Why did Aeschylus characterize differently from Sophocles? Why did Sophocles introduce the third actor? Why did Euripides not make better plots? So asks H.D.F Kitto in his acclaimed study of Greek tragedy, available for the first time in Routledge Classics.<\/p>\n
Kitto argues that in spite of dealing with big moral and intellectual questions, the Greek dramatist is above all an artist and the key to understanding classical Greek drama is to try and understand the tragic conception of each play. In Kitto\u2019s words \u2018We shall ask what the dramatist is striving to say, not what in fact he does say about this or that.\u2019 Through a brilliant analysis of Aeschylus\u2019s \u2018Oresteia\u2019, the plays of Sophocles including \u2018Antigone\u2019 and \u2018Oedipus Tyrannus\u2019; and Euripides\u2019s \u2018Medea\u2019 and \u2018Hecuba\u2019, Kitto skilfully conveys the enduring artistic and literary brilliance of the Greek dramatists.<\/p>\n
Table of contents<\/p>\n
Foreword to The Routledge Classics Edition\u00a0 Preface\u00a0 Note to the Third Edition\u00a0 1. Lyrical Tragedy\u00a0 2. Old Tragedy\u00a0 3. The Oresteia\u00a0 4. The Dramatic Art of Aeschylus\u00a0 5. Middle Tragedy: Sophocles\u00a0 6. The Philosophy of Sophocles\u00a0 7. The Dramatic Art of Sophocles\u00a0 8. The Euripidean Tragedy\u00a0 9. The Technique of the Euripidean Tragedy\u00a0 10. The \u2018Trachiniae\u2019 and \u2018Philoctetes\u2019\u00a0 11. The New Tragedy: \u2018Euripides\u2019 Tragi-Comedies
\n12. New Tragedy: Euripides\u2019 Melodramas\u00a0 13. Two Last Plays\u00a0\u00a0Index<\/p>\n
Author:<\/p>\n