Greek tragedy, the fountainhead of all western drama, is widely read by students in a variety of disciplines. Segal here presents twenty-nine of the finest modern essays on the plays of Aeschylus, Sophocles, and Euripides. All Greek has been translated, but the original footnotes have been retained. Contributors include Anne Burnett, E.R. Dodds, Bernard M.W. Knox, Hugh Lloyd-Jones, Karl Reinhardt, Jacqueline de Romilly, Bruno Snell, Jean-Pierre Vernant and Cedric Whitman.

This book is an anthology of thirteen of the most important articles published on Aeschylus in the last fifty years. It gives roughly equal coverage to the seven surviving plays, and there is also a chapter which places them in the context of Aeschylus' work as a whole. Three articles have been translated into English for the first time, and others have a fresh foreword or postscript by the author. Greek quotations have been translated for the benefit of those reading the plays in English. The editor has supplied a substantial introduction and an index.

The study of ancient Greek religion has been excitingly renewed in the last thirty years. This volume gathers together challenging papers by many of the most innovative participants in this renewal. No single school or style of approach is privileged: the aim is to illustrate a range of possible methods that may be adopted in the investigation of this endlessly fascinating material. The volume also contains an important introductory essay by Richard Buxton.

Greek Tragedy sets ancient tragedy into its original theatrical, political and ritual context and applies modern critical approaches to understanding why tragedy continues to interest modern audiences. An engaging introduction to Greek tragedy, its history, and its reception in the contemporary world with suggested readings for further study Examines tragedy’s relationship to democracy, religion, and myth Explores contemporary approaches to scholarship, including structuralist, psychoanalytic, and feminist theory Provides a thorough examination of contemporary performance practices Includes detailed readings of selected plays

This work brings together Richard Buxton's studies of Greek mythology and Greek tragedy, focusing especially on the interrelationship between the two. Situating and contextualising topics and themes within the world of ancient Greece, he traces the intricate variations and retellings which they underwent in Greek antiquity.

The second in the Greece and Rome Studies series, this book collects seventeen studies of Greek tragedy by leading authorities published in the journal Greece & Rome between 1972 and 1989. The articles include analyses of individual plays by Sophocles, Aeschylus, and Euripides; studies of character and imagery; and an examination of recent critical assumptions.

Paracomedy: Appropriations of Comedy in Greek Drama is the first book that examines how ancient Greek tragedy engages with the genre of comedy. While scholars frequently study paratragedy (how Greek comedians satirize tragedy), this book investigates the previously overlooked practice of paracomedy: how Greek tragedians regularly appropriate elements from comedy such as costumes, scenes, language, characters, or plots. Drawing upon a wide variety of complete and fragmentary tragedies and comedies (Aeschylus, Sophocles, Euripides, Aristophanes, Rhinthon), this monograph demonstrates that paracomedy was a prominent feature of Greek tragedy. Blending a variety of interdisciplinary approaches including traditional philology, literary criticism, genre theory, and performance studies, this book offers innovative close readings and incisive interpretations of individual plays. Jendza presents paracomedy as a multivalent authorial strategy: some instances impart a sense of ugliness or discomfort; others provide a sense of light-heartedness or humor. While this work traces the development of paracomedy over several hundred years, it focuses on a handful of Euripidean tragedies at the end of the fifth century BCE. Jendza argues that Euripides was participating in a rivalry with the comedian Aristophanes and often used paracomedy to demonstrate the poetic supremacy of tragedy; indeed, some of Euripides' most complex uses of paracomedy attempt to re-appropriate Aristophanes' mockery of his theatrical techniques. Paracomedy: Appropriations of Comedy in Greek Tragedy theorizes a new, ground-breaking relationship between Greek tragedy and comedy that not only redefines our understanding of the genre of tragedy, but also reveals a dynamic theatrical world filled with mutual cross-generic influence.