This classic work not only records developments in the form and style of Greek drama, it also analyses the reasons for these changes. It provides illuminating answers to questions that have confronted generations of students, such as:
* why did Aeschylus introduce the second actor?
* why did Sophocles develop character drawing?
* why are some of Euripides' plots so bad and others so good?
Greek Tragedy is neither a history nor a handbook, but a penetrating work of criticism which all students of literature will find suggestive and stimulating.
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II Old Tragedy
III The Oresteia
IV The Dramatic Art of Aeschylus
VI The Philosophy of Sophocles
VII The Dramatic Art of Sophocles
VIII The Euripidean Tragedy
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action actor Aegisthus Aeschylean Aeschylus Agamemnon Ajax Andromache Antigone Aphrodite Apollo Argos Aristotelian Aristotle Aristotle’s Artemis Athenian Athens audience avenge beginning Cassandra character characterization chorus climax Clytemnestra comes Creon criticism Danaids Danaus death Dike Dionysus dramatic dramatist effect Electra Erinyes Eteocles Euripidean Euripides fact feel ﬁgure ﬁnd ﬁrst give gods Greek Tragedy Hecuba Helen Heracles hero heroine Hippolytus human hybris inevitable interest Iocasta Iphigeneia irony killed King later logical Lycus lyrical means Medea Menelaus Messenger Middle Tragedy mind moral murder natural Neoptolemus obvious Odysseus Oedipus oracles Oresteia Orestes passage Pelasgus Pentheus perhaps Persae Phaedra Philoctetes play plot poet Polyneices Polyxena present prologue Prometheus reason reﬂect rhythm sacriﬁce scene Septem signiﬁcant situation Sophoclean Sophocles speech stasimon story suffering Suppliant Women Supplices Teiresias Thebes theme Theseus things thought tragic idea trilogy Troades Troy Tyrannus unity verses victim whole Xerxes Zeus