., Baltimore, 1989), 32–41; E. Csapo and W. J. Slater, The Context of Ancient Drama (Ann Arbor, 1995), 79–101; P. Easterling and Edith Hall (eds.), Greek and Roman Actors: Aspects of an Ancient Profession (Cambridge, 2002); S. Goldhill, 'The Great Dionysia and Civic Ideology', in J. Winkler and F. I. Zeitlin (eds.), Nothing to do with Dionysos? Athenian Drama in its Social Context (Princeton, 1990), 97–129; John Gould, 'Tragedy in Performance', in B. Knox and P. E. Easterling (eds.), The Cambridge History of Classical Literature, i (Cambridge, 1985), 258–81; John Gould, 'Dramatic Character and "human intelligibility" in Greek Tragedy', PCPS 24 (1978), 43–67; Edith Hall, 'Actor's Song in Tragedy', in Simon Goldhill and Robin Osborne (eds.), Performance Culture and Athenian Democracy (Cambridge, 1999), 96–122; Nicolaos C. Hourmouziades, Production and Imagination in Euripides: Form and Function of the Scenic Space (Athens, 1965); Maarit Kaimio, Physical Contact in Greek Tragedy (Helsinki, 1988); Solon Michaelides, The Music of Ancient Greece: An Encyclopaedia (London, 1978), 117–19; A. Pickard-Cambridge, The Dramatic Festivals of Athens3, rev. by J. Gould and D. M. Lewis (Oxford, 1988); Erika Simon, The Ancient Theater (London, 1982); Oliver Taplin, The Stagecraft of Aeschylus (Oxford, 1977), and 'Did Greek Dramatists pg xlviWrite Stage Instructions?', PCPS 23 (1977), 121–32; on satyr drama see below, 'Cyclops'.

social and historical context

Paul Cartledge, The Greeks (Oxford, 1996) and (ed.), The Cambridge Illustrated History of Ancient Greece (Cambridge, 1997); John Gould, Myth, Ritual, Memory, and Exchange (Oxford, 2001); J. K. Davies, Democracy and Classical Greece (Glasgow, 1978), 63–128, and 'Athenian Citizenship: The Descent Group and the Alternatives', CJ 73 (1977–8), 105–21; Colin McLeod, 'Thucydides and Tragedy', in Collected Essays (Oxford, 1983), 140–58; Christopher Pelling (ed.), Greek Tragedy and the Historian (Oxford, 1997); Anton Powell, Athens and Sparta: Constructing Greek Political and Social History from 478 BC (London, 1988).

For an overview of the problems in reconstructing Athenian women's lives, see Josine Blok's review in J. Blok and H. Mason (eds.), Sexual Asymmetry: Studies in Ancient Society (Amsterdam, 1987), 1–57. For a recent range of views on gender issues see D. Cohen, Law, Sexuality, and Society: The Enforcement of Morals in Classical Athens (Cambridge, 1991); Elaine Fantham et al. (eds.), Women in the Classical World (New York, 1994); Helene Foley, Female Acts in Greek Tragedy (Princeton, 2001); John Gould, 'Law, Custom, and Myth: Aspects of the Social Position of Women in Classical Athens', JHS 100 (1980), 38–59; Virginia Hunter, Policing Athens (Princeton, 1994), 9–42; R. Just, Women in Athenian Law and Life (London, 1989); Froma Zeitlin, Playing the Other: Gender and Society in Classical Greek Literature (Chicago, 1996).

specific aspects of euripidean drama

Rachel Aélion, Euripide. Héritier d'Eschyle, 2 vols. (Paris, 1983); Luigi Battezzatto, Il monologo nel teatro di Euripide (Pisa, 1995); Francis M. Dunn, Tragedy's End: Closure and Innovation in Euripidean Drama (New York, 1996); H. Erbse, Studien zum Prolog der euripideischen Tragödie (Berlin, 1984); M. Fusillo, 'Was ist eine romanhafte Tragödie? Überlegungen zu Euripides' Experimentalismus', Poetica, 24 (1992), 270–99; Richard Hamilton, 'Prologue, Prophecy and Plot in Four Plays of Euripides', AJP 99 (1978), 277–302, and 'Euripidean Priests', HSCP 89 (1985), 53–73; Rosemary Harriott, 'Aristophanes' Audience and pg xlviithe Plays of Euripides', BICS 9 (1962), 1–9; Martin Hose, Studien zum Chor bei Euripides (Berlin, 1990–1); E. O'Connor-Visser, Aspects of Human Sacrifice in the Tragedies of Euripides (Amsterdam, 1987); S. Said, 'Greeks and Barbarians in Euripides' Tragedies: The End of Difference?', in Thomas Harrison (ed.), Greeks and Barbarians (Edinburgh, 2002), 62–100; Bernd Seidensticker, 'Tragic Dialectic in Euripidean Tragedy', in M. S. Silk (ed.), Tragedy and the Tragic: Greek Theatre and Beyond (Oxford, 1996), 377–96; H. P. Stahl, 'On Extra-dramatic Communication of Characters in Euripides', YCS 25 (1977), 159–76; Sophie Trenkner, The Greek Novella in the Classical Period (Cambridge, 1958) 31–78; R. P. Winnington-Ingram, 'Euripides: poiētēs sophos', Arethusa, 2 (1969), 127–42; Froma Zeitlin, 'The Artful Eye: Vision, Ecphrasis and Spectacle in Euripidean Theatre', in S. Goldhill and R. Osborne (eds.), Art and Text in Ancient Greek Culture (Cambridge, 1994), 138–305.

For the lost plays of Euripides see C. Collard, M. J. Cropp, and K. H. Lee (eds.), Euripides: Selected Fragmentary Plays, i–ii (Warminster, 1995, 1999); T. B. L. Webster, The Tragedies of Euripides (London, 1967).

On slaves in Euripides see H. Kuch, Kriegsgefangenschaft und Sklaverei bei Euripides (Berlin, 1974); K. Synodinou, On the Concept of Slavery in Euripides (English trans., Ioannina, 1977); Edith Hall, Inventing the Barbarian (Oxford, 1989); Edith Hall, 'The Sociology of Athenian Tragedy', in Easterling, The Cambridge Companion to Greek Tragedy (see above), 93–126; D. P. Stanley-Porter, 'Mute Actors in the Tragedies of Euripides', BICS 20 (1973), 68–93. On children see G. Sifakis, 'Children in Greek Tragedy', BICS 26 (1979), 67–80. On women see H. Foley, 'The Conception of Women in Athenian Drama', in H. P. Foley (ed.), Reflections of Women in Antiquity (London, 1981), 127–67; Ruth Herder, Die Frauenrolle bei Euripides (Stuttgart, 1993); Nicole Loraux, Tragic Ways of Killing a Woman (English trans., Cambridge, Mass., 1987); Rush Rehm, Marriage to Death: The Conflation of Wedding and Funeral Rituals in Greek Tragedy (Princeton, 1994); Richard Seaford, 'The Structural Problems of Marriage in Euripides', in A. Powell (ed.), Euripides, Women and Sexuality (London, 1990), 151–76; Nancy Sorkin Rabinowitz, Anxiety Veiled: Euripides and the Traffic in Women (Ithaca, NY, 1993); Froma Zeitlin, Playing the Other: Gender and Society in Classical Greek Literature (Chicago, 1996).

For religion in Euripides see C. Sourvinou-Inwood, 'Tragedy and Religion: Constructs and Meanings', in Christopher Pelling (ed.), pg xlviiiGreek Tragedy and the Historian (Oxford, 1997), 161–86. For sceptical discussions see M. R. Lefkowitz, 'Was Euripides an Atheist?', Studi italiani, 5 (1987), 149–65, and ' "Atheism" and "Impiety" in Euripides' Dramas', CQ 39 (1989), 70–82; G. E. Dimock, 'God or Not God, or between the Two': Euripides' Helen (Northampton, Mass., 1977)—Euripides' evangelism; T. C. W. Stinton, ' "Si credere dignum est": Some Expressions of Disbelief in Euripides and Others', PCPS 22 (1976), 60–89; Harvey Yunis, A New Creed: Fundamental Religious Beliefs in the Athenian Polis and Euripidean Drama (= Hypomnemata, 91, Göttingen, 1988). On supplication scenes, see J. Gould, 'Hiketeia', JHS 93 (1973), 74–103.

On the sophists, philosophy, and the intellectual background see D. J. Conacher, Euripides and the Sophists: Some Dramatic Treatments of Philosophical Ideas (London, 1998); J. H. Finley, 'Euripides and Thucydides', in Three Essays on Thucydides (Cambridge, Mass., 1967), 1–24; S. Goldhill, Reading Greek Tragedy (Cambridge, 1986), 222–43; G. B. Kerferd, The Sophistic Movement (Cambridge, 1981); W. Nestle, Untersuchungen über die philosophischen Quellen des Euripides, Philologus suppl. 8.4 (1901), 557–655, and Euripides: Der Dichter der griechischen Aufklärung (Stuttgart, 1901); F. Solmsen, Intellectual Experiments of the Greek Enlightenment (Princeton, 1975), 24–31, 132–41.

On rhetoric see V. Bers, 'Tragedy and Rhetoric', in I. Worthington (ed.), Greek Rhetoric in Action (London, 1994), 176–95; Richard Buxton, Persuasion in Greek Tragedy (Cambridge, 1982); C. Collard, 'Formal Debates in Euripidean Drama', in I. McAuslan and P. Walcot, Greek Tragedy (Oxford, 1993), 153–66; D. J. Conacher, 'Rhetoric and Relevance in Euripidean Drama', AJP 102 (1981), 3–25; E. Hall, 'Law-court Dramas: The Power of Performance in Greek Forensic Oratory', BICS 40 (1995), 39–58; M. Lloyd, The Agon in Euripides (Oxford, 1992).

On characterization, see H. P. Stahl, 'On "Extra-dramatic" Communication in Euripides', YCS 25 (1977), 159–76; J. Griffin, 'Characterization in Euripides', in C. Pelling (ed.), Characterization and Individuality in Greek Literature (Oxford, 1990), 128–49.

On speech, language, style, and imagery, see Shirley Barlow, The Imagery of Euripides (London, 1971); I. J. F. de Jong, Narrative in Drama: The Art of the Euripidean Messenger-Speech (Leiden, 1991); Ewald Kurtz, Die bildliche Ausdrucksweise in den Tragödien des Euripides (Amsterdam, 1985); P. T. Stevens, Colloquial Expressions in Euripides pg xlix(Wiesbaden, 1976); Ernst Schwinge, Die Verwendung der Stichomythie in den Dramen des Euripides (Heidelberg, 1968).



A. M. Dale (ed.), Euripides' Alcestis (Oxford, 1954); D. J. Conacher (ed.), Euripides' Alcestis (Warminster, 1988).


C. R. Beyer, 'Alcestis and her Critics', GRBS 2 (1959), 109–27; E. M. Bradley, 'Admetus and the Triumph of Failure in Euripides' Alcestis', Ramus, 9 (1980), 112–27; A. P. Burnett, 'The Virtues of Admetus', CP 60 (1965), 240–55; R. G. A. Buxton, 'Euripides' Alkestis: Five Aspects of an Interpretation', in Papers Given at a Colloquium in Honour of R. P. Winnington-Ingram (London, 1987), 18–27; V. Castellani, 'Notes on the Structure of Euripides' Alcestis', AJP 100 (1979), 487–96; H. Erbse, 'Euripides' Alkestis', Philologus, 116 (1972), 32–52; Helene P. Foley, 'Anodos Drama: Euripides' Alcestis and Helen', in Ralph Hexter and Daniel Selden (eds.), Innovations of Antiquity (New York, 1992), 133–60; R. Garner, 'Death and Victory in Euripides' Alcestis', Classical Antiquity, 7 (1988), 58–71; J. Gregory, 'Euripides' Alcestis', Hermes, 107 (1979), 259–70; M. Halleran, 'Text and Ceremony at the Close of Euripides' Alkestis', Eranos, 86 (1988), 123–9; A. Lesky, Alkestis. Der Mythos und das Drama (Vienna, 1925); M. Lloyd, 'Euripides' Alcestis', G&R 32 (1985), 119–31; R. M. Nielsen, 'Alcestis: A Paradox in Dying', Ramus, 5 (1976), 92–102; G. Paduano, La formazione del mondo ideologico e poetico di Euripide (Pisa, 1968); G. A. Seeck, Unaristotelische Untersuchungen zu Euripides: Ein motivanalytischer Kommentar zur Alkestis (Heidelberg, 1985); G. Smith, 'The Alcestis of Euripides: An Interpretation', Rivista di filologia e di istruzione classica, 111 (1983), 129–45; W. D. Smith, 'The Ironic Structure in Alcestis', Phoenix, 14 (1960), 127–45; K. von Fritz, 'Euripides' Alkestis und ihre modernen Nachahmer und Kritiker', in Antike und moderne Tragödie (Berlin, 1962), 256–321; J. R. Wilson (ed.), Euripides' Alcestis (Englewood Cliffs, NJ, 1968).

pg lheracles


Godfrey Bond, Euripides' Heracles (Oxford, 1981); Shirley Barlow, Euripides' Herakles (Warminster, 1996).


Shirley Barlow, 'Structure and Dramatic Realism in Euripides' Herakles', G&R 29 (1982), 115–25, repr. in I. McAuslan and P. Walcott (eds.), Greek Tragedy (Oxford, 1993); Shirley Barlow, 'Sophocles' Ajax and Euripides' Heracles', Ramus, 10 (1981), 112–28; G. J. Baudy, 'Die Herrschaft des Wolfes. Das Thema des "verkehrten Welt" in Euripides' Herakles', Hermes, 121 (1993), 159–80; H. Chalk, 'Arete and bia in Euripides' Herakles', JHS 82 (1962), 7–18; Martin Cropp, 'Heracles, Electra and the Odyssey', in M. Cropp et al. (eds.), Greek Tragedy and its Legacy (Calgary, 1987), 187–99; G. Karl Galinsky, The Herakles Theme (Oxford, 1972), 40–80; J. C. Gibert, 'Euripides Heracles 1351 and the Hero's Encounter with Death', CP 92 (1997), 247–58; J. Gregory, 'Euripides' Heracles', YCS 25 (1977), 259–75; M. R. Halleran, 'Rhetoric, Irony, and the Ending of Euripides' Herakles', Classical Antiquity, 5 (1986), 171–81; R. Hamilton, 'Slings and Arrows: The Debate with Lycos in the Heracles', TAPA 115 (1985), 19–25; J. C. Kamerbeek, 'Unity and Meaning of Euripides' Heracles', Mnemosyne, 19 (1966), 1–16; Christina Kraus, 'Dangerous Supplements: Etymology and Genealogy in Euripides' Heracles', PCPS 44 (1998), 137–57; K. H. Lee, 'The Iris-Lyssa Scene in Euripides' Heracles', Antichthon, 16 (1982), 44–53: J. D. Mikalson, 'Zeus the Father and Heracles the Son in Tragedy', TAPA 116 (1986), 89–98; H. Parry, 'The Second Stasimon of Euripides' Herakles', AJP 86 (1965), 363–74; D. H. Porter, Only Connect: Euripides' Heracles', in Only Connect: Three Studies in Greek Tragedy (Laxham, 1987), 85–112; C. Ruck, 'Duality and the Madness of Herakles', Arethusa, 9 (1976), 53–75; J. T. Sheppard, 'The Formal Beauty of the Hercules Furens', CQ 10 (1916), 72–9; M. S. Silk, 'Heracles and Greek Tragedy', G&R 32 (1985), 1–22, repr. in I. McAuslan and P. Walcott (eds.), Greek Tragedy (Oxford, 1993); C. Willink, 'Sleep after Labour in Euripides' Heracles', CQ 38 (1988), 86–97; Froma Zeitlin, 'Thebes: Theater of Self and Society in Athenian Drama', in Winkler and Zeitlin, Nothing to do with Dionysos? (see above), 130–67.

pg lichildren of heracles


John Wilkins, Euripides' Heraclidae (Oxford, 1993); William Allan, Euripides: The Children of Heracles (Warminster, 2001).


U. Albini, 'La falsa convenzionalità degli Eraclidi', SIFC 11 (1993), 106–11; H. C. Avery, 'Euripides' Heraclidai', AJP 92 (1971), 539–65; P. Burian, 'Euripides' Heraclidae: An Interpretation', CP 72 (1977), 1–21; A. P. Burnett, 'Tribe and City, Custom and Decree in Children of Heracles', CP 71 (1976), 4–26; J. Davidson, 'Two Notes on Euripides' Heraclidae', Athenaeum, 84 (1996), 243–7; T. M. Falkner, 'The wrath of Alcmene: Gender, Authority and Old Age in Euripides' Children of Heracles', in T. M. Falkner and J. de Luce (eds.), Old Age in Greek and Latin Literature (Albany, NY, 1989), 114–31; J. W. Fitton, 'The Suppliant Women and the Heraklidai of Euripides', Hermes, 89 (1961), 430–61; R. Guerrini, 'La morte di Euristeo e la implicazione eticopolitiche negli Eraclidi di Euripide', Athenaeum, 50 (1972), 45–67; Emily Kearns, The Heroes of Attica (BICS suppl. 57, London, 1989); E. Krummen, 'Athens and Attica: Polis and Countryside in Tragedy', in A. Sommerstein et al. (eds.), Tragedy, Comedy and the Polis (Bari, 1993), 191–217; A. Lesky, 'On the Heraclidae of Euripides', YCS 25 (1977), 272–38; J. McLean, 'The Heraclidae of Euripides', AJP 55 (1934), 197–224; Rush Rehm, 'The Staging of Suppliant Plays', GRBS 29 (1988), 263–307; J. A. Spranger, 'The Political Element in the Heraclidae of Euripides', CQ 19 (1925), 117–29; F. Stoessl, 'Die Herakliden des Euripides', Philologus, 100 (1956), 207–34; M. Visser, 'Worship your Enemy: Aspects of the Cult of Heroes in Ancient Greece', Harvard Theological Review, 75 (1982), 403–28; J. Wilkins, 'The Young of Athens: Religion and Society in the Herakleidai of Euripides', CQ 40 (1990), 329–39; 'The State and the Individual: Euripides' Plays of Voluntary Self-Sacrifice', in A. Powell (ed.), Euripides, Women, and Sexuality (London, 1990), 177–94; G. Zuntz, 'Is the Heraclidae Mutilated?', CQ 41 (1947), 46–52; G. Zuntz, The Political Plays of Euripides (2nd edn., Manchester, 1963).

pg liicyclops


Richard Seaford (ed.), Euripides' Cyclops (Oxford, 1984).


W. G. Arnott, 'Parody and Ambiguity in Euripides' Cyclops', in Melanges W. Kraus (Vienna, 1972), 21–30; W. Biehl, 'Die Funktion des Opfermotivs in Euripides' Kyklops', Hermes, 111 (1987), 283–99; F. Brommer, Das Satyrspiel (Berlin, 1959); L. Campo, I drammi satireschi della Grecia antica (Milan, 1940), 221–61; I. Chalkia, 'Fonctions narratives et substitutions dans le Cyclope d'Euripide', Hellenica, 31 (1979), 293–315; N. E. Collinge, 'Some Reflections on Satyr Plays', PCPS 185 (1958–9), 28–35; P. E. Easterling, 'A Show for Dionysos', in Easterling, The Cambridge Companion to Greek Tragedy (see above), 36–53; E. Hall, 'Ithyphallic Males Behaving Badly: Satyr Drama as Gendered Tragic Ending', in M. Wyke (ed.), Parchments of Gender: Deciphering the Bodies of Antiquity (Oxford, 1998), 13–37; R. Hamilton, 'Euripides' Cyclopean Symposium', Phoenix, 33 (1979), 287–92; D. Konstan, 'The Anthropology of Euripides' Kyklops', in Winkler and Zeitlin, Nothing to do with Dionysos? (see above), 207–27; F. Lissarrague, 'Why Satyrs are Good to Represent', in Winkler and Zeitlin, Nothing to do with Dionysos? (see above), 228–36; F. Lissarrague, 'The Sexual Life of Satyrs', in D. M. Halperin, J. J. Winkler, and F. I. Zeitlin (eds.), Before Sexuality (Princeton, 1990), 53–81; L. E. Rossi, 'Il Ciclope di Euripide come KOMOS mancato', Maia, 23 (1971), 10–38; B. Seidensticker, 'Das Satyrspiel', in G. A. Seeck (ed.), Das griechische Drama (Darmstadt, 1979); D. F. Sutton, The Greek Satyr Play (Meisenheim am Glan, 1980); R. G. Ussher, 'The Cyclops of Euripides', G&R 18 (1971), 166–79.

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