For the modern world Greek tragedy is represented almost entirely by those plays of Aeschylus, Sophocles and Euripides whose texts have been preserved since they were first produced in the fifth century BC. From that period and the next two hundred years more than eighty other tragic poets are known from biographical and production data, play-titles, mythical subject-matter, and remnants of their works quoted by other ancient writers or rediscovered in papyrus texts. This edition includes all the remnants of tragedies that can be identified with these other poets, with English translations, related historical information, detailed explanatory notes and bibliographies. Volume 1 includes some twenty 5th-century poets, notably Phrynichus, Aristarchus, Ion, Achaeus, Sophocles' son Iophon, Agathon and the doubtful cases of Neophron (author of a Medea supposedly imitated by Euripides) and Critias (possibly author of three other tragedies attributed to Euripides). Volume 2 will include the 4th- and 3rd-century tragedians and some anonymous material derived from ancient sources or rediscovered papyrus texts. Remnants of these poets' satyr-plays are included in a separate Aris & Phillips Classical Texts volume, Euripides Cyclops and Major Fragments of Greek Satyric Drama, edited by Patrick O'Sullivan and Christopher Collard (2013).

Iphigenia in Tauris tells the story of the princess Iphigenia who was sacrificed by her father Agamemnon to expedite his campaign against Troy but was rescued by the goddess Artemis and transported to the land of the Taurians. There she herself must perform human sacrifices as a priestess of Artemis in the local cult. Troy has now been sacked, and Agamemnon murdered by his wife and avenged by his son Orestes. With his mother's blood on his hands, Orestes is guided by Apollo to seek purification through bringing the image of the Tauric Artemis to Greece, and so is reunited with his sister. The drama centers on Orestes' near-sacrifice at Iphigenia?s hands, their recognition in the nick of time, and their ingenious and thrilling escape to bring the cult of Artemis to Halae and Brauron near Athens. Martin Cropp's first edition was originally published in 2000 and provided the first commentary on the play since those of Maurice Platnauer (Oxford, 1938) and Hans Strohm (Munich, 1949). It contributed significantly to a revival of interest in what had been a rather neglected and underrated play. This new edition will incorporate substantial revisions to the introduction and commentary and some corrections to the Greek text and translation in light of reviews of the first edition and other recent work.

This is the second volume of a collection which includes all the significant remains of tragedies produced by the contemporaries and successors of the three classic Greek tragedians (Aeschylus, Sophocles and Euripides). Greek texts and sources are accompanied by English translations, related historical information, detailed explanatory notes and bibliographies. Volume Two includes more than a dozen poets of the fourth and early third centuries (Astydamas, Carcinus, Chaeremon, Theodectas, Moschion and others), the Alexandrian Pleiad, Ezechiel's Exagôgê (a tragedy based on the biblical Exodus), and some anonymous material derived from ancient sources or rediscovered papyrus texts. Remnants of the satyr-plays of this period are included in a separate Aris & Phillips Classical Texts volume, Euripides Cyclops and Major Fragments of Greek Satyric Drama, edited by Patrick O'Sullivan and Christopher Collard (2013).

This is the second volume of a collection which includes all the significant remains of tragedies produced by the contemporaries and successors of the three classic Greek tragedians (Aeschylus, Sophocles and Euripides). Greek texts and sources are accompanied by English translations, related historical information, detailed explanatory notes and bibliographies. Volume Two includes more than a dozen poets of the fourth and early third centuries (Astydamas, Carcinus, Chaeremon, Theodectas, Moschion and others), the Alexandrian Pleiad, Ezechiel's Exag�g� (a tragedy based on the biblical Exodus), and some anonymous material derived from ancient sources or rediscovered papyrus texts. Remnants of the satyr-plays of this period are included in a separate Aris & Phillips Classical Texts volume, Euripides Cyclops and Major Fragments of Greek Satyric Drama, edited by Patrick O'Sullivan and Christopher Collard (2013).

Through a series of case studies, this book explores the interrelations among Greek tragedy, theatre practices, and education in the United Kingdom. This is situated within what the volume proposes as ‘the Classics ecology’. The term ‘ecology’, frequently used in Theatre Studies, understands Classics as a field of cultural production dependent on shared knowledge circulated via formal and informal networks, which operate on the basis of mutually beneficial exchange. Productions of Greek tragedy may be influenced by members of the team studying Classics subjects at school or university, or reading popular works of Classical scholarship, or else by working with an academic consultant. All of these have some degree of connection to academic Classics, albeit filtered through different lenses, creating a network of mutual influence and benefit (the ecology). In this way, theatrical productions of Greek drama may, in the long term, influence Classics as an academic discipline, and certainly contribute to attesting to the relevance of Classics in the modern world. The chapters in this volume include contributions by both theatre makers and academics, whose backgrounds vary between Theatre Studies and Classics. They comprise a variety of case studies and approaches, exploring the dissemination of knowledge about the ancient world through projects that engage with Greek tragedy, theories and practices of theatre making through the chorus, and practical relationships between scholars and theatre makers. By understanding the staging of Greek tragedy in the United Kingdom today as being part of the Classics ecology, the book examines practices and processes as key areas in which the value of engaging with the ancient past is (re)negotiated. This book is primarily suitable for students and scholars working in Classical Reception and Theatre Studies who are interested in the reception history of Greek tragedy and the intersection of the two fields. It is also of use to more general Classics and Theatre Studies audiences, especially those engaged with current debates around ‘saving Classics’ and those interested in a structural, systemic approach to the intersection between theatre, culture, and class.

King Agamemnon is long dead and his murderers rule at Argos. His son Orestes returns from exile to kill them his own mother Clytemnestra and her seducer Aegisthus. Thus he will release his sister Electra from oppression and reclaim his home and kingdom.

This book offers the most comprehensive and up-to-date history of ancient Greek literature from Homer to Late Antiquity. Its clear structure and detailed presentation of Greek authors and their works as well as literary genres and phenomena makes it an indispensable reference work for all those interested in Greek Antiquity.