Chosen as one of the ten canonical plays by Euripides during the Hellenistic period in Greece, Hecuba was popular throughout Antiquity. The play also became part of the so-called 'Byzantine triad' of three plays of Euripides (along with Phoenician Women and Orestes) selected for study in school curricula, above all for the brilliance of its rhetorical speeches and quotable traditional wisdom. Translations into Latin and vernacular languages, as well as stage performances emerged early in the sixteenth century. The Renaissance admired the play for its representation of the extraordinary suffering and misfortunes of its newly-enslaved heroine, the former queen of Troy Hecuba, for the courageous sacrificial death of her daughter Polyxena, and for the beleaguered queen's surprisingly successful revenge against the unscrupulous killer of her son Polydorus. Later periods, however, developed reservations about the play's revenge plot and its unity. Recent scholarship has favorably reassessed the play in its original cultural and political context and the past thirty years have produced a number of exciting staged productions. Hecuba has emerged as a profound exploration of the difficulties of establishing justice and a stable morality in post-war situations. This book investigates the play's changing critical and theatrical reception from Antiquity to the present, its mythical and political background, its dramatic and thematic unity, and the role of its choruses.

Although Classical Athenian ideology did not permit women to exercise legal, economic, and social autonomy, the tragedies of Aeschylus, Sophocles, and Euripides often represent them as influential social and moral forces in their own right. Scholars have struggled to explain this seeming contradiction. Helene Foley shows how Greek tragedy uses gender relations to explore specific issues in the development of the social, political, and intellectual life in the polis. She investigates three central and problematic areas in which tragic heroines act independently of men: death ritual and lamentation, marriage, and the making of significant ethical choices. Her anthropological approach, together with her literary analysis, allows for an unusually rich context in which to understand gender relations in ancient Greece. This book examines, for example, the tragic response to legislation regulating family life that may have begun as early as the sixth century. It also draws upon contemporary studies of virtue ethics and upon feminist reconsiderations of the Western ethical tradition. Foley maintains that by viewing public issues through the lens of the family, tragedy asks whether public and private morality can operate on the same terms. Moreover, the plays use women to represent significant moral alternatives. Tragedy thus exploits, reinforces, and questions cultural clichés about women and gender in a fashion that resonates with contemporary Athenian social and political issues.

The Homeric Hymn to Demeter, composed in the late seventh or early sixth century B.C.E., is a key to understanding the psychological and religious world of ancient Greek women. The poem tells how Hades, lord of the underworld, abducted the goddess Persephone and how her grieving mother, Demeter, the goddess of grain, forced the gods to allow Persephone to return to her for part of each year. Helene Foley presents the Greek text and an annotated translation of this poem, together with selected essays that give the reader a rich understanding of the Hymn's structure and artistry, its role in the religious life of the ancient world, and its meaning for the modern world. (view table of contents)

Product Description: First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

This book explores the emergence of Greek tragedy on the American stage from the nineteenth century to the present. Despite the gap separating the world of classical Greece from our own, Greek tragedy has provided a fertile source for some of the most innovative American theater. Helene P. Foley shows how plays like Oedipus Rex and Medea have resonated deeply with contemporary concerns and controversies—over war, slavery, race, the status of women, religion, identity, and immigration. Although Greek tragedy was often initially embraced for its melodramatic possibilities, by the twentieth century it became a vehicle not only for major developments in the history of American theater and dance, but also for exploring critical tensions in American cultural and political life. Drawing on a wide range of sources—archival, video, interviews, and reviews—Reimagining Greek Tragedy on the American Stage provides the most comprehensive treatment of the subject available.

Information about women is scattered throughout the fragmented mosaic of ancient history: the vivid poetry of Sappho survived antiquity on remnants of damaged papyrus; the inscription on a beautiful fourth century B.C.E. grave praises the virtues of Mnesarete, an Athenian woman who died young; a great number of Roman wives were found guilty of poisoning their husbands, but was it accidental food poisoning, or disease, or something more sinister. Apart from the legends of Cleopatra, Dido and Lucretia, and images of graceful maidens dancing on urns, the evidence about the lives of women of the classical world--visual, archaeological, and written--has remained uncollected and uninterpreted. Now, the lavishly illustrated and meticulously researched Women in the Classical World lifts the curtain on the women of ancient Greece and Rome, exploring the lives of slaves and prostitutes, Athenian housewives, and Rome's imperial family. The first book on classical women to give equal weight to written texts and artistic representations, it brings together a great wealth of materials--poetry, vase painting, legislation, medical treatises, architecture, religious and funerary art, women's ornaments, historical epics, political speeches, even ancient coins--to present women in the historical and cultural context of their time. Written by leading experts in the fields of ancient history and art history, women's studies, and Greek and Roman literature, the book's chronological arrangement allows the changing roles of women to unfold over a thousand-year period, beginning in the eighth century B.C.E. Both the art and the literature highlight women's creativity, sexuality and coming of age, marriage and childrearing, religious and public roles, and other themes. Fascinating chapters report on the wild behavior of Spartan and Etruscan women and the mythical Amazons; the changing views of the female body presented in male-authored gynecological treatises; the "new woman" represented by the love poetry of the late Republic and Augustan Age; and the traces of upper- and lower-class life in Pompeii, miraculously preserved by the eruption of Mount Vesuvius in 79 C.E. Provocative and surprising, Women in the Classical World is a masterly foray into the past, and a definitive statement on the lives of women in ancient Greece and Rome.