Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. Under the editorship of Peter Burian and Alan Shapiro, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the plays. Already tested in performance on the stage, this translation shows for the first time in English the striking interplay of voices in Euripides' Suppliant Women. Torn between the mothers' lament over the dead and proud civic eulogy, between calls for a just war and grief for the fallen, the play captures with unremitting force the competing poles of the human psyche. The translators, Rosanna Warren and Stephen Scully, accentuate the contrast between female lament and male reasoned discourse in this play where the silent dead hold, finally, center stage.

If we help, we invite trouble. If we don't, we bring shame.Fifty women board a boat in North Africa. They flee across the Mediterranean, leaving everything behind. They are escaping forced marriage in their home and seeking asylum in Greece.Written 2,500 years ago, The Suppliant Women is one of the world's oldest plays. It's about the plight of refugees, about moral and human rights, civil war, democracy and ultimately the triumph of love. It tells a story that echoes down the ages to find striking and poignant resonance today.Featuring in performance a chorus of local women, this is part play, part ritual, part theatrical archaeology. It explores fundamental questions of humanity: who are we, where do we belong and, if all goes wrong, who will take us in?Aeschylus' The Suppliant Women, in a version by David Greig, premiered at the Lyceum Theatre, Edinburgh, in October 2016, in a production by ATC.

As Athenians of the classical era became increasingly aware of their own collective identity, they sought to define themselves and exclude others. They created a formal legal status to designate the free noncitizens living among them, calling them metics and calling their status metoikia. When Aeschylus dramatized the mythical flight of the Danaids from Egypt in his play Suppliant Women, he did so in light of his own time and place. Throughout the play, directly and indirectly, he casts the newcomers as metics and their stay in Greece as metoikia. Bakewell maps the manifold anxieties that metics created in classical Athens, showing that although citizens benefited from the many immigrants in their midst, they also feared the effects of immigration in political, sexual, and economic realms. Bakewell finds metoikia was a deeply flawed solution to the problem of large-scale immigration.

The Suppliants, also called The Suppliant Maidens, is a classic play by the Greek playwright Euripides.

This handbook provides students and scholars with a highly readable yet detailed analysis of all surviving Greek tragedies and satyr plays. John Ferguson places each play in its historical, political, and social context—important for both Athenian and modern audiences—and he displays a keen, discriminating critical competence in dealing with the plays as literature. Ferguson is sensitive to the meter and sound of Greek tragedy, and, with remarkable success, he manages to involve even the Greekless reader in an actual encounter with the Greek as poetry. He examines language and metrics in relation to each tragedian's dramatic purpose, thus elucidating the crucial dimension of technique that other handbooks, mostly the work of philologists, renounce in order to concentrate on structure and plot. The result is perceptive criticism in which the quality of Ferguson's scholarship vouches for what he sees in the plays. The book is prefaced with a general introduction to ancient Greek theatrical production, and there is a brief biographical sketch of each tragedian. Footnotes are avoided: the object of this handbook is to introduce readers to the plays as dramatic poetry, not to detail who said what about them. There is an extensive bibliography for scholars and a glossary of Greek words to assist the student with the operative moral and stylistic terms of Greek tragedy.

Brill’s Companion to Euripides, as well as presenting a comprehensive and authoritative guide to understanding Euripides and his masterworks, provides scholars and students with compelling fresh perspectives upon a broad range of issues in the field of Euripidean studies.

Daniel Mendelsohn makes use of insights into classical Greek conceptions of gender and Athenian notions of civic identity to demonstrate that the plays 'Children of Herakles' and 'Suppliant Women' by Euripides are subtle and coherent exercises in political theorizing.

Renaissance Suppliants studies supplication as a social and literary event in the long European Renaissance. It argues that scenes of supplication are defining episodes in a literary tradition stretching back to Greco-Roman antiquity, taking us to the heart of fundamental questions of politics and religion, ethics and identity, sexuality and family. As a perennial mode of asymmetrical communication in moments of helplessness and extreme need, supplication speaks to ways that people live together despite grave inequalities. It is a strategy that societies use to regulate and perpetuate themselves, to negotiate conflict, and to manage situations in which relationships threaten to unravel. All the writers discussed here--Vergil, Petrarch, Shakespeare, and Milton--find supplication indispensable for thinking about problems of antagonism, difference, and hierarchy, bringing the aesthetic resources of supplicatory interactions to bear on their unique literary and cultural circumstances. The opening chapters establish a conceptual framework for thinking about supplication as facilitating transitions between states of feeling and positions of relative status, beginning with Homer and classical literature. Vergil's Aeneid is paradigmatic instance in which literary and social structures of the ancient past are transformed to suit the needs of the present, and supplication becomes a figure for the act of cultural translation. Subsequent chapters take up different aspects of Renaissance supplicatory discourse, showing how postures of humiliation and abjection are appropriated and transformed in erotic poetry, drama, and epic. The book ends with Milton who invests gestures of self-abasement with unexpected dignity.

Greek scholars have produced a vast body of evidence bearing on nuptial practices that has yet to be mined by a professional economist. By standing on their shoulders, the author proposes and tests radically new interpretations of three important status groups in Greek history: the pallakē, the nothos, and the hetaira. It is argued that legitimate marriage – marriage by loan of the bride to the groom – was not the only form of legal marriage in classical Athens and the ancient Greek world generally. Pallakia – marriage by sale of the bride to the groom – was also legally recognized. The pallakē-wifeship transaction is a sale into slavery with a restrictive covenant mandating the employment of the sold woman as a wife. In this highly original and challenging new book, economist Morris Silver proposes and tests the hypothesis that the likelihood of bride sale rises with increases in the distance between the ancestral residence of the groom and the father’s household. Nothoi, the bastard children of pallakai, lacked the legal right to inherit from their fathers but were routinely eligible for Athenian citizenship. It is argued that the basic social meaning of hetaira (companion) is not ‘prostitute’ or ’courtesan,’ but ‘single woman’ – a woman legally recognized as being under her own authority (kuria). The defensive adaptation of single women is reflected in Greek myth and social practice by their grouping into packs, most famously the Daniads and Amazons.