Euripid (also Eurypid, Lat. Euripides)

(480 gto N.E.-406 BC) ancient Greek poet and playwright

Ancient was inherent to tie together all things in the universe. They saw space as a huge universe, all the components of which, ranging from the position of the stars and ending with the fate of the infant mortal, are in a non-absorption relationship. The birth of great people was usually associated with some big events, for a long time determined the development of a society.

Preserved from the ancient times of "Europide" contains many anecdical details about its origin and family life, owned by their advent of the attic comedy, for which the creativity and personality of the poet served the subject of attacks and ridicule.

Antique biographers of Euripid say that he was born on the day of the sea battle with Persians from Salamin Island on October 5, 480 to the new era. Although according to other sources, he was born four years earlier. But the first date is considered to be generally accepted, and it consists of long and difficult years of life of the Great Tragic.

Few information that remained about the parents of Euripid is quite contradictory. The tradition demanded that any famous person had definitely had noble origin, so the kings or even demigods were considered ancestors of the majority of great people and heroes of antiquity. The same was with Euripid. Some believed that his mother belonged to an ancient family, others argued that she was a simple merchant vegetables and greens. All her life was not tired of reminding comedographers poets. Evripide himself casually mentions that his mother knew a lot of useful herbs.

As for the father of Evripid, then everything converge on the fact that it was a fatal man and, apparently, not a particularly wealthy, merchant, or the main yard, with a not very good reputation.

Evripid's childhood has passed in the spirit of the lifting of the spirit of the entire Athenian people, great hopes and hope for new victories in the future. The poet grew up in anxious and the joyful consciousness of the fact that he, even if he is still young, who does not know anything yet, there is also a particle of that glorious, invincible community, the persistence and courage of which they would seem to seem other trees of eastern barbarism. Evripid early felt herself a citizen of the Great City, which Greeks considered Athens, and was ready to fulfill everything that this citizenship obliges.

Whatever the condition and public situation of the parents of Euripid, he received good education and education, on what all the biographers agree, although his father, of course, did not intend to grow from the son of a poet or philosopher.

Traditional education included memorization by heart of the sayings of the ancient sages, a kind of rules of human life, which entered into the experience of many generations: "Observe the measure", "be the rule of your pleasures", "overcome the anger", "know yourself", "hard to be Good, "" All I wear with you. " And most importantly of these rivers, the meaning of which the boys still had to understand, realize, confirm the whole of his life: "Every person himself determines his fate, but for it himself and pays."

Antique authors report that the Junior Euripid participated as a structure in the festival in honor of Apollo. This holiday coped in delphes, where younth, usually beautiful and noble, came on the gallery with traditional gifts for the Great God. When Eurippers were twelve years old, he, as was customary in Athens, began to visit two schools at the same time: he spent the first half of the day in a musical school, engaged in music, poetry, geography, rhetoric, and then went to the palister. By throwing off the clothes and races of the skin with olive oil, he, together with other boys, trained under the supervision of the coach in running, jump, throw disc and spear, fight and horseback riding.

In eighteen years, Euripid has already been considered to be an efbom - a young man. It was included in the overall list of Athenian citizens who had a military service. By tradition, she had to go outside the city - in the villages, fortresses and camps on the border of attic, where Ephebo was spent almost round in the fields and mountains.

There is a version that Euripide was in the detachment, which was sent to the aid of the Athenian colony, precipitated by the surrounding barbaric tribes. It was the first edition of Euripid beyond the usual Ellinsky world. Subsequently, these impressions were reflected in his tragedy "Rehe".

Although from the time of Epheby, for almost forty years, Euripid fought, defending the interests of Athens, the military service did not have something big for him than the fulfillment of civil debt, and he did not achieve any worthy mention of success in this field. He also experienced attractions to social activities, did not like to spend time in court or on the square, listening to famous speakers and discussing certain political events.

Like many talented people, Euripid tried themselves in his youth in different arts, she was engaged in painting and music - he retained for his life, and all his tragedies had rich musical accompaniment. As for painting, there is even a version that some paintings written by Euripid were later found in megars.

Before the oldest, the playwright retained both the knowledge of knowledge, he always loved reading philosophical essays and treatises, thanks to, according to the testimony of contemporaries, one of the most enlightened citizens of Athens. Perhaps already in the younger years, Euripid began to collect his famous library, although books, papyrus scrolls were very and very expensive and only wealthy people could afford them.

Evripid would probably have done a lot in any area if it did not damage his more difficult task - to combine philosophy with poetry, make the theater to the even greater school of enlightenment of fellow citizens, who introduced them to those eternal truths that were revealed to him on the debt of the knowledge of life.

Euripide begins to try his strength in the art of the tragedy. He seeks to pour his perception of the world in verses. Like its predecessors, he screamed the plots for tragedies from epic poems folded in several centuries

before him, and especially from "Crewin", where the prehistory of the Trojan War, the events from the life of the royal childbirth and the heroes of the Mycenaean time set out. For Euripid, as in general, for his contemporaries, these events were the same indisputable reality, as a recent war with Persians, mythological plots were undertaken certainly not needed evidence.

He wanted to comprehend those major reasons that drive people in a particular case, to disclose the variety of their characters, spiritual impulses and feelings. In an effort to convey to the audience the basic idea of \u200b\u200bthe tragedy, he often quite arbitrarily changed the traditional plot, introducing into it new motives and images corresponding to his creative intent. It was equally free, it was also in the tongue, not embarrassed by simple, sometimes even common expressions, which seemed to the adherents of ancient standards in theatrical art of vulgar and unworthy of high poetry.

It is believed that his first tragedy, "daughter Pelia", Euripid put in 456-455 BC, aged about twenty-five years. From her, he begins the passionate apology of a proud, deceived heart, not forgiving betrayal in love.

Evripid did not have much success in contemporaries: in his entire lives, he received only five first awards, and the last one - posthumously. Up to us completely reached 18 of his dram (he wrote everything from 75 to 92) and a large number of passages. Aristotle called Euripid - and since then no one has challenged it - the tragic of all Greek dramatists. It is explained by the fact that Euripid not only puts his heroes to acute dramatic situations (it was already done by Eschil and Sophocles), but also depicts the deepest contradictions in their spiritual world. Female images are particularly expressive, he is considered to be a subtle connoisseur of female psychology.

In the spring of 431, "Medea" caused the perturbation of Athenians, they wondered why such plays are generally allowed on the scene. Not only is the mother in her is represented by a pedubyt, and the scene brought unfortunate baby, so this wild barbage is honest and higher than Hellen Jason. Since the statement of "Medele", the dubious fame of the female accuser was strengthened for Euripid and, and that fellowship between him and his compatriots, which gave abundant food for gossip and attacks of comedes.

The further time went, the less Euripid identified his personal goals and objectives - the ministry of Mellengene and the search for truth - with the needs of society, which has increasingly caused a contemptuous indignation in it. His more and more often attended the Duma that life lived not as much as I wanted. Therefore, Euripid almost constantly stayed in the gloomy arrangement of the Spirit, indifferent to the small joys and reels of fate, who brighten the life of people undemanding.

The last fifteen years were the most fruitful. Most of the preserved works of the playwright account for this period. In the spring of 415 BC. Euripid presented the tragedy "Palaes", "Alexander" and "Troyanki", in which he gave an answer to all charges nominated against him, he made merit to everyone and expressed in the face of thousands of spectators that few people dare to express in Square or the Council. Unlike the Sophokla, Euripid laughed at the same people all the measure of responsibility for the ultrahaousness of their existence, not leaving or almost not leaving the place to hostile to the gods and fate, and he did not love him for it, considering the wisdom of the poet unfair and evil.

In the spring of 413, Euripide put the tragedy of "Electra". Orest and Electra execute a criminal mother, thereby fulfilling his scary, but immutable debt and realizing that together with her mother, they died forever and themselves. So, approaching the sunset of his days, the rebellious mind and spirit of Euripid became increasingly aware of that eternal law on which the world is based on, the law of truth, justice and good - and from the last strength tried to convey it to his contemporaries. He will also write "Iphigenia in Tavrid", "Phoenicianok", "Orest". By the end of his life it turned out that euripide is not needed. No one, apparently, did not care about what he eats and drinks, as he sleeps. Conscious that his time left is not so much, but it has been done quite a little, he worked even more than in his youth.

Every year, with each day, the playwright felt more and more stranger and unnecessary in Athens. He takes an invitation to the Macedonian Tsar Archeli and leaves his native Athens - the brilliant city of his complete hopes of proud youth, realizing that his life, in essence, ends. So at seventy-two years, Euripid leaves Fatherland forever.

The pristine beauty of Macedonia struck him. He led the same lifestyle here: I wrote a lot, I read, walked around the surroundings, admiring the beautiful nature, who hesitated her calmness in his soul. He wrote several tragedies in Macedonia: "Archelai", "Iphigenia in Avlida", "Vakhanki", of which we reached us only two, hitting the depth of their revelation and the perfection of skill.

Euripide died at the beginning of 406 to our era, and his death, as well as life, was accompanied by not friendly rumors. The poet was buried in Macedonia, and after some time a lightning hit him in the tomb, as once to the tomb of the Spartan Likurga lawmaker.

In the spring of 406, when Euripid had learned in Athens, Sophokl in mourning clothes brought to the stage of actors without wreaths, sorrowfully about the death of the great fellow for the ministry of the Muses. Archelai refused to give the body of the poet for the burial in Athens, and fellow citizens on the road in Piraeu in honor of Euripid Kenotaf with the following epitaph: "All Greece serves the grave of Euripid, the body is located in Macedonia, where he was destined to end his life. The Fatherland of His is Athens and all of Allada. He enjoyed Muz love and thus acquired his praise from everyone. "

XII. Euripid.

1. Biography.

Euripid (approx. 480 G.-406 BC), one of the greatest playwrights, was the younger contemporary of Eschil and Sophokla. He was born on the island of Salamin. Biographical data on Euripide is scarce and contradictory. Aristophane in his comedy "Women at FesmoForiii's festival" says that the mother of Euripid was a sealing greens, the later biographer Philohorov denies it. There is no doubt that the family of Euripid had a funds and therefore the great tragic was able to receive a good education: he studied at the philosopher of Anaksagora and Sophista Protagora, talking about this by the Roman writer Avl Gelly ("Attic Nights"). In 408, Euripid at the invitation of the king Archeli moved to Macedonia, where he died.

2. Creative way

Euripid began in the conditions of the heyday of the Athenian policy, but most of its activities occur during the years of decline of this slave owner. He witnessed long and exhausting for Athens Peloponnesian war, which lasted from 431 to 404 BC. This war was equally concluded on the side of Athens and from Sparta, but still it is necessary to note the difference in the political positions of these two policies: Athens, as a democratic slave-ownership state, the principles of slave democracy were introduced during the war during the war, and Sparta everywhere I put on the oligarchy. Euripid, as opposed to Eschil and Sofokla, did not occupy any state position. He served his homeland with his work. They are written more than 90 tragedies, of which they reached us 17 (the 18th tragedy "Ray" is attributed to Euripid). In addition, one Satirovskaya drama of Euripid "Kiklop" has reached us and many fragments of his tragedies have survived.

Most of the euripide tragedies have to date only approximately, as there are no accurate data on the time of their production. The chronological sequence of its tragedies is: "Alkes-Ta" - 438, "Medea" - 431, "Ippolit" - 428, "Geraklida" - approx. 427, "Hercules", "Goek" and "Andromaha" - approx. 423-421, "Supils" - probably 416g., "Ion", "Trojanki" - 415g., "Electra", "Iphigenment in Tavrid" - approx. 413g., "Elena" - 412, "Phoenicians" - 410 - 408, "Orest" - 408 g., "Vakhanki" and "Iphigenia in Avlida" are delivered after the death of Euripid.

3. Criticism of mythology.

Euripide is extremely radical in his views, approaching the Greek natural philosophers and sophists regarding their criticism of traditional mythology. For example, he believes that at first there was a common undecided material mass, then she was divided into broadcast (heaven) and land, then plants, beasts and people appeared (fragment 484).

It is known its critical attitude to mythology as the basis of the People's Greek religion. He recognizes some divine essence that controls the world. No wonder Comediographer Aristophane, the contemporary of Euripid, who considers it a tragic crusher of all folk traditions, evil laughs at him and the comedy "Frog" says the mouth of Dionysus that he has the gods of "their special chasing" (885-894).

The gods of Euripide depicts almost always from the most negative sides, as if whaling to inspire the audience distrust of traditional beliefs. So, in the tragedy "Hercules", Zeus appears to be evil, able to disgrace someone else's family, the goddess of Gera, the wife of Zeus, - the vengeful, who brings the suffering to the glorious Greek hero Hercules only because he is a side son of Zeus. Cruel and Vereoloman God Apollo in the tragedy "Orest". It was he who forced the orp to kill his mother, and then he did not consider it necessary to defend him from revenge Erinia (this interpretation is sharply different from the interpretation of Eschil in his trilogy "Orestea"). Also heartless and envious, like Gera, the goddess of Aphrodite in the tragedy "Ippolit". She envies Artemide, which is worshiped by an excellent hippolyte. From hatred for the young man in Aphrodite, he burns his stepmother in his heart, Queen Fedra, a criminal passion for her steppe, thanks to which both - and Fedra die, and Ippolit.

Critically depicting the gods of the People's Religion, Euripid expresses the thought, are the fruit of the fantasy of poets. So, Herakla's mouth he says:

In addition, I did not believe and I do not believe that God had touched the forbidden fetus, so that God had bonds and God overlook the other. No, the deity will love himself: all this is Beddi bold singers 3. ("Hercules", 1342-1346.)

4. Anti-war trends and democratism.

Euripid was a patriot of his native policy and tirelessly emphasized the superiority of democratic Athens over the oligarchic Sparta. More than once, Euripid portrayed his people defender of weak, small states. So, use the myth, he holds this idea in the tragedy "Geraklida". Children Hercules - Geraklidam, who expelled from his native city, the Miktensky king, Eurisheffe, none of the states, afraid of Military Power, did not give a shelter, did not come for them. Only Athens protect offended, and the Athenian ruler of the demophone, expressing the will of his people, says the Messenger of the Mycena King, who was trying to drag children from the Athenian altars:

But if something worries me, then this is the highest argument: honor. After all, if I allow the force from the altar of the praying to tear off some kind of inlets, so goodbye, Athenian freedom! Every person will say that from the fear of Argos - I insulted with plea. Worse loop consciousness is (242-250).

The Athenians won the troops of the Eurisfay and return their hometown to heraklidam. At the end of the tragedy, the choir sings the glory of Athens. The main thought of the tragedy expresses Korife Chora, saying: "Not for the first time standing the land of Athenian for the truth and unfortunate" (330).

Patriotic and tragedy of Euripid "Sudeller". It depicts relatives of the warriors who fell under the walls of FIV during the fratricidal war between Eteokl and Polick. Fatvans do not allow the families of the killed to take the corpses for the burial. Then relatives of the dead warriors are asking for help from Athens. The conversation between the Athenian king of Teshem and Adraist, the messenger of the relatives of the dead warriors, is the glorification of democratic Athens, the defender of weak and oppressed. Choir sings:

You help mothers, help, about the city of Pallad, do not pay the laws of general, - you are justice to dismantle, injustice is alien to all, you are all the patron, who would be offended dishonest (378-381).

In the same dialogue, the teres are condemned by the Great Wars, raised by the rulers due to their mercenary interests. Teskey says Adrasta:

Those to the glory are rushing, these inflate the game of war and corrupt citizens, those on the commander, those in the superiors, to show, and those on the bosses, do not think about the disasters of folk (233-237).

The hatred of Athenians to Sparta Evripid reflected in the tragedies of Andromaha and Orest. In the first of these tragedies, he depicts a cruel change and no less cruel his wife Elena and the daughter of Hermione, treacherously violated her word, not stopping before killing the child Androma, born her from the son of Achille Neoplohem, to which she after the fall of Troy was given in the concubine . Andromaha sends a curse Spartan head. Peads, Father Achilla, also curses the arrogant and cruel Spartans. Anti-Spartan trends tragedy "Andromaha" met a lively response in the soul of Athenian citizens, the cruelty of Spartans to the prisoner and to the ordinary Ilotam was known. The same ideas conducts Euripide and in the tragedy "Orest", drawing Spartans with cruel, treacherous people. So, the Father Climenestra Tindar demands an execution of Ores for the murder of Mother to them, although Orest says that he made it a crime on the orders of God Apollo. Pension and cowardly Meneli. Orest reminds him of his father Agamemnon, who as a brother came to the rescue of Menela, went with his troops in Troy for the sake of salvation, Elena and the price of big victims saved her, returned to Melana lost happiness. Recalling the Father, Orest asks Menel to help now him, the son of Agamemnon, but Menelai replies that he has no power to fight the Argos and can act only cunning. Then the Orest with bitterness notes:

Nothing as a king, and with a heart of a coward of unsuitable friends in trouble leaving, you run! (717-718)

Tragedies are closely adjacent to the tragedies of Euripid with anti-spitting trends, in which the author expresses its anti-war views, condemns the grip wars. It is a tragedy of "Hube", set about 423, and the tragedy of "Trojan", set in 415.

The Hekab tragedies describe the suffering of the family of Priama, who, together with other prisoners, after taking the Troy, the Ahetis lead to Greece. The daughter of Hekba Polixena sacrificed in honor of the killed Achilla, and her sole remaining in the living son of Polydar kills the Thracian king Polyomestor, to whom the child was sentlan to protect him from the horrors of the war. Hokuba asks the Odyssey to help her save her daughter, but that inexorab. Euripid draws to the Polixen Gordy Girl, who does not want to humiliate before the Greek Winners and goes to death:

What promises me by the smroil of my Lords? Savage of some, having bought me, will make a swing of wheat, the house of revenge ... ... And the day will end with a volatory, and the bed of me a bought slave ocker ... (358-365). I have nothing to fight (371). ... the burnt will be life when the beauties are not in it (378).

As a big connoisseur of the human soul, Euripid depicts the last minutes of the life of the polyksna, proudly going to death; But in the flourishing of forces is hard, and she, pressing her mother, sends Hi and sister Cassandra, who became the concubine of Agamemnon, and a small brother of the polydor. Polyxena dies heroine. The latter were her words:

You, Argos Sons, that my city was destroyed! I am dying to the will. Let nobody holds me ... ... but let me die free, I spell gods. As I was free. Separate slave to the shadows of the princess shame (545-552).

The tragedy of "Gocuba" in his mood is pessimistic, the author as it would say that the life of a person is hard, injustice, violence, the power of gold - such is the law of life and those of the last words of the tragedy: "There is no need."

This tragedy is close in its anti-war trends and even in the plot of the tragedy "Trojan". It also describes the suffering of prisoners of the Trojan, among which are the women of the family of the king of Priama.

This tragedy, like the tragedy of "Hube," draws the war of the Greeks with the Trojans, contrary to the usual mythological interpretation, chasing the feats of the Ahaseians. In Trojanka, the insane suffering of women and children after the fall of the Troy is depicted.

The messenger from the Greeks of the winners informs the family of Priama that the wife of King Hekab will be the slave of Odyssey, her eldest daughter of Cassandra will be the concubine of Agamemnon, the youngest Polyken will be sacrificed on the grave of Achilla, Hector Andromaha's wife will be given to the wife of Achilla to Naughty.

Andromahi will take her baby, the son of Hector, although she begs to leave it to her, since the child is not to blame for the Greeks. The winners kill the child, dropping from the wall, and the corpse brought distraught from the suffering of the grandmother His, Hecube.

Unhappy old woman who lost his homeland and all his loved ones, screams over the corpse of the grandson:

From the skull of a fragmented blood flows ... about the worst silence ... about the hands, exactly the fathers! The joints are all fragmented ... about cute mouth ... (1177-1180). ... What will the poet write on your tombstone? "ARGIOVANIA BIRT IS CLEAR" - verse, shaped for Eldla (1189-1191).

In many tragedies, where the idea of \u200b\u200bpatriotism is held, Euripide depicts heroes sacrificing life for the sake of the Motherland. So, in the tragedy "Geraklida" daughter Hercules, Young Makaria, sacrifices himself, saving his native city, his brothers and sisters.

In the tragedy of "Phoenicianki" (set between 410-408), sacrifices his life for the victory of the motherland over the enemies of the son of Creonte, the young man of men. Father persuades her son not to go on such a feat, and go somewhere far beyond the goal. Mereki pretending to agree with the will of his father, but in the soul he was already firmly decided to give life to the sake of salvation of the Motherland.

Euripid was seriously experienced by the entire course of the Peloponnesian war, deprivation and military defeats of their fellow citizens. He saw that the principles of the democratic polis system rushes that privileged social groups, rich, money dealers, land owners and enterprises come to the Ruie of the state. Therefore, the playwright in their tragedies with such passion is defended by the principles of Athenian democracy and branding tyranny. The basis of the Athenian democracy, he considered the average social groups, that is, small free workers, peasants and artisans. In the tragedy of "racer" the main hero of the Testa, the expressive of the views of the Euripid himself, says:

Three kinds of citizens are: some are rich and useless, they are always not enough for them, other poor, in the eternal disadvantage. They are terrible, they are jealous, and in the anger, the rich is tasting. They knock them down their bad languages \u200b\u200bof confusion. The third is the middle, the state's support and the protection of the law in it ... (238-246).

The same views adhered to Aristotle ("Politics", VI, 9).

Free small workers of Euripide depicted with deep sympathy, especially the workers of the Earth. Old honest farmer in the tragedy of "Electra", for whom the queen Cliqueness issues his daughter to remove her from the palace, as revenge on his daughter for the dead father, I understood the idea of \u200b\u200ba cunning cliques, considers his marriage fictitious, protects the honor of electricity and treats her as a daughter. The peasant is kind and hardworking, he says: "Yes, who is lazy, let him not come to the words of prayers, and bread does not save" (81).

The same image of an honest farmer, the keeper of the democratic principles of Athens Dan in the tragedy "Orest". Only he acted as defense of Oresta at the People's Assembly, demanding condescension to this young man, since the murder of CliMenestra was committed by the order of God Apollo. Here is how the Euripid of this citizen is characterized, nice to his heart:

Here is a speaker - not a handsome man, but a strong husband; Not often, the footprint on the Argos Square leaving, he plows his land - on such a country now is resting. He is not poor to mind, since the case is sometimes able to measure in the verbal contest. And his life he is a flawless husband (917-924).

5. Socio-domestic dramas.

The euripide tragedies should be divided into two groups: on the one hand, the tragedy in the full sense of the word, and on the other - socially domestic dramas, where they are depicted not heroes, outstanding in their thoughts and affairs, but ordinary people. This drama will make a comic element that the classic antique tragedy does not allow, and a prosperous union, which also contradicts the canon of the tragic genre. These should be attributed to such, for example, plays, like "alkest", "Elena", "Ion".

a) "alkest".

"Alkestan" was put in 438; From the works of Euripid who came to us are the earliest. The hero of the drama - the Fesselsky king of Admet, who gods promised that his life could be extended if anyone voluntarily agrees to die for him. When Admet is seriously ill and he threatened death, then none of the loved ones, even the elderly parents, did not want to die instead, and only his young wife, beauty alkest, agreed to such a sacrifice.

Euripid with great skill is depicting the last minutes of the life of the alchesta, her farewell to her husband, children, slaves. Alkestan loves life, and she is hard to die, but also in a suicide nonsense, she thinks about the fate of her husband and children.

Husband Alkese Tsar Admet is an ordinary worker, not a hero: a good family man, loves his wife and children, welcome to friends, hospitable owner, but the egoist and most like himself. Admet curses himself for accepting the victim of his wife, but not capable of self-sacrifice, on the feat.

In the play there is a scene that really convinces that from the tragic to a comic one step, - when the father of Admem Firth brings the bedspread and wants to cover the corpse of the dead. ADMET is outraged by the behavior of his father, who did not sacrificed his forthestory life for the salvation of the only son, but the father reproaches the father in egoism, and his father, in turn, scolds the Son for hoping for self-sacrifice from parents. The old man accuses the Son that he lives, in essence, at the expense of his wife, who donated his young life. This shorter of two egoists and comic, and bitter. Euripide shows it very live with the help of short, ordinary, catchy phrases:

ADMET (pointing to the body of alkese) you see your guilt, old man. Ferret Ile for me bury it, say? Hell need me and I hope you. The ferret is more expensive, you will come true. ADMETS YOU SHIWS. Why did you gem? The ferret Oh, this torch of God is so beautiful. ADMET and this is a husband? Shame among my husbands ... Ferret, I am a fucking me, I am deforming. Admet will die and you - you will die inglorious. Ferret to the dead inglorious does not reach. Admet such an old man ... and at least the shadow of shame ... (717 - 727).

Admet and Ferret are ordinary people as they are. No wonder and Aristotle noted that Sofokl depicts people as they should be, and Euripid - what are they ("poetics", 25).

Hercules playwright paints not in Oleoles of exploits, but an ordinary good man who can enjoy life capable of a deep sense of friendship. Euripid tells how Hercules on the road goes to Admeh and he, not wanting to upset a friend, does not tell him about the death of his wife, but arranges a treat in one of the remote rooms of the palace. Hercules drunk, loudly sings songs, and this behavior pertures serving his slave, who grieves about Alkeset. Hercules in bewilderment and pronounces a whole speech in which he tells his everyday SGES! Oh, what to live, they say, it is necessary for fun, for love, for enjoying. But when Hercules learn from the slave that alkest died, he descends for his friend for his friend, hes down the death of the death of the death of Alkese and returns her anonymous adme.

b) Elena.

The same genre of socio-domestic drama should be attributed to Elena Elena's play, supplied at 412. It uses a little-known myth that Paris took with him to Troy not Elena, but only the ghost of her, and the real Elena, by the will of Gen, was transferred to Egypt to the king of the beat. The son of this king Foclimman wants to marry Elena, but it persists, wanting to remain true to her husband. After the fall of Troy Meneli goes on the ship home; The storm broke his ship, but Melani with several comrades and the ghost Elena escaped and was thrown to the shore of Egypt. Here he accidentally meets at the gate with real Elena, which comes up with a tricky escape plan. She tells Fooclimen, that he will be his wife, but only asks one of the mercy - to let her in the Greek custom to accomplish the funeral rite in honor of the deceased Meal. The king gives her a boat, rowers, and here Elena in a mourning dress sits into the boat, come there and rowers, among which Meneli with comrades, all disguised into Egyptian clothes. When the boat was already far from the coast, Meneli and his friends killed the rowers-Egyptians, their corpses were thrown overboard and with raised sails headed to the shores of Eldla.

We are again not a classic Greek tragedy, but a household drama with a safe end, with the peripetia of an adventure character, with the idea of \u200b\u200bglorifying the faithful married love. Elena this drama is not at all like Elena, depicted in the tragedies "Andromaha", "Troyanki" and "Orest", where she appears before us by a narrow-minded beauty, changing her husband and rushing in the embrace of Paris. Dalit, this image and from the Homeric image of an excellent Elena, forcibly taken by Paris in Troy, languishing away from the homeland, but not taking any steps to return to his native family.

c) "ion".

In terms of social and household drama, Evripid and Piece "Ion" was created. It shows the son of Apollo Ion, Born by Creus, the victim of this God. To hide your shame, Claus throws up a child in the temple. Subsequently, she marries the Athens Tsar of Xsuf and randomly, thanks to the preserved diapers, in which the child was once undertaken, finds his son who had already had a young man. The story of an undressed child later, in the era of Hellenism, will be the most popular among Greek comedes, who generally believed that they were "out of the drama of Euripid," since both ideological content, in the image of characters, in composition Hellenistic comedies are undoubtedly very close to socially - Drams of Euripid. In the drams of Euripid, one of the most important guide forces is no longer destiny, but the incident falling into a fraction of a person. As you know, the role of the case will be particularly significant in the Hellenistic literature.

6. Psychological tragedy.

Among the works of Euripid, the famous tragedies with a pronounced psychological orientation, due to the enormous interest of the playwright to the personality of a person with all its contradictions and passions.

a) "Medea"

One of the most wonderful tragedies of Euripid - "Medea" is put on the Athenian stage in 431. The sorceress of Medea is the daughter of the Kolchi king, the granddaughter of the Sun, who loved the Jason, one of the Argonauts, who came to Kolkhid for the Golden Room. For the sake of his beloved man, she left the family, his homeland, helped him master the golden rune, committed a crime, came with him to Greece. To his horror, Medea learns that Jason wants to throw her and the groom at the princess, the heir of the Corinthian throne. It is especially hard for her, because she is "barguard", lives on a foreign land, where there are no native, nor friends. Copper is outraged by the deft sophistic arguments of a husband who is trying to convince her that he joins marriage with the princess for their little sons, which will be Tsarevichi, the heirs of the kingdom. The woman offended in his feeling understands that the driving force of the husband's actions is the desire for wealth, to power. Medea wants to take revenge on Jason, ruthlessly broke her life, and robs and rival, sending her poisoned outfit with her children. She decides to kill and children, for the sake of the future of happiness, according to Jason, he enters into a new marriage.

Medea, contrary to the norms of the polis ethics, is a crime, considering that a person can act as his personal aspirations dictate, passion. This is a kind of refraction in the life practice of a sophistic theory that "man is a measure of all things," the theory undoubtedly condemned by Euripid. As a deep psychologist, Euripid could not not show a storm of torment in the soul of Medele, conceived to kill children. Two feelings are fighting in it: jealousy and love for children, passion and sense of debt before children. Jealousy tells her decision - to kill the children and take revenge on her husband, the love for children makes her discard the terrible decision and take another plan - to escape from Corinth with children. This painful struggle between duty and passion, with great mastery depicted by Euripid - the culmination point of all the choir tragedy. Honey caresses children. She decided to leave them life and go into exile:

Alien to you, I will keep the days. And never, having replaced life, I, you, who wore you, not see ... Eyes with these. Alas! Alas! Why do you look at me and laugh last, your laugh? .. (1036-1041).

But involuntarily escaped the words "last laugh" are expressed by another, a terrible decision, which has matured already in the caches of her soul, is to kill children. However, Medea, touched by their view, tries to convince himself to abandon the terrible intention dictated by insane jealousy, but jealousy and offended pride take the top over the maternal feeling. And a minute before us again, the mother, who herself convinces herself to discard his idea. And immediately a detrimental idea of \u200b\u200bthe need to take revenge on her husband, again the storm of jealousy and the final decision to kill children ...

So I swear as aid and with all the tender force, which is not seen by the enemies of my children abandoned by medeems on the mock ... (1059-1963).

The unfortunate mother last caresses his children, but understands that the murder is inevitable:

About sweet hugs, the cheek is so gentle, and the mouth is a pleasant breath ... Go away ... Rather, go ... There is no strength to look at you ... I crushed with flour ... what I dare, I see ... Only anger is stronger than me And there is no for the kind of mortal fierce and diligent executioner (1074-1080).

Euripide reveals the soul of a man, the internal struggle between duty and passion. Showing this tragic conflict, without embellishing reality, the playwright comes to the conclusion that the passion often takes over the debt, destroying the human person.

b) in theory, the dynamics and nature of the main character to the tragedy "Medea" is close to the tragedy of "IPPOLIT", set in 428g. Young Athenian Queen, Wife Zene Fedra, passionately half-lovely a member of the hippolit. She understands that her duty is to be a faithful wife and honest mother, but cannot snatch a criminal passion from the heart. The Kormilitsa eats her mystery from Fedra and informs IPPOLITY on love for him Fedry. The young man in anger branding his stepmother and sends curses on the head of all women, considering their cause of evil and debauchery in the world.

Offended by undeserved accusations of Ippolit, Fedra cums suicide, but to save his name from shame and protect him also his children, she leaves a letter to her husband in which Ippolita is accused of encroaching on her honor. Testa, reading the letter, curses the son, and he dies soon: God Poseidon, who fulfilling the will of Tenese, sends a monstrous bull, horrified by whose horses of the young man, and he divides the rocks. The goddess of Artemis opens the mystery of his wife. In this tragedy, like in the tragedy "Medea", EuroPide masterfully operates the psychology of the Fedra's soul psychology, who despises himself for a criminal passion for steps, but at the same time only thinks about a loved one, relentlessly dreams of meeting and proximity to him.

Both tragedies and compositions are similar: the prologue explains the reason for the situation, then the heroine is shown in the vice of the painful conflict between the debt and passion, the whole tragedy is built on this high voltage, revealing the soul of the heroine soul. But the interchange of the tragedies of mythologous: Honey will save her grandfather, God Helios, and she with the corpses of dead children flies on his chariot. The Goddess of Artemis is the goddess of Artemis and reports that his son is not guilty of anything that he is Oklevtan Fedra. Such an ending, where the conflict node is permitted with the help of gods, the contrast of some times the entire logical move of the tragedies is commonly called in the practice of the ancient theater Jeep EX Tatsype, are characteristic of Euro-Pida, the masters of complex, confusing situations.

7. Special interpretation of myth.

Evripid in his tragedies often changes old myths, leaving me essentially the names of heroes. The great tragic, using mythological plots, expresses the thoughts and feelings of their contemporaries, puts current issues of their time. He, if you can say so, seems the myth. And this is a great difference between Euripid from Eschil and Sophokla. The difference in the artistic system of playwrights is especially noticeable when comparing the ELRIPIDE euripide tragedy with the Sofokla tragedy of the same name and with the tragedy of Eschyl "Hoăofors", which is the second part of his Orestea's trilogy. The plot in them is one - the murder of the cliques with her children with a orette and an electrician as a revenge for the killed father.

Eschila both heroes, Orest and Electra, still in the power of religious principles, they fulfill the order of Apollo to kill the mother for killing their father, her husband, the head of the family and the state, violating the priority of the father's head.

Eschil is still great respect for myth, he has gods to a large extent poses the fate of people. Elektra and Orest sofokla are also chasing laws, these gods, Evripid, they are just unfortunate children abandoned by the mother for the sake of Egisf's lover. Wanting to strengthen his position, the cliennessers deliberately gives the ELECTRU for the old poor farmer, so as not to have from the daughter of applicants for the throne. Orest and Electra kill the mother for deprived of their joy of life, deprived her father.

The whole interpretation of the murder of the orette and their mother's euro among Euripid is revealed more vital, psychologically more deeply.

In the tragedy of "Electra", Euripid condemns those techniques, with the help of which the Eschil and Sophokla takes recognition of the electrical brother: on the curl of the hair of Ores, cut off and put on the grave of his father, along the trail of his feet near this grave. Evripid also, when the uncle of Oreste offers Elektra to estimate the curl of the hair on his curls found on the grave, she, expressing the arguments of the author himself, laughs at him.

And this strand? Yes, is the color of the Tsarevich's hair, which increased in the Palestre, and the delicate color of the trellied crest of maidy brains could save a similarity? (526-530)

When the old man offers an electre to compare the trail on Earth near the grave with the next one, then the girl again with a mockery says:

On the stone track? What do you say, old man? Yes, if it would stay it and remained, is it really possible at the brother and sisters to come up with the size of the legs? (534-537)

The old man asks the electric that, maybe she learns his brother on the clothes of her work, in which once the Orest was sent to a foreign land. Euripid laughs over it, putting the following sarcastic objeels in the mouth:

Do you get dan? Yes, then, the old man, I was a child: Chlamyda this is it really a brother puts on and now? Ile, maybe grow clothes with us? (541-544)

It is quite different than Eschila, depicts Euripid and the scene of the murder of his mother's ore. He without hesitation, even with gloating kills her lover Egisfa, as the culprit of all the suffering of his family, but to kill his mother scary and hurts him. Eschil is shown only the moment of oscillations of Orest before the murder of the mother. Euripide depicts the terrible torment of the Son, who cannot raise his hand to the mother, and when Electra reintegrates him in Malnisy, he, closing his face with a cloak, so as not to see his mother, strikes her with a sword ...

After the murder of Oresta torment the flour conscience. In the tragedy "Orest", which was delivered in 408 and which reveals the same plot as the tragedy of "Electra", only slightly expanding him, sick Orest to the question: "What is the alert Tomit?" - Right replies: "His name is and villages - conscience."

Eschila in the trilogy "Orest" Erinia, terrible goddesses, protector of maternal law, pursue Oreste, Evripida in the tragedy "Orest" - this is a sick young man who suffers with seizures, and after the murder, during nonsense, he only seems to be around Erinia , thirsting for his death. And in the "copper", despite myth, Euripid makes the mother kill their children. Evripid is important here not the mythology of the tragedy, but the proximity of characters and life situations.

8. "IFIGNATIONS IN AVLIDE" is a sample of the pathetic tragedy.

The posthumous tragedies of Euripid were the tragedies of "Vakhanki" with its complex religious psychological issues and "Iphigenia in Avlude". Both of them were set at the holiday of urban Dionysius in 406. For the tragedy "Iphigenia in Avlida" the author was awarded the first award. "IFIGNATIONS IN AVLIDE" - one of the perfect tragedies of Euripid. It depicts the Ahasey army, ready to sail on the ships from Avlude to Troy. The Goddess of Artemis offended by Agamemnon does not send a passing wind. So that the wind blew and the Greeks reached the Troy, and therefore they won it, it is necessary to sacrifice Artemis an older daughter Agamemnon Iphigenia. Father causes her together with his mother under the pretext of the wedding girl with Achille, but the goddess of Artemis itself saves the infigration and invisibly for all those surrounding during the sacrifice to his temple in the distant Taurida.

If in the tragedies of Euripid "Hekaba", "Andromaha", "Troyanki", "Electra" and "Orest" The campaign of the Greeks in Troy is depicted as a gripful war, the purpose of which is to defeat Troy and take Elena, the wife of Meal, then in the tragedy "Iphigenia in Avlida "The war of the Greeks with the Trojans is covered with Homeric positions, that is, as a war for the honor of Eldla. Such a interpretation, raising the Patriotic Spirit of the Greeks, was particularly relevant in recent years V c. BC. For Eldla and exhausted Peloponnesian war regists. People sacrificing the sake of the Motherland have been depicted more than once in the tragedies of Euripid: Makaria in the tragedy "Geraklida", men in the tragedy "Phoenicianki", Praxitea in the tragedy "Erehettei" (only a fragment) - But there these images were not basic.

Iphigencies, the central character of this tragedy, sacrifices the life for the sake of the Motherland. It is shown surrounded by persons who are experiencing a painful conflict between the debt and personal happiness. So, Agamemenon must sacrifice the daughter for the victory of Greece, but he does not solve it. Then, after the painful torment, he still sends a letter to his wife, so that she would bring infigration to Avlud, since alleged Achilles rushed to the girl. Soon Agamemnon comes to the conclusion about the impossibility of sacrifice the daughter and writes a second letter to his wife that it is not necessary to come with Iphigenia, since the wedding is postponed. This letter grabbed Meneli, he reproaches Agamemnon in egoism, in the absence of love for his homeland. Meanwhile, Cliqueness, having received the first letter of her husband, comes with Iphigenia in Avlude. Agamemnon hard suffers when meeting with her daughter, but the sense of debt wins. He knows that all the army understands the inevitability of this victim. Agamemnon convinces the infigration that her life needs home to die for her honor. In contrast to Agamemnon Cliqueness takes care only about the happiness of his family and does not want to sacrifice the daughter for the sake of common good.

Ahill with indignation learns that Agamemenon deliberately put in a letter to his wife about his walling to their daughter, but his beauty touches his beauty, her defenselessness, and he offers her help her. However, the infidencies have already decided to sacrifice and refuses his proposal. Achille is struck by the nobility of the girl's soul, her heroism, and in his heart the love of infigration is born. After a while, he already persuades her to abandon his self-sacrifice, since personal happiness puts higher debt to the homeland. Thus, people surrounding the infigration are depicted by Ev-Ripid submerged in the experience of the conflict between the debt and personal happiness. The main role in the resolution of this conflict plays the character itself. Her image is disclosed by the author with a high pathos and love, and the achievement of Euripid is that it is not statical as most of the images of ancient tragedy, and is given in their domestic development. At the beginning of the tragedy, we are just a sweet, glorious girl, happy from the consciousness of his youth, full of joy from the upcoming marriage with the glorious hero of Eldla, Achille. She is glad to meet with his beloved father, but feels that the Father is alarming. Soon she learns that she was brought to Avlidu not for marriage with Achille, but for the victim of the goddess Artemide and that this victim needs homeland. But the girl does not want to bring his life to the altar of the Motherland, she wants to live, just live and begging his father not to destroy her: "After all, look at the light so sweet, and descend into the underground world so scary - spare" (1218 and next). Iphygencies recalls the father of his childhood when she, causing, promised to conquer him in an old age:

I keep everything in my memory, all the words; And you forgot, you're glad to kill me (1230 and next).

Iphygencies makes his little brother Orest to kneel and begging his father to spare her, infidenten. Then she exclaims in despair:

What I still think up to say? For mortal it is gratifying to see the sun, and under the ground so scary ... if someone does not want to live - he is sick: the burden of life, all the flour is better than the fame of the dead man (1249-1253).

Next, Euripid shows the indignation of the troops, which rushes to go under the Troy, and requires that the infigrations be sacrificed, otherwise there will be no passing wind, otherwise it is not to get to the enemy and not to defeat it. And here, seeing the warriors, thirsting to protect the honor of the Motherland, ready to give their lives for her, the infigration gradually realizes that she shamefully put his happiness higher than the common benefit of the warriors, that she should give life to win over the enemy. Even when Achilles tells her about her love and suggests secretly running with him, she firmly declares her willingness to die for the honor of the Fatherland. So infidencies from a naive afraid girl turns into a heroine aware of his sacrifice.

9. General conclusion.

Euripid put in his tragedies and allowed a number of current issues of his time - the question of the debt and personal happiness, about the role of the state and its laws. He protested against the grungeous wars, criticized religious traditions, conducted the ideas of a humane attitude towards people. In his tragedies, people are depicted by the people of great feelings, sometimes creative crimes, and Euripid, like a deep psychologist, reveals the soul freshers of such people, their painful suffering. No wonder Aristotle considered him a tragic poet ("poetics", 13).

Euripide is a large master of building the Peripetius tragedies, they have always been motivated, vital.

The tragedy language is simple, expressive. The choir in his tragedies no longer plays a big role, he sings wonderful lyrical songs, but in the resolution of the conflict does not participate.

Euripid was not fully understood by contemporaries, as his pretty bold looks on nature, society, the religion seemed too exiting for the usual framework of the ideology of the majority.

But this tragian was highly appreciated in the era of Hellenism, when its social and domestic dramas began to use much popularity, which undoubtedly had a great influence on Menander's playwriter and other Hellenistic writers.

Name:EURIPIDES (EURIPIDES)

Date of Birth: 480 BC. e.

Age: 74 years

Date of death: 406 BC e.

Activity: playwright

Family status: was divorced

Euripid: biography

Euripide (Eurypid) is a great ancient Greek playwright, a junior contemporary and. His biography would be a find for a modern yellow press: intrigue and rivalry with other poets, 2 broken because of the treason, departure from homeland and mysterious death, presumably coming as a result of the court conspiracy.

Childhood and youth

Of course on the early years of Euripid, a little has been preserved, and they often contradict each other. Greek comedized Aristophaan wrote that his Mother Clayly traded in the market greens and vegetables, but in later sources it is denied. Euripid was clearly from the secured family, because he received a versatile education - according to Roman writer Avla Gelulia, he studied at the philosophers of Protagore and Anaksagora.

As for the year of his birth, then many sources are the date of September 23, 480 BC. e. - On this day, the Greek army defeated Persians in the sea battle on Salamine. However, other written evidence includes the mention that the Claito conceived Euripid when the king Xerxes invaded Europe, which happened 5 months to the Salamina victory.

Most likely, the future playwright was born later on September 23, simply then his biographers "pulled" the date with the aim of the "embellishment" - then such techniques in life-in-law were used often.

Also found 2 more sources indicating different information about the birth time of Euripid: according to the inscription in the Paros marble, this happened in 486 BC. e., and according to other testimonies of contemporaries - in 481.

As a child, the future playwright was fond of sports and made great progress in gymnastics, winning competitions among the boys-peers. He dreamed of getting to the Olympic Games, but did not take it because of young age. He was engaged in Euripid and drawing, but he did not succeed at this.

Dramaturgy

In his youth, Euripid loved reading and began to collect books, and eventually began to try the forces in writing the plays. His debut work "Peliad" came out in 455 BC. E, and in the 441th he received the first reward for her. It is believed that the playwright was the owner of an extensive library, but it was not preserved. Only 17 of his tragedies reached us, although it was written at least 90. From the works of other genres, only the drama "Kiklop" completely survived.

Although the contemporaries called him a philosopher on stage, the whole philosophical system of Euripid for himself did not build. His worldview has developed from other people's concepts, primarily of Sophism. To the religion in general and to the gods in particular, he treated with irony, and myths and beliefs used only for the background.

The gods in the works of Euripid appear ruthless and vengeful creatures (this was clearly manifested in the "Ion" tragedy), but it cannot be called an atheist - the existence of a supreme essence, which managing the world, he still recognized. At that time, such views were original and advanced, so the viewers of the audience, Euripid often did not find. Some of his works, such as "IPPOLIT", caused a storm of indignation from the public and were declared immoral.

The work of the playwright is divided into 2 categories: the tragedy itself, where the gods often appear, and socially domestic dramas in which ordinary people act. In the works of Euripid, the political events of that time were reflected. He wrote the tragedy in the era of the Peloponess Wars, against which he expressed a hot protest. The image of peace-loving Athens created by them was preserved in his work, which the playwright opposed the aggressive oligarchic sparta.

Euripid is known for the fact that the first began to work out feminine images in literature - predecessors preferred to describe men. , Electra, Andromeda and other heroines of his tragedies are vital, finished, plausible images. The playwright was sincerely interested in the themes of female love and devotion, cruelty and cunning, so his heroine is often even superior to the heroes of the power of will and vivid feelings.

In his work, he often mentioned slaves, while she took them not by soulless statists, but with full-fledged characters with difficult characters. As for the unity and completion of action, this requirement is satisfied with only a few of its work. The power of Euripid is in subtleties and psychologism of scenes and monologues, but in spectacular endings he was not strong.

According to some information, the man himself wrote music to his tragedies. Such a conclusion was made by finding quotes from "Ores" on the old papyrus, in which the preserved music signs are clearly visible. If this is actually the work of Euripid, then he appears before the descendants in a completely different quality - a composer-innovator, a skillful master of harmony.

In 408 BC e. Euripide left Athens and settled in Macedonia. The reasons for his decision to leave the city are not known: perhaps the wounded and sensitive poet was offended by his countrymen, did not appreciate his work on dignity (from 95 of his plays during the life of the author, only 4).

Personal life

In privacy, the playwright was not lucky. For the first time he married a woman named Hloirin, who gave birth to three children, but marriage was terminated because of her infidelity. After that, disappointed Euripide wrote the "Ippolite" play, where the love relationship was ridiculous. With the second wife, Melitta, the story was repeated, after which the playwright was completely offended by the entire female family and walked the woman in his female quarrels, the Aristophane was laughed at his comedies later.

He mentioned the passion of the playwright to the young men, in particular about his novel with the crater, the young lover of the Macedonian king Archeli.

According to the ancient descriptions, Euripide preferred silence and loneliness and could not bear the noise of the crowd. In Salamina, he often spent whole days in solitude in the sea grotto, admiring the sea and reflecting on the plot stars of new works.

Death

The last years of the lifestyle of the playwright and its concent are also sheaven legends. According to one version, he died in 406 BC. As a result of the conspiracy of rivals, the poets Arrida and Kratya: they bribed the court Lisimaha, who descended the royal hounds to Euripid. Other sources argue that the cause of the death of the playwright was not a dog, but women who killed him during the personal conflict, but this version is more like a rude joke, because the similar episode is mentioned in the play "Vakhanki".

Modern historians lean towards a simpler version - most likely, Euripid, who already lived to the pittle, simply could not stand the harsh Macedonian winter and died of illness. Athenians, former fellow drama, offered to pick up the body of Euripid for funerals, but by order Archeli his buried in the capital of Macedonia - Pelle.

When I learned about his death, told the actors in a sign of grief play another play with uncovered heads. According to the legend, soon after the funeral in the grave of Euripid, lightning struck - it was a sign of a divine chosenness, which only Likurg was awarded until then.

Bibliography

• 438 BC E., - "Alkest"
• 431 BC e. - "Medea"
• 430 BC e. - "Geraklida"
• 428 BC e. - "IPPOLIT"
• 425 BC e. - "Andromache"
• 424 BC. e. - "Goek"
• 423 BC e. - "Supils"
• 413 BC e. - "Electra"
• 416 BC e. - "Hercules"
• 415 BC e. - "Troyanki"
• 414 BC e. - "Iphigenments in Tavrid"
• 414 BC e. - "And he"

CHAPTER
VIII.

Euripid.

• Euripid biography (485/4-406 BC er).
• The overall characteristics of the Dramaturgia of Euripid.
• "Alkest".
• "Medea".
• "IPPOLIT".
• "Hercules."
• "Pleading".
• "And he".
• "Iphigencies in Tavrida."
• "Electra".
• "Orest".
• "Iphigations in Avlida".
• Satirovskaya drama "Kikill".
• The importance of the dramatic activity of Euripid

Euripid biography (485 4-406 BC er)

Euripide was the youngest of the three glorious Greek tragics V c. BC E.: According to the Paros Chronicle 1, he was born in 485/4 BC. e. (According to other sources - in 480 BC. E.) His father, Menarhid, was a small merchant, and Mother, Cleuto, - Green Saleswoman, and that, therefore, Euripide did not belong to the notable and prosperous segments of the population. However, non-local scientists consider this information to the fiction of comedy poets, referring to a good education obtained by Euripid and its participation in some festivities available only to people of noble origin. Euripide discovers in its tragedies an excellent knowledge of Greek literature and philosophy; He was well acquainted with the teachings of the philosophers of Anaksagora, the prodiga and protagora and, apparently, was in friendly relations with Socrates. According to the information going back from antiquity, Evripide knew and painting well, but he did not write music to his plays, charging it to make a musician Timocrat Argossky, and on stage - as opposed to Eschil and Sophokla - did not speak.
Without direct participation in the socio-political life of his state, Euripid preferred to indulge in the privacy of poetic creativity. But this evasion of socio-political activity did not mean that the playwright was not interested in the affairs of the Athenian state. His tragedies are full of political reasoning and hints; The theater was a real political tribune of Euripid. At the age of twenty five, he took part in tragic contests, but received only the third award. According to testimony coming from antiquity, Euripid won five first victories (of which one posthumously), whereas he was attributed from seventy-five to ninety-eight dramatic works.
In 408, Euripid moved to the courtyard of the Macedonian king Archeli and lived here, surrounded by honor, until his death that followed in 406 (a few months before the death of Sofokla).

1 "Paros Chronicle" - a marble slab found at the beginning of the XVIII century. On the island of Paros, on which 93 not quite complete lines have been preserved. "Chronicle" cites the facts from the political and cultural history of ancient Greece. So, it has data on competitions, holidays, about poets.

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The overall characteristics of the Dramaturgia of Euripid

From Euripid to us reached seventeen tragedies and one Satirov drama. Almost all of the preserved plays are written by Euripid during the Peloponnesian War. In this period of strong public shock, the faith fluctuates in the old gods, new flows appear in philosophy, a number of new issues are also being discussed. Euripide reflected very brightly in his work this turning point in Greek history. All the burning issues of modern times are affected by the playwright in its tragedies. But first of all, it is necessary to say that the most tragedy has become among Evripid, which was in Eschil and Sophocla. Euripide brought his heroes to real life. According to Aristotle's testimony, Euripid has portrayed people as they are in reality. This is the desire of Euripid to the realistic image of characters did not like the Athenians, it seemed to them a violation of the traditional character of the tragedy and was one of the reasons for euripide failures on dramatic competitions. But there were also other reasons. Athenian embarrassed the free attitude of Euripid to myths. Taking any old myth, Euripid changed it not only in detail, but also in essential features. In addition, in a number of tragedies, Euripid is given

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criticism of old religious beliefs. The gods turn out to be more cruel, insidious and vengeful than people. Even where there is no direct criticism, often hesitates the skeptical attitude of the poet to ancient beliefs. This is explained by the fact that the creativity of Euripid had a strong influence of the philosophy of the Sofists. The thoughts of the Sofists on various issues of public life, the criticism of the old religious beliefs are reflected in the tragedies of Euripid, and therefore some researchers call it a philosopher from the stage. And one more feature passed into the tragedy of Euripid from Sofists: His heroes for the most part there are many and subtly reason and turn out to be very skillful in the methods of sophistic evidence.
In their political views, Euripid was a supporter of moderate democracy. He does not approve of the extreme democracy of his time, depicting it by the rule of the crowd and calling the "terrible scourge." On the other hand, he does not like and aristocracy, swaying with its noble origin and wealth. In his eyes, the "average" estate is the most strong foundation of the state. And above all, it is a farmer who treats the land "with his own hands." In the tragedy of "Electra" a simple farmers who had a hospitality of Oest and manifested himself generous, named noble, for, according to Ores, True nobility and lies in the nobility of the soul.
In some of its tragedies, Euripid expresses hot patriotic feelings, glorifying Athens, their gods and heroes, their nature, respect for guests and seekers, justice and generosity. In the Pieces of Euripid, there are constantly hints for modern playwright political events. The latter becomes even immediately impetus to the creation of drama. In connection with the Peloponnesian war, questions about the agreements are addressed about the allies, no one once expresses a sense of hostility towards Spartans, and at the same time drawn disasters and suffering generated by the war, and especially the suffering of women. Euripid affects the Athenian society quite worried at the time of the position of a woman and invests, for example, in the mouth of the heroine of the Medea tragedy. A number of deep thoughts about the female share.
Characterized by the attitude of Euripid to the slaves. They do not occupy a detailed position in his plays and often oppose their gentlemen. Slaves from Euripid acquire such importance as the servant in the new European scene. In the tragedy "Elena" (Art. 727 and the following) directly expressed the idea for that time, that a kind, pure heart slave the same person, as well as free.
The dramatic skill of Euripid is characterized by the following features. He not only encounters his heroes in sharp dramatic conflicts (this was done before him, Eschil and Sophokl), but also forces the audience to attend with the subtle spiritual experiences of their heroes. He knows how to choose and brightly depict the amazing moments of each situation and at the same time to give an in-depth psychological characteristics of his heroes.
The sharpness of dramatic conflicts, which usually leads to the death of the hero or its loved ones, in conjunction with this in-depth psychological characteristic makes Euripid "tragic

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from poets. " This is how His Aristotle calls 1, indicating that many euripide tragedies ends with misfortune, although it reproaches it at the same time for the composition of some plays. Indeed, a number of side episodes that slow down the movement of drama interfere with the rectilinear development of the action of Evripid. Therefore, in relation to the unity of the action, Euripide is inferior to Eschil and Sofokla.
When making their tragedies, Euripid, like Sofokl, enjoyed three actors. However, he has the plays where two actors are. Education choir no longer has such a close connection with the development of action, like Sophokla. At times, it is only a passive contemplator of what is happening. Sometimes choir or express sympathy of the heroes in the suffering by them, or is trying to reconcile the warring parties, or simply expresses its opinion on the events committed. At times in choral parties, Euripid expresses, not trying to even hide it, his own beloved views and thoughts. In addition to the songs of the choir in the tragedies of Euripid there are monodia. They are already found at Sofokla, but only Euripid began to use them. It should be thought that these monodiy produced a great impression on the viewer and the listener 2, but it is difficult to judge their musical dignity: we do not know the melody underlying them, as well as related to the plastic game of actors.
It is necessary to take a few more comments on prologies and junction of Euripid. They are peculiar to him. Sometimes in the prohibitions, Euripid gives not only the task of the tragedy, but also tells all its content in advance. It is clear that such a construction of a prologue is less than grateful in a purely artistic attitude than Eschila or Sophokla. But Euripide refers to the myths so fluidly, removing from them the well-known and, on the contrary, adding their own, which without such an introduction, sometimes even revealing the content of the tragedy, much for the viewer would just be unclear.
When studying the triggers of Euripid, the following can be noted. By putting any position in the prologue, he repeatedly returns to him during the tragedy, having enhanced it with new and new evidence and making it a logical reasoning and pure artistic means more and more convincing.
They are distinguished by features and junctions of tragedies of Euripid. They are not always skillfully built, and therefore you have to unleash the entangled ball of events with the help of a deity that appears on Eorma ("God from the car"). Speaking towards such junctions, Euripid probably wanted to pay in his tragedies a well-known stability of attention and deities, since in the development of the tragedy itself he did not always provide them with his place.

1 Aristotle, the art of poetry, M., Goslitizdat, 1957, p. 89.
2 We know that Aria-Monodia from the tragedies of Euripid was performed in the Hellenistic era.

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"Alkest"

In Alkestan, Euripid draws the image of a devotee, deciding to give his life for the life of her husband. As a reward for the piety of the Fessensky Tsar Admet Apollo achieved for him from the Virgin fate Moire of a special grace: when his death day comes, he will be able to stay alive if any of the people close to him will agree instead of him. This day came, but none of his loved ones did not want to give his life for him, and only his faithful wife alkesta voluntarily goes to death for the sake of her husband's life. Apollo talks about this in the prologue, referring to the Palace of Admet, before which the play is played. Apollo is going to leave the dear shelter for him so that he does not touch him the soul of death. The subsequent appearance of a death demon in black clothes and with a sword in his hand and a dispute about the life of the alchesta between him and Apollo strengthened the dramatism of the prologue. When Apollo is removed, Defend Demisses enters the palace to take his sacrifice. The character of the heroine and its spiritual experiences are brightly depicted in the farewell scene with loved ones, and her death takes place in this play, contrary to the generally accepted drama, in front of the audience. Admet brings his wife from the Palace, supporting her in his arms. They are accompanied by a crowd of servants and maids. Alkest children are also here - boy and girl. Follows alchesta monodia; She appeals to the sky, daylight, to the clouds running in the sky, to the roof of the palace and to the virgin lodge of his native Iola. She then speaks horror about the vision imagined her, it seems to her that the Carrier in the Kingdom of the Dead Charon hurts her to go to the path with him. Alkestan at her request is lowered on the bed. She refers to Admes with the expression of his last will. She says that he considers his life more worthy of his own and therefore decided to die for him 1. But she could still use the gifts of youth, to marry after the death of Admet for someone from the Fessenians and continue to live happily in their palace. But she does not want to rush happiness in separation with him. In sending her sacrifice, admem should not be introduced into the house of a new wife, so as not to give the machemies to children. The last will is expressed, the forces are gradually left alchesta, and she dies. ADMET gives an order of funeral, everyone should be in mourning clothes. The body of the alkelta is carried to the palace.
After some time, a new character appears on the orchestra - Hercules, which went to the fegers 2 along the way to Frace. He will be a culprit of a happy drama junction, on which Apollo hinted in the prologue. Hercules sees the signs of mourning, but Admet hides the truth from each other, saying to him that a stranger died, although a woman's close family. From the point of view of the ancient Greek, it was a pious lie, since the responsibility of the hospitality was considered one of the ancient el. Hercules wants to go to find a different hearth, but Admet convinces him to stay. According to the ordress of Admet, the servant introduces Hercules through the side door to the guesthouse of the palace.

1 Life of a man, like father of the family and warrior, was considered more expensive than women's life. 2 fents - an ancient city in the formation.

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Conditionally, at that time, during which Hercules was taken in this chamber, in another part of the palace, they were making preparations for the end of the body. After a little time after the mourning procession comes out of the palace and heads along with the Choir of the Feress Elders to the burial site of Alkestan, Hercules appears on the orchestra with a wreath on the head and bowl of wine in hand. First of all, he expresses dissatisfaction with a sullen view of a servant who has managed his treats, and then speaks with a preaching of a kind of life philosophy: it is necessary to rejoice in his being, singing, live in today's day, providing the rest of the fate, and read the most pleasant of all the goddesses - Aphrodite. For the tragedy, as Greeks understood her, this scene is undoubtedly reduced. Well transferred unevenness of the speech of the pushing man flowing into an instructive tone. But as Hercules change, finally, learning from the servant that a non-outsider woman died, and alkest! From intoxication there is no trace. When the servant leaves, Hercules utters a small monologue, in which he addresses his heart to his heart. In gratitude for the hospitality, he must return his wife to Admemet. And Hercules talk about her plan: he will go to the grave of Alkeseta, will scold there from the ambush to the Demon Demon, it will give him in his powerful arms and will be forced to return the alkest.
The last part of the play is devoted to a happy junction. She should have been perceived with the audience with a particularly great interest, as deep despair was shown before that, which covers the admet funeral at the sight of an empty palace. Then follows the mismatch of Admet Hercules, which appears on the orchestra, leading some kind of woman who is bought with a long bedspread. Employing Admet for Cheating, Hercules asks him to take this woman to his return; She got him as a reward in public games. Hello does not agree to fulfill this request, since after the funeral of his wife he would not want to see in his palace of women, besides, a stranger was surprisingly reminded by an alkesta. After stubborn insisted Hercules, Admet finally takes the hand with his hand to introduce it to the palace. At that moment, Hercules still shrinks with her - and Admet sees an alchesta in front of him. Initially, he does not believe his eyes and thinks that in front of him is a ghost. But Hercules assures his friend that this is his genuine wife, and tells how he beat her on the grave at the Death Demon.
This play takes a special place not only in the preserved heritage of Euripid, but in general in the ancient drama, which was noted in antiquity. It is known that in the tetralogy she stood in a fourth place, that is, the role of Satirovsky drama was to play. However, the choir of satiries in it is not, and it is very far from the relaxed and unfastened fun, which is carried with him on the scene. Yet one feature is characterized by "Alkese" to a much greater degree than other plays of Euripid: this is a conscious combination of tragic and comedy style. The scene between Hercules and the servant stands on the verge of tragedy and comedy, especially at the beginning. Hercules's hoax at the end of the play also has something from comedy. However, in general, the dramatic situation between Alkest and Admem, Admet and Hercules is interpreted with a large

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seriousness and extraordinary pathos. This is especially true of the death scene of the alkesta and to the stage of the return of admem after the funeral of his wife, when, by successful expression I. F. Annensky, "Hell understood that he had a life worse than death."
Euripid affects the motive in the play, which will repeatedly concern in other of his dramas. Female devotion and self-sacrifice in the play brightly opposed the unconscious egoism and the vitality of admem. In the farewell scene with the alkest, he begs his wife not to leave him, forgetting that he himself agreed to take her sacrifice. The unconscious egoism of Admet is still visually acting in the scene of his dispute at the body of the alkestan with his father of the Father. Admet does not allow the Father who came with the funeral gifts to the body of alkesta. There is a sharp explanation between the Son and Father. Admet considers the true perpetrators of the death of the alchesta of his parents who did not want to die for him.
The ferret is also an egoist, but an egoist, beautifully giving him a report in his vitality. He finds him quite natural - because the old man remains so little left. And vibrant everything, says the ferret. The best example of this is Admet himself, who bought life to the price of his wife's death.
"Alkestan" is one of the best plays of Euripida as a fascinating construction of a fabul that develops a motive, peculiar to the folklore of many peoples (returning to the life of a deceased person), and on the charming image of a tender and loving wife, sacrificing her husband's life. And the purely spectacular side of the tragedy, closely related to the development of Fabul and the characters depicted in it, gives a number of such means of theatrical expressiveness, which later euripide applies in other drams. These include the scene of the death of the heroine in front of the audience, a mourning ceremony, showing the scene of children, the execution of the monodi in the most pathetic places.

"MEDEA"

In this tragedy, put on stage in 431 BC. e., Euripid draws a different female image that is very different from the image of the alkestan. Alkesta is a loyal spouse and a gentle mother. Her self-sacrifice testifies to her strong will, aimed at, retaining the life of the family, to give him the opportunity to grow their children. Medea - Natura is not only a volitional, but also passionate, endowed with a rapid temperament and unable to forgive his offense. Feel in love with Argonauta Jason, she helps him get the golden fleece and runs with him to Greece. But when a few later
Yason, Jason decides to marry the daughter of the Corinthian king and throws Money, and Korinf Corinth Korinf wants, besides, drive it out of children from the city, Medea is cruelly twisted and a traitor to her husband, and Cremouth, and his daughter. With the help of magic gifts, she is ruined at the beginning of the princess and her father, and then, wishing to take revenge on Jason, kills his children born from him, and flies with their bodies on a chariot, harvested with loophole dragons.
The scene depicts Jason and Mede's house in Corinth. In the prolog, there is a cormalist, telling about the misfortune, comprehended by the copper, which left

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Jason. Refusing food, Medea day and night sheds tears on his bed and shouts that her spouse treacherously violated his oath. Even the children became hated her. Knowing the character of Medea, the crumline expresses fear for the future. The alarm increases even more when she learns from the educator who appears on the orchestra with two boys, the sons of Medele, that a new misfortune fell on her Mrs. to her Mrs.: Creonh expelled her with children from Corinth. Behind the scene, the cries of Medele, calling death. Kormilitsa advises children to be triggered and not shown on the eyes of a mother embraced by anger and rage. Because of the scene, screams are heard again. Medea curses both children and father, who gave birth to them. The Korinthian Women's Choir appears on the voice of Medea. They came to console media in her grief. Thus, Euripide is very skillfully prepares in the prologue Speech by Chora - Paroda. The cries of the scene continue and after the seater. When at the request of Choir Medea leaves the house, the explosion of rage has already passed and she more calmly tells about the misfortune that fell on her. Sorry, he says Medea Choru about the difficult position of a woman who should be a fireless slave of her husband and look into his eyes even when he is on the side of Mischitis with love of her heart 1. But if it's generally a woman's position, then it is still sadder and hurt Medele: After all, she is in a foreign land, she has neither home, nor native, nor friends. Medea asks the choir only about one thing: let him do not prevent her if she finds any means to revenge her husband. From that moment on, all the actions and deeds of Medele are determined by the desire to implement their revenge. She asks Creona to let her stay in Corinth at least one day to come up with where she goes with children and how to arrange them. When Creonh gives this permission, Medea, referring to the chorus, says that one day deferments need it to achieve revenge.
In the following explanation, the characters of both major characters are well revealed between Medea and Jason. Meeting of her husband and his wife rejected - one of the strongest tragedy scenes. Jason deftly bypasses the main question about the causes of the hatred of Medea. He starts his speech from the attack. For her anger, the Media's dissolve language receives, according to Jason, too small, for such such crimes, even expulsion is benefit. Calling himself in a true friend, Jason offers copper help to keep her and children to stay on a foreign fund. In a strong and bright speech, Medea accuses Jason in shamelessness. Having causing so much evil to her loved ones, he can still look into his eyes. Medea recalls everything she did for Jason. She speaks of his crimes committed because of love for him. And what? As a reward for all this, he forgot about his oaths and changed her. She puts the question to Jasason, where she goes with children.
Objezing Mope, Jason resorts to the most loose sophisticate. In vain, Medea extols its services; He himself believes that everyone is obliged to Cypris, who he lit in the copper love for him. In addition, he has long been

1 In these arguments of Medea, there is a szvuk of public disputes of that time; The patriarchal family was destroyed, and, perhaps, for the first time in history, the female question was getting up before the Athenian society.

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and with interest paid his debt to his wife. Medea now lives not among the barbarians, but in Greece and enjoys glory. As for the marriage, he entered into a new marriage in order to arrange himself and strengthen the position of his children through their brothers who are from his new wife. What more happiness could fall out the share of the exile than the Union with the princess? Medea refutes the last Jason argument - an honest person would first persuade loved ones and only then married, Jathsa married at first. Medea with indignation refuses any assistance that Jason offers her.
After the song of the Choir about the terrible strength of Erotov and about the destruction, which they entered into the life of Medea, an alien, Athenian Tsar Age, is included in the orchestra. At first glance, the scene with Egema seems a little related to the development of the Pieces fabul. In fact, this is the last impetus that helps to finally decide the plan of revenge Medea. And it's not just that Medea gets the place now, where she can escape from Corinth. Aegea is valued, that is why he was in Delphi and asked God to give him offspring. From the point of view of the ancient Greek, childlessness was presented to the greatest misfortune. And here, in a conversation with Egem, Medele has a thought to cause this the greatest misfortune to Jason and deprive his offspring, killing his children. After the departure of Egea, the triumphant Medea tells the chorus about the plan of his revenge. She will call the back of Jason and will pretend that he agrees with the verdict of Creonte. She will ask Jason to leave their children in Corinth. What about children
Help her kill the princess. She will send a gift with them: Poisoned Peplos Will and Diage. As soon as Tsarevna puts them, it will be covered with a flame and will die in torment; The one who will touch her will die. Medea after that will have to kill the children - she climbs the house of Jason with the root. The choir tries to dissuade the copper from her decision. Camopian choir asks, really she will decide to kill their children. Medea meets this:

How can I hurt the Holy Jamon? one

In the scene of the second explanation of Jason and Medele, it is well shown, on the one hand, the mimony meekness of Medele, as if only now that she was beneficial, and the complacency of Jason, frankly rejoicing that an unpleasant thing comes to a prosperous ending.
The viewers learned from the story of a messenger who had reported the terrible death of the Tsarevna and her father from the gifts of Medea. After the story of the messenger, Medea decides to immediately kill the children. However, this decision follows painful oscillations. Caressing on the scene of children, Medea leaves his horrible plan, then returns to him again. But finally, the decision is made. Turning to myself, Medea says:

Today you
Not mother, no, and tomorrow the heart is crying
Thank you. You kill them
And love. Oh, as I am unhappy, my wife! -

The last words of Medea says the chorus, which during the whole scene detects amazing passivity. Medea takes children for the scene, from where

1 Euripid, Pieces, M., Art, 1960, p. 69.
2 Like, p. 84.

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after a few moments, their cries, crying and words hear:

Rather, for God's sake, we will be killed! ..
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On the orchestra, Jason is increasing rapidly, who asks at the choir, where the villain of Medea is located. However, Jason is now thinking not so much about her - she still does not avoid punishment - how much about their children. He is afraid of how the relatives of Creonte did not dismiss them for the crime of the mother. The choir reports to Jason that Medea killed children. Jason orders the servants to hack the door of the palace, but at that moment Medea appears in the air on the chariot, hardened by the waters of the dragons, with the bodies of the killed boys. On the curses of Jason, Medea replies that, aventive him, she hurts his hearts, and her own pain is easy for her, if now he can not laugh at her. Jason, sick killer,

1 Euripid, plays, p. 86.

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beglients to give him children for burial. Medea refuses him in this: she herself will bode the children in the sacred grove of Goddess Gera. Jason begins in vain and that Medea allowed him to at least hug the bodies of children. Air chariot flies.
The value of this tragedy for the history of the Greek scene well defined the famous French scientist of the last century A. Paten. Calling the performance by a terrible and tearing soul, he regards him as a revolution in the Greek theater, changing the face of the Greek scene, since the place of the old predestination of rock was predetermined by the predetermination of passion. Indeed, the present basis of action in this tragedy are passions that dominate in the soul of cop. They are not inspired by over, and in the very course of events there is no intervention of the Divine, which could create a situation favorable for manifestation of human passion or, on the contrary, which prevents this manifestation. The heroine is fully responsible for his actions, bearing, as she herself is well aware of this, the full wreck of his own life.
Working out the mythological plot, Euripid, naturally, retains a number of such features in the nature of the cop and such actions, which they gave him myths: she is a wizard, she puts the dragon, makes terrible crimes - kills when escape from Kolkhid her brother and then in Iola Rubit Pestia. All this, however, happens before the start of the play, but also in the play itself she carries out its revenge towards the princess with the help of magic. At the same time, in the passionate and unrestrained character of Medea, there is something resembling that it is alien, born and growing among the barbarians. However, this is not posing the playwright to the fore, drawing the image of the cop. Already in the first episeodia, when Medea goes to the chorus, it is not a wizard of Collchides, but an abandoned and completely desperate woman, a contemporary of playwright, and the audience are present, in essence, with a terrible family drama. The suffering of Medea, in the soul of which there is a struggle between maternal love and thirst for ignition, depicted with great pathos and psychological persuasiveness. In the end, the thirst for revenge suppresses all other human feelings, and the crime is committed. However, the audience, before the eyes of which all the peripetics of the collision of the main characters of the tragedy, feels compassion for the slower and begins to understand how she could reach her terrible crime.
This is the more noteworthy that, from the point of view of ordinary Greek, Jason came consistently and correctly. He decided to strengthen the situation and his own and his children and in this case (yes, however, in all others) had a full right not to reckon with the feelings of the woman left them. Jason and is presented in the tragedy with a selfish and smug person who takes care of himself in itself, partly about the interests of the family and is not at all interested in what is happening in the soul of Medea. And only in the last scene, where it is shown by a completely broken terrible revenge of Medea, the audience is experiencing compassion in relation to him.
The "copper" contains a number of political hints. So, in the words of Stamim's first, the holiness of the oaths ... "(Article 412-413) Some researchers see an indication of the political situation on the eve of the Peloponnesian war.

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It was the time of mutual hostility and distrust, violation of contracts and feverish preparation for war. The tragedy received the third prize. The reasons for such an assessment we are unclear. But at a later time, "Medea" was recognized as one of the best euripide plays.

"IPPOLIT"

This tragedy went on the Athenian scene in March 428 BC. e. She was part of the tetralogy awarded the first award. The plays is based on the myth of the Ippolite, the side son of the Athens Tsar Teres from Amazon Antipa, and his stepfa Fedra's unfortunate love for him. The very date of "Ippolit" indicates that after "Medele", the playwright was passionate about the thought to give an image of a strong human passion - this time the love leading to the death of the Fedra's lost passion and the one she loves. Comparison of the Fabuy of both plays allows you to set some similarities of similarity between them. Honey's hot love for Jason gives rise to her after the cheating of Jason, a sense of passionate perturbation, and then thirst for revenge. In the "copper", the revenue and related experiences perform on the fore, while the love for Jason does not disclose in detail, although it is referred to several times in drama. In "Ippolit", on the contrary, Euripid draws Fedry's love passion, the feeling of limitless despair, associated with rejected love, finally, the fear of exposure and inevitable shame. But the desire to take revenge on Fedry to take revenge on Ippolit and draw it into the inevitable death is motivated and depicted extremely briefly.
The Myth of the Ippolite was widespread in Greece V c. BC e. Exceptionally due to the Athenian theater, since he did not leave almost no traces in the previous literature. Lyrical poetry, apparently, does not know him. It is only known that in the painting of the underworld world, performed for the Delphic Temple (between 480 and 476), the polygnot depicted Fedra among criminal women - obviously, as the guilt of the death of the Ippolit. On the contrary, in the next century, the legend of Ippolite and Fedre became the plot of numerous images. The attic tragedy introduced it into literature and art and dismelt in the form, in which we know her now on the tragedy of Euripid.
The myth of Ippolite was localized in the Peloponnesian city of Sinzen. The author of the "Description of Eldlas" Greek traveler of the PAsani (II century. N. E.) saw the temple in the soberboard in honor of Artemis, erected, according to legend, and PPPOLIT. The hypolyte was dedicated to the sober beautiful corner with a temple and a statue. For life, the appointed priest was the cult of Ippolit, in whose honor annual sacrifices were made. The local custom required, in addition, that young girls devote to him before marriage of their hair. The memory of Ippolite remained closely related to the memory of Fedry. The sober was the grave Fedry, not far from the grave of Ippolit. I existed in the sober and temple of Aphrodite, from where Fedra seemed to look at the young man when he was engaged in physical exercises in the stadium, wearing his name and located

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not far from the temple. PAsania testifies to the existence of near the acropolis of the grave of the IPPOLIT, located in front of the Temple of the Femids.
The action of the tragedy takes place in the city of Sinesta, where Tesove was supposed to be removed into one-year expulsion for shedding the blood of his relatives. The scene depicted the palace belonging to the Teshe; The palace stood two statues - Artemis and Aphrodites. In the prologue, containing not only the violence of the drama, but also in the main lines of her Stabul, acts Aphrodite. Calling himself, she talks about the glory of his name as in heaven and on earth. Everywhere she elevates those who bow to her power, and punishes their enemies. Among these enemies is the Hippolyte. Only he alone in the siner calls her worst of all the goddesses, honored above all the immortal daughter Zeus - Mass Artemis. Ippolit sinned before Aphrodite and should now incur punishment. The goddess has already managed to inspire the Machene of the Ippolit Fedre passion for a steaska. This love will destroy the hippolyte, as well as Fedra. Hippolit will die from the curse of the Tereus when he learns about his shame.
The scene is heard by anthem in honor of Artemis. Hippolyte, together with his companions, returns from hunting. Leaving the scene, Aphrodite says again about the inevitable death of the Ippolit. It watches with its satellites IPPOLIT. Here we have before us - how much can be judged by the preserved tragedies - the only case of speech is still in the prologue of the second, side choir, consisting of hunters, comrades of the andpolyte. The choir sings the anthem in honor of Artemis. Hippolyte is approaching the statue of the goddess and asks to take a wreath from him. He told him on a robust meadow, to which people can only come up with people. Old slave asks Ippolita to give honor and aphrodite. The answer of the Hippolyte sounds offensively for the goddess:

I published as pure, it is her.

Insulting and following his words:

God, readily only in the darkness, I do not mile 1.

Slave for the care of the Ippolita asks the goddess to forgive the young man these bold words:

We are not on that, gods, and wiser 2.

Slave and does not suspect which bitter irony his words sound - the death of the Ippolitis is already predetermined by Aphrodite.
Parodes skillfully binds to the prologue. The choir of sober women appears, which reached the news of the suffering of the Queen; The third day she does not touch food, languishing unknown flour. But the door of the palace is revealed. Fedra appears, supported by the cormal. The maids put near the door of the bed, for which they laid the queen. In Love Brad, Fedra asks to hover her in the mountains,

Where is the predatory crop of luny spotted
Chasides greedily 3.

She would like to throw the Fessealian dot or manage the Four Venetian horses. But little, Fedra comes to himself, and it becomes a shame for her words. Kormilitsa tries to replace the causes of suffering

1 Euripid, plays, p. 101.
2 ibid, p. 102.
3 ibid, p. 102.

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Fedry. But everything in vain - Fedra is silent. However, in the end, after the persistent plea, Fedra's crumbles opens her the mystery of his ailment: she loves the Ippolit. Kormilitsa, hearing this recognition, comes to despair and wishes his death. Turning to Horu, Fedra says that she tried to fight his passion for a long time, but everything was in vain. Now it remains one thing - to die, otherwise she will cover her husband and children shame.
The wonderful scene of the temptation of Fedra Kormilitsa, who wishes to save his Mrs.
Fedra speaks of honor and pride - the Kormilitsa with the confidence of the experienced Sphysta speaks of prudence, the carriage does not fight with passion, about the stream of Aphrodite, which cannot be stopped. Everywhere, she will insist, the love reigns, which everything in the world is obliged to life; Love people and gods. And Fedre does not have to resist love, but it should be found a prosperous outcome. It is necessary to find out more likely, as it belongs to her feeling, IPPOLIT, and therefore it is necessary to tell him straight. Such is the course of rhetorically constructed arguments of the cormaltsy. Fedra decisively objects, calling them shameful; She also rejects the offer of the cormalists to open their feeling. But then she gradually surrender, especially when Kormilitsa reports that she has an effective harmless tool that Fedra healed, not hurt her honor. The text in this place (art. 509-524) allows you to make a conclusion that Fedra thinks about the potion, which would heale it from a detrimental passion, the plan of the cormalitsa is to tell about all the hypolyte. Kormilitsa leaves, and the choir sings the song about the omnipotence and cruelty of Erota. With the last words of the song from the Palace there are some voices. Fedra listens and then says the chorus that she clearly heard how Ippolit called the crumple of raising. The mystery of her love is disclosed, and Fedra sees inevitable death. An excited Ippolit comes to the orchestra, behind his clothes, clinging to his clothes, feeder. She begs the Hippolita not to disclose secrets, since he swore her not to talk about what he hears. This follows the answer of the Hippolyte:

Mouth swore, but the mind is not bound by an oath

Hippolyte is outraged by the Fedry and the Kormilitsa act, who daring to offer the son of the sacred bed of his father. He utters a passionate accusatory speech against women at all. After the care of the Ippolit, the monodia Fedra, in which she sings about his bitter female share and that there is no way out for her. Fedra decides to die. She goes to the palace, and after a few minutes filled with the singing of the choir, the crumines are heard from the palace that Fedra hanged himself.
Testa returns from a mantis accompanied by a suite and finds out from the choir of suicide Fedry. He orders the slaves to knock down constipation at the door. The constipation is shot down, and the doors are finally disclosed. Inside the palace is visible on the bed Corpe Fedry. There are maid at her. Having mourned his wife, Teskey notes a letter in her hand. In him Fedra calls the culprit of his death of the Hippolyte, allegedly

1 Euripid, plays, p. 122. This chased formula, opposing the spirit of ethics by its letter, enjoyed great fame in antiquity, causing the anger of traditionalists, like Aristophan.

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dishonored her. Intrustting Teshen curses his son. He turns to Poseidon, who once promised Teshe to fulfill his three wishes, to destroy the hippolit. In vain justifying the Father's Creek, the IPPOLIT, TESEX does not believe him. He accuses the Hippolyte in hypocrisy, in the fact that under the guise of impurity, he hid his sensuality. But now he is no longer a mystery. Testa orders the Hippolyte to immediately leave the Athenian Earth. Refuting the words of the Father, Ippolit pronounces a long defensive speech, but, bound by his oath, says nothing about love for him Fedry. After that, the hippolyte is removed in exile. About how he died when the horses suffered a chariot, frightened by the sealed by the sea of \u200b\u200bthe monstrous bull, the audience learned from the story of the messenger.
Testa tells his son to him, although his anger does not subside. The choir sings the second song about the power of Aphrodite. It follows exode. Artemis appears in the embroidery. Turning to the Teshe, the goddess says that his son is not guilty of anything, and tells him the whole truth about Love Fedra to Ippolit. On the stretchers bring wound and explosioned and pulit. Unbearably suffering, he begging to bring him a sword to part with life as soon as possible. Artemis consoles her dying friend. Ippolit understands that he, Fedra and Father's victims of Aphrodite. His father he regrets more than his very much in his last word of Artemis threatens to remember her cruel anger, saying that the day would come - and the one whom Afrodite loves the strongest, will die from her hand, Artemis 1. She promises to honor him Eternal times in the treat: Before the wedding, the bride will devote a part of his hair. Artemis disappears. Hippolit is dying, bestaring before the death of his father.
The "IPPOLIT" tragedy was to be interested in the Athenian spectators primarily by his plot, since it first sounded the voice of the unrestrained passion, until the attic of the attic scene. True, in the interchange "Antigonus" of Sofokla Love enters into his rights, and Hemes endless suicide because of love for antgone, but in all previous parts of the play she does not play almost no role. And the jealousy of Jealous, so well depicted in "Trachinshins". He is jealous of the legitimate spouse, who comes in their rights than the in love of a woman. In any case, if the Greek tragedy was discussed about love, it was said about it in very restrained expressions. True, the lyrics at one time violated this peculiar ban, and the sappo, for example, brightly depicted love experiences. But the showing of them directly on stage was still shocked by the Greek viewer and seemed indecent.
The bold innovation of Euripid was the image on the stage among other spiritual experiences and senses of love. Apparently, sometimes he managed to overcome in this regard and the prejudice of his contemporaries in this regard, which is applied from the fact that the trilogy, which included "Ippolita," received the first award to the sentence.

1 This word contains a hint of the upcoming death of Adonis. By myth, it was a wonderful young man who loved Aphrodite and whom she mourned when he died on the hunt from the fangs of Vepry.

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although the tragedy was depicted criminal love.
The central figure of this tragedy is not Fedra, but IPPOLIT. Already the fact that he was the son of Tene from Amazon Antipa, hosted on him, in the eyes of the ancient Greek, a special imprint. Like his mother, he is distinguished by some severity, tries to get closer to nature and spend all the time in the forests and fields, in a circle of few elected peers. The greatest desire of the Hippolyte is to be virtuous, but his virtue is very different from the usual representation of the Greeks about a person who could be called καλός κ "αγαθός 1. He sees it in an absolute chastity. This ideal of harsh asceticism is manifested in the Ippolita as a form of his piety. The deity that he devotes himself, because it meets his ideas about perfect purity, - the virgin goddess of Artemis. In the privacy of the forests, he with delight hears the voice of the goddess and enjoys communicating with her, which is not given to other mortals. This asceticism of the Ippolitis was alien to the huge majority The then Greeks, who considered it quite natural to use moderately all the joys of life, including the gifts of Aphrodites. Aphrodite punishes the Hippolyte precisely because he refused to recognize her power that extends to all the living. I would not accept the ancient Greek and the care of the Hippolyte from public interests, and in particular from politics. Meanwhile, for the Hero of the tragedy is the only The form of communication with society is only participation in generallylline competitions.
However, this is the desire to leave society and get closer to nature is a reflection of the public sentiment of that era. In the scene, where Ippolit is justified before the Father, he asks him such a question: maybe rapprochement with Fedra needed to take possession of the kingdom? But, according to the Hippolyte, the challenge the one who sends the highest power. His dream is the other - to be the first in Hellenic contests. He would like to live among the chosen friends, he does not need an alarming power of the king. This desire to leave the surrounding life was an indicator of an approaching crisis of an antique slave-ownership society.
However, the Ippolite is not a calm contemplator of nature, in which there is only some features of the severity. He passionately responds to everything that he seems dishonest, and in his indignation is able to reach injustice and cruelty. Restricted by the recognition of the cormilitsa, the Hippolyte is collapsed with all his sarcasm and offensive words on all women at all. All of them turn out to be unsuitable creatures, and better than others among them, which is endowed with nature with a smaller mind; At least there will be less cunning. All this Hippolyte says, as if to turn to the cormal. But Fedra is also at this time at the orchestra, and it is quite obvious that these words are addressed primarily to it. Fedra is silent when Ippolit creates its insults, and her silence is one of the most expressive scenes scenes of Greek dramaturgy. In his rampant indignancy, he does not want to hear at least

1 καλός κ "αγαθός literally - beautiful and virtuous, that is, in all respects a person is perfect, in which beautiful physical qualities and beautiful appearance are connected to internal nobility and valor.

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something from Fedra itself and removes the procnisy of all women.
At the same time, Ippolit is convinced that he is one of the truth and in his virtue costs above other people. In response to the accusations of the Father, he answers not only excuses in the misdemeanor attributed to him, but also an arrogant statement of his own perfection.

Look around on the ground, where it goes
Your leg, in the sun that her
Lives, and you will not find the souls uniform
Sinless mine, at least you
And argued, king 1.

The presence of such drawbacks in the nature of the IPPOLIT descends this image from ideal heights and makes it more original and vital.
Before writing a suicide letter, Fedra is represented by a woman not only with a strong, but also a noble character. Being under the authority of passion generated by Aphrodite, it seeks to remain clean for the Teane and their children. And this is not only because of the fear of exposure. Her honor is based on the proud recognition of his purity, she looks at his own passion as a shame that deserves punishment. The consciousness of his fall would be unbearable for her. She rejects all the secret love and a shock of the curse of those women who give their beloved criminal hugs. With all the forces of the soul resisting her passion. Isoremaged in the struggle, which she had to behave with himself. Fedra sees the only way to death. But here, in the form of a temporary demon, the Kormilitsa appears - and Fedra gives back to her, not even understanding how it should be that the saving means of her comforter will be. But how then to agree with such a character of Fedry her death cruelty towards the IPPOLIT, on which she low slander? Some researchers in this regard are directly talking about incompatibility made by Euripid and the consistent with the fact that it forces a woman with a noble character and sophisticated feelings to make a low deed. But they usually forget that Fedra writes a letter in a gust of despair, a few minutes to death, covered at the same time in an inacpiring desire to take revenge on the IPPOLIT for a terrible insult, which he defeated her in the scene with the feeder, enrolling her in the category of hypocrous women who are happiness In stolen love. Testing an inexpressible shame with the thought that IPPOLIT is known for her passion, and distraught from undeserved cruel insults, she rushes into the palace, writes a letter in which the IPPPOLITA is false, and after that he immediately kills himself, not leaving any moments for quiet reflection.
The gods in this tragedy appear in an unattractive form. Sure. The hippolyte surveiled against Aphrodites, but the punishment was immensely cruel. Aphrodite acts not only harsh, but also devoid of every compassion by Avenger. In essence, Artemis is negatively characterized, which, although, rehabilizes before the death of his dedicated servant, but does not prevent his death, because among the gods there is a custom not to go to each other. Artemis, however, is shown somewhat more humane than Aphrodite, but it is going to take revenge on Afro-

1 Euripid, Pieces, M., Art, 1960, p. 137.

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death and hit by his arrow who will be all the nail of this goddess.
It is necessary to stop in short on the question about Rock in the "Ippolite" of Euripid. Fedra says she dies victim of rock. And several times in the tragedy there is a mention of rock, only in the sense of fatal passion. True, this passion for the IPPOLita marks in Fedre Aphrodite, however, in the course of the tragedy, the playwright is so brightly depicts the experiences of a loved woman that the question of the divine origin of passion somehow moves back to the background. On the very first plan acts a strong human passion Fedry. It is this passion that goes both heroes of drama - Ippolita and Fedra, and in this sense it can be called fatal. Thus, and the rock in this tragedy of Euripid as it should be descended to the ground, I think and ruins your victims through the passion that covered the soul of the heroine.
How was the appearance of Artemis in this tragedy in this tragedy? By analogy with the junctions of other euripide plays, it is possible to conclude that Artemis appeared in the embroidery - probably on a special elevation on the roof of Sna. She could not appear at the bottom of the orchestra, where other characters play, since her appearance and the first words addressed to the Teshe, turn out to be completely unexpected for him. In addition, if Artemis was at the bottom, she could approach the IPPOLIT, but he doesn't even see her. And finally, at the end of the play of Artemis, he threw the future, and in such cases the gods treated people usually from the height of Sna.
Euripid twice handled the myth about the hypolyte. From the first option, we reached us only nineteen passages that make up 50 poems together. Fedra's passion covered by his passion herself recognized it in it. This version of the tragedy about the Hippolyte in antiquity was called "Ippolite Closed", without any doubt, because during the love explanation Fedra he had closed his head with a cloak. In contrast to this first version, the tragedy was called "Hippolyte-crowned" (in the prologue, the IPPOLIT appears with a wreath on the head). In a brief presentation of the content of the play, the playful of the play is that the playwright eliminated all the obscene and gave rise to the sickness. Probably, those moments, posing the audience in the first drama, was the direct appeal of Fedra to Ippolit, her words that her Vladyka - Eros, an invincible God, who teaches the keenness, and so on.
The second "IPPOLIT" used in ancient times enormous success. Monuments of the visual art willingly reproduce separate episodes of drama. Alexandrian critics considered the second "Ippolit" one of the best tragedies of Euripid. However, the Roman playwright I in. n. e. Seneca in his tragedy "Fedra" used the first version of the "Hippolyta" of Euripid: Seneki Fedra herself admits to his love with a hypolyte. The popularity of the myth on Ippolite and Fedre in the Imperial Rome is evidenced by numerous images on sarcophagas and the execution of the Pantomim on this plot. But they are all based on the second version of the Euripid "Ippolit". Numerous borrowings from "Ippolit" are available in the Byzantine drama to read the XII century. "Christ-Passionerpets."
The plot "Ippolit" was borrowed by Rasin for the Fedra tragedy (1677).

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As the title itself shows, the main acting person of Racin was not a hippolyte, and Fedra. In the preface to "Fedre", he speaks of the changes that contributed to the Pieces and in the characters of the actors. He considered it impossible to put slander in the mouth of the queen, in other respects showing such noble feelings. This lowness seemed to him more suitable for the cormal, who could have slave inclinations and resort to false accuracy only with the goal to save the lives and honor of their Mrs.. Like the Seneki, Rasina Fedra also opens his passion for a hypolyte. But this recognition she makes after he received the news (who turned out to be false) about the death of Sene.
While the ancient authors of Ippolit was accused of committing violence over his stepmother, Rasin, softening this detail, speaks only an attempt to commit violence. Racina Hippolytia is not represented by such a decisive enemy of Aphrodites, like Evripid: He loves the Athenian princess Arias, the daughter of the death enemy of Teasy. Experienced Fedry, the struggle in her soul between passion and duty are complicated by jealousy to Arcia. After the death of Ippolit Fedra, Racina cums suicide, taking poison and discovered before his death the Terev.

"Hercules"

In this tragedy, put on stage, in all likelihood, approx. 423 BC e., is being developed, - True, with significant changes - the old myth of the murder of Hercules of his children in the seizure of madness, sent to him the hero. Thus, like Ippolitis and Fedre, Hercules are also represented by the victim of the gods. The playwright set the challenge. He shows the hero on the top of the glory, after the last feat of the latter, the cycle in Aid, but it is at that moment he is amazed at madness. The sick consciousness inciterates to the burning hate feeling of the resentment against the insignificant Eurysfi, who heraklas had to serve his whole life, and, thinking that he was spreading with the enemy's family, the hero kills his children and his wife. After the explosion, the madness occurs between the sore and the mental torment of Hercules. In the tragedy with even greater force than before, the skill of the playwright in the image of the mental experiences of a person.
Perhaps the newest writer there would be nothing to add to the depiction of the state of madness: the playwright gives a bright and faithful picture of spiritual pathology. The moral flour of Hercules after the seplide is also described with the greatest psychological persuasiveness. But in "Herakla" there is something else that allows you to talk about the new moment in the work of Euripid. The tragedy is adjacent to a number of heroic-patriotic plays, started by "Geraklida". But compared with the last tragedy, the patriotic topic in Herakla gets a more intense and bright mapping. The changes that the Euripide introduced into the myth were determined by the desire of the playwright to create a patriotic play, intensifying at the same time its drama and purely stage

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capabilities. The most essential of these changes is the introduction to the drama of Tene. When Hercules, to which the mind returns, finds out that he is the killer of his family, and as a retaliation for this terrible act wants to kill himself, the Athens Tsar of Testa, who saves the life of Hercules in the name of gratitude and leads him to him In Athens. Another change in the myth was the introduction of an evil height of a facial absent in the old mythology. The playwright makes the face with Eviets, which is explained by hostile relations between Athens and Evbey, which was prevailing in 424 BC. e.
It should be stopped on one change made by Euripid to the Piabul Pieces. Old myths attributed the killing of children by time to service from Eurisfie, and the service itself was considered as an atonement for this sin. For the accomplishment of their twelve feats, Hercules came out from under the power of the gee, who fed to him anger because he was illegal son of Zeus. Evripid has a killing of children after the overthrow of all twelve feats and is the last act of evil revenge of the gera. Returning to his homeland in the haloe of Glory, save their family and having saved the dish from the usurper, Hercules, apparently could count on that.

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that now he will be able to enjoy the happiness deserved. But almost immediately, the hero is experiencing such a spiritual collapse, from which, apparently, there is no way out. This is the most vivid example of a tragic irony.
The action of the tragedy occurs in the philas in front of the Hercules Palace. Hercules Amphitrion, Hercules Megara's wife and three young sons of the hero, are located on the steps of the Zeus altar. From the prologue, in which Amphitrion and Megara appeared, the audience learned about the state of affairs. Taking advantage of the lack of Hercules who committed his last feat at this time, Evboe Lick captured power in his hands.
Failure from his persecution, amphitrion, megara and children of Hercules are looking for refuge among the Altar Zeus. The choir of tragedy consists of FVAN elders. They express sincere sympathy for amphitrion and megara, but due to their age they cannot fight with the warriors of the face, who wishes to kill Megara and Sons of Hercules. The face feels his complete impunity, as it believes that herakla is no longer alive. Tyrant orders the warriors to light the fire around the altar so that the Hercules family suffocates in smoke. Megara declares a fabric that she is ready to die, but asks for one mercy: let her be allowed to put on children before their death mourning clothes. Having received the consent of the face, Megara leaves with children and with amphitrion to the palace. The choir sings about the exploits of Hercules, sorry that he did not return after his last navigation - an opportunity to Aid.
Face victims are returned from the palace; On the sons of Hercules mourning clothes (Of course, this dressing should have increased the excitement of viewers). Megara begins a plaintive song. But behind this follows the stage effect - Hercules unexpectedly appears, which was already considered dead. He frees his loved ones and wants to immediately deal with the face. However, Amphitrion advises him to wait for the usurper's return, which should now appear for the accomplishment of execution, and Hercules will obey his father. He tells him about the descent to the underground kingdom and that he brought the Tereus from there, who returned to Athens now. Hercules gescalo comforts its children who are pressed against him and do not want to let him go from themselves. Everything other than amphitrion is removed to the palace. Face comes to demand its victims. Since the amphitrion does not want to take on a heavy duty to bring out of the palace to the execution of his wife and children of Hercules, then Lick himself enters the palace, where his death cries will soon come from. The choir sings a laudatory song in honor of Hercules, considering the death of the Lika deserved. But now in the development of action comes a fracture. Over the Palace appears in the air of the Irida's gods and the goddess of the madness of Lissa. The latter has the form of a gorgon: she has a snake in her hair. The audience was recognized from the goddesses that Hera, her wrath against Hercules, like the son of Zeus and Alcmen, will force the hero to shed blood of his loved ones. Lissa. Considering the decision of the GER unjust, but the powerlessness to oppose him, speaks of an inevitable drama, which will play in the palace as soon as she penetrates there.
And indeed, soon Amphitrion's cry comes from the palace, and tragedy reaches its extreme tension. Choir answers the screams of an old man who protects children against

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their father. In the air appears for a moment of Athena-Pallada 1.
Herald comes and tells about what happened in the palace. Hercules was preparing to clear his palace from Zeusov's altar from the sheds of Tirana. Suddenly he stopped and silent. His eyes flooded with blood, a thick foam began to drip from the lips. Then he laughed terribly and began to say insane words about the head of Eurisfie and then shed blood shed. He began to demand from slaves to suck onions with arrows and a terr. Then Mad began to portray how he rides on the chariot. In nonsense, he listed the places that seemed to pass and finally it seemed to him that he was already in mycken and now should start massacre with enemies. So in Madness, Hercules kills his children. Megara also died, saving children from her husband. Altitrion remained alive. He was saved by a pallad, throwing a huge stone in the chest of Hercules and immersing it then into a deep sleep. Then the servants in the palace rushed to the aid to amphitrion and tied herakla to the column of the palace so that he could not, when he wakes up, make new troubles.
The palace doors are revealed, heracles sleeping among the ruins, tied to the column of the palace. Near him lie the corpses of his sons and megara. When the hero is awakened, he does not immediately remember everything that happened. At that moment, when he finally realizes the deed and mourns his crime, the Athens Tsar of Tesove is. The rumors reached him that the face is close to the Hercules family, and he came to help his friend. Amphitrion tells about all the Teshe. Hercules sits at this time aside, covering his head from shame. Testa consoles his friend and dissuade him from suicide, which he conceived. He calls him with him to Athens, promising to allocate him part of the Athenian land. Hercules remembers how Hera pursued him all his life. What country will he want to accept it after the unheard of crime? In the end, he agrees with the persuasion of the Tereus, not wanting anyone to think that he is cowardly running from moral suffering. In the extension speech, Hercules say goodbye to killed, calling them, as well as himself, the victims of the ger. Then he hugs amphitrion, asking him to take care of the burial of the dead, and removed with the TEXE.
Some researchers noted the lack of unity of action in this tragedy and indicated that it disintegrates into two separate plays. The first play depicts the fate of the Hercules family, the plot of the second is the fate and suffering of the hero himself. However, this is not entirely fair. The tragedy "Hercules" as noted by some researchers, gives the unity of the "highest order". Upon visible division of the fabul of the play, the first part of it is certainly necessary for the second. If there were no these exhausted children in the first part, who were waiting for Hercules for so long, they dreamed about him, and then, having lost hope, they were preparing to die for the honor of the Father's name - his terrible disgrace with them in the second part of the play would not produce such a strong impression and they would not feel the whole depth of the heroic of despair, pushing

1 Her appearance was accompanied by some scenic effect, as the choir says that the hurricane shakes the house and the roof collapses.

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its even for the idea of \u200b\u200bsuicide. The main character binds both parts of the plays.
Creating an image of heroic herakla belongs to Euripid. Before him, he appears in the theater almost exclusively as a comic character - in a comedy or Satirovskaya drama.
The playwright with great psychological persuasiveness showed the moment of the transition from the innocent nonsense to the terrible madness and the subsequent crime for him. As much as expressed scene, occurring in the eyes of the audience, when the hero gradually comes to himself. It is difficult to add something to the excellent analysis of this scene in I. F. Annensky 1. Initially, the consciousness of life is awakened at first in Hercules. According to the external sign - the Sun Light - Hercules concludes that he is alive. The first thing he notices near him is onions and arrows. In the corpses, he still does not distinguish his victims, but at the sight of them he has an assumption that he is in Aida. Consciousness gradually returns to him, he begins to understand the surrounding, but the loss of memory turns his condition into real torture. The scene begins with the Father. The atmosphere of sympathy from amphitrion and choir returns it to reality. In a styerous conversation with his father, he little, he suffers a terrible secret, until he finally finds out that he himself killed children and his wife. Then the judge and avenger wake up in it. The first decision is ready to die. The parish of the Athens Tsar Tesheus adds a new drop into the bowl of heraklovy suffering. The shame of recent madness becomes even more burning in the presence of a person who has just saved and the recent witness of His fame. Dialogue with the Teshem gradually leads him to a new thought. The thought of suicide is fighting in it with the desire to find the highest form of retaliation for the deed. He gradually makes sure that he will have a nationary feat - to preserve life as a way of suffering atonement.
In this tragedy, Euripide used the "Motive of the Savior", which comes to assist in disaster. Hercules saved Tenese (this is outside the events of the tragedy), the Tesove in gratitude saves Hercules not only from physical death, but also from the deepest mental crisis.
With a large dramatic force and warmth, attic humanity, friendship and hospitality, who found their embodiment in the form of the Teaside. What is terrible and unbearable disasters, in which heraklah's deity, the brighter speaks the human essence of Tereus. For the Athenian viewer, this motive of friendship and the salvation of a dying person sounded even stronger than for a modern reader or viewer. After all, from the point of view of the ancient Hellen, the most touch to the blood shed man was already threatened with defention. Before his cleansing, the killer should not even call for anyone. Therefore, for the viewer V in. BC e. Such actions on the stage of the Teasy, like the fact that he opens a friend to a friend, gives him a hand, etc., were presented with a symbol of true attic friendship. The highest manifestation of hospitality is that Hercules not only finds asylum in Athens, but part of the Athenian land is promised to him.

1 "Theater of Euripid" in 3 volumes, t. II, translation with the introduction and posts of I. F. Annensky, ed. and with comments φ. F. Zelinsky, M., 1916-1921, p. 127-128.

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Moreover, Teshen speaks of honor, which will be rendered to Hercules after death: all the Athenian Earth the honors of the altar of the hero, and herself will, in turn, will acquire glory in the progeny for his help in unfortunately a famous husband. It must be remembered at the same time, what a huge force of conviction had for the ancient Ellina argument that his memory would be honored after death.
The tragedy was written by the end of the archive war, which brought the greatest disasters to both warring parties. Nevertheless, Evripid draws a mythical sample of friendship between attics and Doric Peloponnese in Herakle, exposing Dorian to as well as an attractive form as the Athenian. Despite the terrible catastrophe, which collapsed on Hercules and almost led him to death, the final of the tragedy sounds enlightening, glorifying attic humanity and friendship.

"Pleading"

In this patriotic play, put on stage, in all likelihood, after the conclusion of Nikiev in the world in 420 BC. er, the main story was the myth of the struggle of the sons of Edipa, Eteokla and Polinik, for the FVAN PRESHOL (Fabul, used by Eschil in the "Seven Visor" - see above). Etookl took possession of the throne and expelled from the purin from the purin, but the latter found shelter from the Argos Tsar Adrasta, who issued his daughter for him. Then the Polick gathered six friends and, relying on the assist Adrasta, made a campaign against the FIV ending with the death of all seven leaders, and both Sons of Edip fell in a fatal match with each other. However, these events lay outside the tragedy, the tragedy itself begins with the Mothers of the Mothers of the fallen heroes, facing Mother Teres Effre.
The action of the tragedy, deploying before the temple of the demeters in Eleusin, begins a very colorful scene. In the Great Altar, to which the steps are running, standing Efra, the Mother of Tereus, who came to the sacred fence of the temple for sacrifice before plowing the Earth. Efra and performs in the Prologue, setting out the exposition of the drama. It turns out that seven leaders have already found death under the walls of FIV. Mother Heroes wanted to betray the bodies of the bodies of the sons, but the new Fan Creonh ruler refused to give them the corpses. And here women came to Eleusin to tease the Tereus to achieve the headquarters for issuing corpses. Prostrate on the steps of the altar and the wall, Argos Mothers stretches to Effre olive branches, blamed with white bandages. Adraist also lies on the steps of the altar; Near him - the boys, the sons of the fallen heroes, which make up a side choir.
Includes Testa. He struck by his spectacle to him: black women's clothes, their sobs, curved in the sign of mourning hair - all this is not suitable for sacrifice in honor of Demeters. Efera briefly reports the Teste about the request of Argos mothers and then transmits the word by Adrasta, who, climbing and stopping the wedding, starts talking. But the Tesove coldly meets the request of Adrasta, reproaciting him in the recklessness and disregard for the will of the gods; He headed Argossky

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hike, despite the bad omen, fascinated by several young people, greedy to glory and waguses only means of achieving power and wealth. But then, convinced of his mother's arguments, Tesove decides to help asking and achieve the issuance of corpses, primarily by negotiation, and if it does not succeed, then with the help of weapons. Since the FVAN heel places the test requirement to drive the Adrast before sunset and refuse the burial of the dead, the Athenian King orders, with the consent of the People's Assembly, to prepare for war. Soon the Bulletin comes from the battlefield and tells about the brilliant victory of the Athenian troops. A mourning procession appears on the orchestra, Athenian warriors carry faded beds. Mother and Adraist raise crying for the dead. Adraist at the request of Tereus talks about the fallen leaders, and his story turns into a real tombstone. In the characteristic of seven leaders, a hidden controversy with Eschil and the influence of the then sofics and rhetoric is clearly felt. In the tragedy "Seven against FIV", all heroes, with the exception of the imminent amphiara, are depicted by people, filled with exorbitant pride, in a certain militant frencher as far as the insurustering of FIV. We see very different from Euripid. Adrast begins with the characteristics of the kapanei, defeated Zeus's lightning. Eschil has a huge stronghold with superhuman finance; He threatens to incite the city, and even Zhev's lightning does not scare him. In the "pleading", according to Adrasta, dripping had a huge wealth, but it did not make it not in charge nor proud. Dripney said that virtue is in simple life, modesty, in true friendship, in friendly people. Other leaders in the image of the Adraist also serve as people endowed with various virtues.
The mourning procession under the sounds of a mournful song of the choir moves back for the scene - conditionally to the place where the bodies of the fallen leaders will be burned. Suddenly, on the rock, towering over the temple and on the Kapanei Kapanai (of course, he was invisible for the audience), his wife Evadna appears in festive clothes, ready to rush into the fire, on which her husband burns. The tragedy of the situation is even more enhanced when the father of Evadna appears on the orchestra, the old IFIS. In his family double mourning, since his son Eteokl died under the walls (not mixed with Eteokl - Edip's son!) And son-in-law dripping. Being downstairs, IFIS is powerless to prevent Evadne to fulfill her intention. Rejoice in the fact that the flame of the fire will connect it with her husband, Evadna rushes from the cliff. IFIS mourns his cruel fate, chorus eats him.
The play ends in a mourning ceremony. The orchestra includes Tekes, Adraist and boys, carrying urns with the ashes of their fathers. Turning to the Adrasta and women of Argos, gathering in a mourning procession to go home, Teshen calls them for eternal times to maintain appreciation to Athens for help provided to them. In the embroidery appears the goddess of Athena. However, its appearance does not serve the intelligence targets of the tragedy, it is rather a political conclusion. Athena prescribes the Teste to demand from the adrast. That he, on behalf of the Argostess, brought an oath never oppose the Athens and keep gratitude for the benefits rendered to them.

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Even in ancient times, scientists criticism believed that the tragedy of "begging" is the praise of Athens. This accumulation of Athens is largely carried out by aligning the image of the Tease. Testa shows the ideal ruler, who gave the right to vote to the people. All cases in the state are solved by the People's Assembly and elected officials connected through annual elections. Between the king and the people are complete unity, the king is the leader and adviser to their people. Testa is a wonderful warrior, and all Athenian citizens are ready to defend the Fatherland. Along with this, his prudence and peacefulness are emphasized: the ruler, like his people, is inclined to solve affairs in a peaceful way - but if it comes to protecting the right case, he is not afraid to enter the war. Testa is endowed with eloquence - the quality necessary for the leader in such a state where the most important cases are solved in the People's Assembly. It enters into the political dispute with the FVAN. He who smack on the best form of the board and easily overcomes his opponent. Speaking against the Fivansky head, protecting the sole form of government, the test indicates that there is nothing hostile to the state for the state. With it, the law no longer protects citizens, one person disposes to everyone in their arbitrariness, equality does not exist. On the contrary, during democracy and poor and rich have the same rights. The people are free: when citizens ask who of them wishes to offer anything to the US benefit, everyone can take the floor. To whom nothing to say, he keeps silence. Where else can you find such equality? Where the people are ruled by himself, he enjoys the services of good citizens. On the contrary, Tyran, trembled for his power, tries to destroy those whom he considers capable of reflecting. What to save wealth and earn bread for your children if you have to work only to enrich Tirana? Why bring the daughter in the chastity in the maternal home in chastity, if she is destined to serve Tirana's whims? It is better to die than to see your daughters given to the crop.
All these qualities of the Tesheus-ruler are of particular importance due to the fact that they are associated with its religious-moral views. Testa is depicted in the tragedy by the carrier of the ancient and human religiosity and morality. At the same time, the Athenian king acts as a champion of the religious and moral leaders of the entire Eldla. General laws of the Greeks - this is what he defends, defending the Argostess. The tragedy emphasizes the deep religiosity of the Teasian, who is convinced that a person needs a divine leadership and must unconditionally obey him. But if the image of the Tereus is interesting in the historical and cultural sense, it is little expressive with a purely dramatic side. Testa is too flawless and somewhat cold. However, in his attitude to Effre, as well as the mothers of the fallen heroes, the playwright has invested some warmth.
The role of the Euphra is the invention of the Evripid itself. In the face of the ephra, the playwright gives a sample of female virtue. This is a heroic Athenian mother. It is filled with feelings of pity for Argos Mothers. But not only it leads it when she besides the Tereus to assist asking. She appeals to the feeling of honor, patriotism and to the Mind of Teres. She emphasizes the greatness of the case to him

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make and which is superior to their religious and moral meaning for the old feats of the Teres. The role of the effect is of great importance in the development of the action of the tragedy and the nature of the Teres itself. It was the efra that affects the Tereus who was afraid to stand up for people who had a divine omen, and leads it to the awareness of the higher role of the defender of human rights. When he becomes at this point of view, all his doubts disappear, and he wishes only that the decision ripe in it was approved by the people.
Much in the composition of the play resembles the tragedy of Eshil. There is little action in the play; Significant place is occupied by crying on the dead and complaints of mothers and households. A detailed story of the Bulletin about the battle also resembles the features of the epic composition of Eschila. The battle is drawn according to the sample of Homeric battles: chariots are rummaged on each other, whirlwinds of dust rise to the sky, the rush horses will attack soldiers that are entangled in the windows, the land is irrigated by blood flows. Everywhere overturned or broken chariots, and those who were on them are lowered to earth or dying under their debris. The dynamic development of the action is also prevented by the lengthy speeches of the Teas, Adrast and the FVAN learn. However, it is necessary to remember that the Athens viewer V c. BC E., who was accustomed to the skilled speeches of speakers in the People's Assembly, apparently followed the verbal competitions of drama characters in the theater.
All researchers agree that in the play, there was a reflection of the defeat of the Athenian at Delia, a small town in Boeotia, the troops of the Favans. Athenians lost about a thousand heavy warriors in the battle, but Delia still remained in their hands. After the battle, the Athinsen was sent to the hair glad to issue the corpses of fallen warriors and the truce for their burial. Only for the seventeenth day, the Athenians managed to fulfill their demands, since Delia by that time fell. It is enough to re-read the story of Fukidid about the defeat of the Athenian when Delia to discover the large similarity between the facts reported by the facts and the situation of "pleading". Under the fresh impression of the bloody events at Delhi, the FVAN leisure and generally all the fivans are depicted in a very unsightly light. They are drawn in the drama with kicheli, inxicated with their random victory, which they do not deserve at all, borrowing divine laws.

"AND HE"

Since the beginning of the 420s. BC e. You can note one feature in the work of Euripid: it begins to create plays with a confusing plot, which includes and conspiracy. Such a dramatic technique obviously pursued the goal to strengthen the stage impact of the tragedy on the audience. An example of such a play is "ion", delivered, in all likelihood, in 418 BC. e. This work of euripide compared to others has a number of features. The main culprit of dramatic events deployed in the "ion" is Apollo, and the action takes place before the sanctuary of God in Delfa. The play to a large extent has a household feature

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dramas, in which violence over the girl, and a thrown child, and identifying it when he has already become an adult. Apollo, who himself does not go on stage and on behalf of whose behalf of Hermes and Athena, withdrawn in the "ion" by the rapist, who admissive the daughter of the Athens Tsar Erechtea, Creus. Rouching in the palace of the boy and fear of shame, Tsarevna secretly took him into the same grotto, where God mastered it, and left there on the faithful death. Indeed, having come on the other day in the cave, Creatus did not find a child in it and from that time was firmly convinced that he became the prey of predatory animals. In fact, Apollo appealed to his brother Hermes to attribute a boy to Delphi and put a basket in which he lay on the threshold of the temple. Here I found his pythia and, squeezing, took to himself and raised at the temple. When the boy became an adult, the dolphins made him the keeper of the treasures of God and the minister (Neokor) at the temple. Creatus Meanwhile married to the Ino Semes of the Ksyuf, to which she got as an honorary reward for the victory, won by him during the War of Athenian with the inhabitants of Evbei. All these years, Creus was tormented by a double grief: her many years of marriage with Ksyuf remained childless and at the same time she was pursued by the thoughts of the deceased child.
All these events that occurred before the start of the tragedy and about which briefly tells Hermes in the Prologue, very much reminds the usual everyday and very heavy drama for the woman. Hermes reports about how to expose the action. It turns out that Ksyuf and Cres are in Delfa to get the oracle of Apollo on the offspring. When Ksyuf enters the prophetic sanctuary, God will give him his own son, however, the Ksyuf will be convinced that he is the father of the young man (in his youth, the king had a love adventure in Delphi, and the time proceeding since then coincides with the age of neopore). So, without revealing the secrets of his fatherhood, Apollo will give his son a glorious life. All Greece will call him an ion (that is, coming).
When Creus finds out that Apollo gave a son's xsuf, despair covers her. Under the influence of the misfortune that struck on her, it is decided to open his secret to Horu, consisting of her servants, and the old slave. She is ashamed of his shame, she has some more hesitations, but soon she leaves them. Who to compete with now in virtue? With your husband? But he betrayed her, she doesn't have any home or children, all her hopes for whom she hid the secret, disappeared. She will say everything and thus facilitates his soul. Calling himself an unfortunate victim of people and gods entering non-profit and treacherously in relation to those women they loved, she accuses Apollo in the face of the sky and then tells his sad story.
Claus with full support for the choir decides to poison the ion, considering it by the enemy of her houses and cities seeking to destroy it and illegally take possession of Athens. Transfering a poison to the old loyal slave, Claus orders him to go on a feast and try to pour poison in the young men's Cup. However, this attempt ends in failure, and the authorities of the city sentenced Creus to death for an attempt to kill the servant of the Delphian Temple. She is looking for salvation from the altar. Ion and his friends are not solved to grab Creus, acknowledged to the altar. The appearance of Pythia in the last epise

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prepares the recognition scene. Pythia shows an old basket of ion, sent by the bandages in which she once found him and which was kept by the suggestion of Apollo to this hour. In the basket there was a child's underwear and noticeable signs. Claus is convinced that this is the most basket, in which she once put her boy. The rapid movement of the Claus leaves his asylum and, ran up to the ion, hugs him as his son. The outraged ion believes that Creatus is lying, and asks her questions about the contents of the basket. It lists all objects. The recognition, built with such art, is completed. Ion is convinced that his mother is in front of him, and hugs her warmly.
At the end of the play in the embroidery, on the chariot, Athena appears, saying that she hurriedly arrived in Delphi from Apollo. He himself did not wish to appear from the fear that he would be reproached at all for the past. He sent her to say that the Ion is really his son from Creatures and that, giving his xsuf, he does not pass the Ion to another father, but wants to introduce it to the most famous genus. Then follow the divine broadcasting and predictions of future fate. Claus should go with an ion to Athens and put it on the throne of the Athenian kings. He will be famous in all Ellade.
"Ion" is not only a tragedy about the abandoned woman and the Son's abandoned by her, with which she occurs many years later, but also patriotic, political play.
The fact is that, according to the mythical genealogy of the Greeks, Ion was considered the hence of the Ionic tribe, just as Aheyu was the ancestor of the Ahaseians and Dorian. So thought all the Greeks. However, Euripid gives a new pedigree tree of the Greek tribes, which puts the ion clearly above his mother's brothers - Ahey and Dora. Ion is born from Apollo, and Dor and Ahey - from Xsef 1. At the same time, thanks to a double union, with God and the mortal, the daughter of the attic king, Erechtea Creatus became a great-grandfather of all Greek tribes, and in the play, a close unity of Athenians with Ionians is emphasized and their prevailing importance to their Compared to other tribes: while the Ionians originating from Apollo and Creatures are people of pure Athenian origin, Dranny and Aheitsa - Mixed blood people originating from Eolo-Ahetice Xouf (Euripid makes Ksyuf's son's son) and Athenani Creatures. This is a modification of the traditional genealogy of the Greek tribes, which found only a weak support in some myths and did not have any impact on the further mythological tradition, it was necessary for EURIPID to justify the attractions of the Athenian on Hegemony in the whole Greek world. Indeed, the positions of Athenians have greatly strengthened after the conclusion in 420 BC. e. Union with Argos, Elide and Mantine. Sparta seemed powerless, and the Athenians were counted in peaceful way to consolidate their supremacy in all Greece. In no tragedy of Euripid, the idea of \u200b\u200ba privileged tribe did not emphasize so sharply, which should prevail by the most of its origin.
The main character of the Drama Ion is one of the best characters created by

1 According to the old epic genealogy, Dor, Ksyuf and Eola were brothers. From the marriage of Ksyuf with Creus, Ion and Ahey were born. Thus, the ion was considered the son of mortal, not God.

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euripid. He is full of piety, zealously and happily serves God. The Delphic Temple has become a hometown for him. The very conditions of his life contributed to the early formation of the character of the young man who did not know this childhood. When he tells Xsuf about the difficulties that will inevitably arise in connection with his new position, the sober practical mind and a subtle understanding of the human soul affect his arguments. Observation, the ability to understand complex human relationships, peculiar everyday tact was the consequence of everyday communication of this peculiar antique "novice" with people who came from different places in Greece in the Dolphic Temple of Apollo. Ion had a certain life ideal: this service to God, life moderate and free from torment and alarms. He will not crave neither power or wealth, since their owners do not know peace. His life in Delphi seems to him with genuine happiness. He prayed to the gods and entitled with mortals, delivering joy, and not the sadness to which he served. But the most essential he sees that nature and the law united together to make a virtuous servitude of Apollo from him.
Common sense and famous skepticism do not allow the Ion to take on faith all he hears. Therefore, he speaks directly to Creus, that the story of her friend (in reality Creus talks about himself) seems suspicious to him. The same properties of the mind do not allow him to close his eyes to the behavior of Apollo, and he almost friendly counts his God for the unfair act. The temple minister throws an ironic replica about love adventures and other gods. In the face of Jonah, Euripid brought to the stage an interesting human type of a representative of contemplation, in which a sincere religious feeling is combined with tranquility and a clear mind, with an admixture of the famous fraction of skepticism. At the same time, this minister of God has energy, resourcefulness and ability to quickly and decisive actions. All these qualities manifest themselves at the time of the attempt on it and in the subsequent accusation and persecution of the Creus.
However, Ion has its own pain: these are the thoughts that he is an extramarital thrust child, and longing for maternal caress. However, in these experiences, young people do not have no yes and the egoistic thought penetrates that, perhaps, it is not necessary to strive for the investigations of the mother, since it can be a slave.
The image of the creatures is very expressive. The poet with great persuasiveness draws the experience of an abandoned mistress, an unfortunate mother, forced to quit his child, and a legitimate wife, devoted to his husband. True, the place of revenge, which she thinks with a chorus and an old slave, cannot cause any sympathies from the modern reader, but Athenian V c. BC e. There were more condescending in this case. The revenge of the CRESS was presented to them by the act of self-defense against encroachment on the original Athenian lands of an alien, besides, a person with dark origins.
As for the Ksyuf, it is not performed at all on a tragic character, but represents the Tin of the Middle Human, at times almost a manual.
The "Ion" tragedy occupies a special place in the Dramaturgies of Euripid. Her household fabul based on motifs

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violence, a picked child and the subsequent "recognition", directly anticipate the artistic practice of the so-called new attic comedy, which will arise by the end of the IV century. BC e.

"Iphigencies in Tavrid"

The new dramaturgical technique is used by Euripid in "Iphigenia in Tavrid", "Electra" and "Oreste". The plot of "Iphigenia in Tavrid" is borrowed from the myth of the sacrifice of infigration. The exact date of the formulation is unknown, but, in all likelihood, the tragedy went on stage in 414
The action takes place in Tavrid (that is, in the Crimea) - a country that seemed to the Greeks wild and harsh. Skna portrayed the temple of Artemis. Altar was located in front of him, covered by blood stains. The human skull itself was attached to the frieze of the temple, thus pointed out the cruel morals of the country and human sacrifices performed here. Fabul tragedy is developing as follows.
Replacing during the sacrifice to the infection of Lanu, Artemis suffers a girl in Tavrid and makes her priestess in his temple. Here, the infigrations should handle a bloody ritual. Tavrical barbarians have long been such a custom: if Greek appeared among them, he was sacrificed to Artemis. The duty to make this sacrifice lay on the infigration, the most sacrificing victim inside the temple was performed by another person. All this tells about all this in the prologue itself, alarmed by a bad dream, which, as she firmly believed, gives her the news of the death of his brother. But it is on this day that the Orest falls in Tavrid, accompanied by his friend Pill. Orest arrived in Tavrid after the murder of his mother, obeying the oracle of Apollo, who promised to save him from the attacks of madness, if he would kidnap in Tavrid and brings the statue of Artemis to Athens. On the seashore of Orest and Pilad, the shepherds notice. They see how the soupe of madness begins. This madness is described in completely realistic and even naturalistic colors. Orest begins to raise and lower his head, his hands tremble, he moans and then begins to scream on invisible ghosts like a dog hunter. It seems to him that snakes crawl on him. In the fastener of rabies, he rushes on herd and begins to beat him, thinking that he fights the monsters. Finally, he falls in exhaustion to the ground, and his chin is covered with foam. All this happens behind the scene, and the audience will learn about the story of the messenger. The shepherds grab Orest and Piland and remove them to the king of Taurida Foant. He sends them to a misconception for infigration. And here both young men face the infighenia. There is a situation of extreme drama: the sister is ready to send to death, herself is not knowing, his brother. The tragic stress gradually increases, but the studio scene is skillfully removed. To the question of infigration, from where he comes from, Orest replies that he is an argos, but his name does not speak, calling himself "unfortunate." Having learned that the stranger would come from Argos, infidencies begins to ask him about the fate of the Troy and the fate of her relatives. Orest is reluctant

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He will notify her, the infigrations learns that Agamemenon killed by Cliudernone and that she in turn killed, Moveni for the death of his father, who returned to his homeland Orest. Finally, the infigration asks if the son of the dead Father is alive - Orest. Orest replies in the affirmative. Iphigenia expresses the desire to send a letter to Argos. He is lucky one of the prisoners who, as a reward for it, life will be given. But the second prisoner will have to die. When Iphigenia goes into the temple, a chorus consisting of young Greek slaves mourns the fate of one of two young men who are destined to die. Between the saw-house and orette there is a competition in noble readiness to take death. Orest proves that the pill does not have the right to go to death, as he got his sister to his sister; She will give birth to him children, and Agamemnon's house will not fade away. The temple comes out infigration. Before transferring to the pilate of a planner with letters, she reads out loud the content of the letter in the case if it is lost. Turning into this letter to Ores, infidenza reports that she is alive, although in Greece they consider her deceased: the goddess rushed instead of Lan on the moment when his father was sacrificed his sharp knife. Iphigenia asks or West to rid her from bloody victims and return to their homeland. She gives a letter to Pilar, and he conveys him to his companion, calling him a orette. But the infidencies still doubt that in front of her brother. And only when the Orest informs her about the family hostility atrea, the father of Agamemnon, with a fiesta, about the cloak loan and about the strands of her hair donated by her cliquenestre, the infidencies are finally convinced that he sees in front of his brother - Oreste. So deployed in this tragedy scene of recognition. After the heartstorm caused by recognition, the patient from the tragedy disappears, and the rest of it, which tells about the abduction of the Statue of Artemis and the flight of Orest, Piland and Iphigenia from Taurida, is approaching some extent to comedy. Iphigenia comes up with a way to deceive the king of Varvarov Foanta. She will tell Foanta that it is impossible to sacrifice these Ellines, since on one prisoner - the blood of his mother, and the second was his assistant. Victims must first be washes into the sea. There, it is necessary to wash the statue of the goddess, which they desecrated with their touch. After receiving the consent of Foanta, they will go to the shore of the sea, where the Krestov ship is hidden, and will float on it from Tavrida. This plan is almost possible to implement. But only the ship comes out of the harbor in the open sea, as his wind is back to the shore, because Poseidon's hostile atrides decided to betray Foanta Ores and Iphigenia. Fotan sends his people to the seashore; They manage to capture the ship and fugitives. But at the top of Sna, the goddess of Athena suddenly appears. She orders Foanta to free the fugitives, saying that the Orest was in Tavrid, obeying the classroom of Apollo. In favor of Athena Poseidon decides not to repair any obstacles to saving swimming. Fotman must send to his homeland and Greek prisoners. Athena commands Ores, which is already far away, but hears her voice, to establish the temple in honor of Artemis Tauropol1.

1 That is, artemis bull. However, the word "Tauros" could mean not only a bull, but also Tavrian: in this case, Artemis of Tavropol means Artemis Tavricheic.

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Ifigations should become priestess in the Attic House of Brábron. Fotman will obey ordered and goes to the palace. The choir expresses his joy about the salvation of infigration, orpes and pilad and the upcoming liberation from captivity.
The appearance at the end of the tragedy of the goddess Athens not only helps purely technically arrange a junction, but also solves certain political tasks. Evripid wished to give the old Argos myth Athenian character. And in this tragedy - as in others - it enjoys the case to glorify Athens, their political institutions and their festivities.
The play, especially its second half, is noticeable adventure: it should have been vividly felt by the Greek spectator who had a rather vague idea of \u200b\u200bTavrid. The kingdom of Foanta seemed to him a wild country, full of all kinds of dangers. On the development of the Fabulus "Iphigenia in Taurida" detects close relationship with "Elena": in both plays, we are talking about the salvation of the Greeks from the barbaric country. Greek intelligence and ingenuity triumph over the primitive consciousness and naivety barbarians. Iphigenia is depicted by a harsh priestess, such a ministry of the goddess demanding human victims. However, these priests are hard for her, and she with compassion refers to the Greeks who are forced to send to death. But on this day, as it seems to her, the feeling of pity will leave her: Ores is alive, and her soul outdated. When she sees the prisoners of the Greeks, which also seem to her noble people, she again covers compassion for his victims. The playwright with psychological persuasiveness and reliability draws spiritual experiences of the heroine. It is noteworthy that there is a protest against a cruel cult, to which it serves. Iphigenia says she does not understand Artemis. If any of the people touches the blood, the corpse or even the girlfriends, he is considered unclean, he is forbidden to approach the altar of the goddess, and meanwhile it finds joy in human victims. Iphigencies can not imagine that Laton can give birth to a similar monster from Zeus; She thinks that the country's bloody inhabitants moved their own cruelty to the goddess, because it does not allow any God to be bad. The inner essence of the conflict of the tragedy and comes down to the fact that the idle of Artemis fallen from the sky should be transferred to Athens, where it will not be honored by the custom of the barbarians, but according to the customs of the Greeks, and heroine herself, all the time I have kept the memoir about my homeland, too In Ellad, having got rid of participation in the Blood Cold of Goddess in Tavrid. In the implementation of these goals, the main role belongs to Ores, who came to Tavrid on the orders of Apollo. It is with the advent of him and the piland and the development of action begins. True, the plan of flight did not come up with it, but infidencies, but Ores has people and a ship to carry out this plan. And if in the future, in order for the ship safely headed to the shores of Greece, it is still necessary to interfere with the deity, this intervention corresponds to plan conceived by people. The external side of the collision of three Ellinov and Tsar Barbarov was transferred with great expressiveness and in the story of the Foanta Junior and in the actions itself, since the beginning of the implementation of the flight plan is still on

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cost of viewers. In the presence of Foanta Infigration with the Statue of Artemis in the hands, related prisoners, the guardian and servants of the king are sent to the seashore, where the rite of purification was to happen. In the story of the messenger about what happened by the sea, household traits are wedged.
It turns out that the ships of the orpown took place the real skinting, fists were beaten, so some of the people of Foanta return with bruises.
"Iphigencies in Tavrida" used in ancient times very popular. Aristotle in his "poetics" praises her for well-built recognition. Numerous images of episodes from this tragedy are preserved on sarcophagas, on vases, in painting; In their totality, they illustrate almost completely all the play.

"Electra"

The play is delivered on stage, in all likelihood, in 413. For Elert, Euripide takes the plot, which has already used his great predecessors. By how he develops it, it is seen to the difference in the creative approach of Euripid to this topic compared to Sofokl and Eschil. First of all, Euripid carries the action from the city to the village. Persecution depicts the front wall of the poor rustic hut. The action begins at the dawn. The tragedy opens by the prologue of the agriculture, the husband of Elert, who tells about the events in the house of Agamemnon, about the fate of Orest and Elektra. It turns out that Electra lives in a remote village, on the border of the Argos, issued by Egisf Mariring for a simple agriculture. Egisf wanted to humiliate the EGISF, and, moreover, children from such a marriage could not challenge his power captured. But in fact, this marriage turns out to be fictitious. The noble farmer would consider for himself a dishonest to be a husband of Electra only because the case gave him her wife.
Coming out of the hut, Electra takes a jug and goes for water. The farmer goes to work in the field. When an electra and farmer are removed from the orchestra, Orest with Pi-Lad appears on it (Character without words) and several servants accompanying them. Oresting Oracle Apollo, Orest, accompanied by Piland, comes to Argos to punish the killers of his father. He has already heard of the sister's marriage and now wants to find her to attract to participate in his plans. However, at first, the Orest does not call himself an electric, and the appearance of electric with a jug with water on his shoulder makes Orest and his companion to hide. The monodia of the electra, which Orest hears from his shelter, opens to him who is in front of him.
The choir of Argos girls is included and invites the electrician to take part in the holiday of the gera. She refuses, referring to the fact that he continuously grieves about the dead father and about living brother, wandering, like a thief, somewhere in someone else's land. She points out that her clothes are in rags, and hair in disarray. Orest comes out of his shelter. Frightened girls are ready to run away from an unknown alien, but, referring to Elektra, Orest gives himself to the ambassador from her brother. Hearing that brother is alive, Electra in his

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the queue tells the imaginary messenger about his marriage and about his life. The farmers appeared on the orhestra, having learned from the electra, that aliens - the envoys from her brother, welcoming the travelers to themselves, but he had no treats at home, and the electra is confused by this. She convinces her husband to go rather to the old uncle Agamemnon and take the supplies from him. The old man himself brings an electra lamb and another food and tells that he had just been on the grave of Agamemnon and saw the traces of the sacrifice. He found on the grave and curl of gold hair. Was it ourselves it was on the grave? The old man asks the electric to attach the curl to her hair. One could compare the trail of sandals. But Electra says that the hair of a man engaged in the pallet exercises cannot be such gentle as a girl. On the stone of the same traces there is no, but if they were, they still can not be the same size of his brother and sister's legs. Here is clearly felt

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tick \u200b\u200bof dramatic techniques of Eschil. Evripid recognition is happening otherwise: the old uncle recognizes Orest on the scream under the eyebrows received by Oest in childhood, when he fell, chasing once with his sister for her chick. Having learned each other, brother and sister decide to revenge Climetre and Egisfu with the assistance of uncle. The first dies, like Eschil, Egisf. Orest affects him during the sacrifice in the garden, outside the city. Bulletin describes this murder with painful and lowest details. Electra rejoices at the same time. When the corpse of Egisfa brings to the orchestra, it exposes the defeated enemy to the ruling. Now the queue for the cliques, which Electra caused a deception, informing her that he had already had the tenth day, as she gave her grandson. Orest is horrified, hearing about the mother's approach. He does not know how to raise the sword on her. It seems to him that some evil spirit, speaking under the guise of Apollo, gave it a terrible command. Electra encourages orce, and it is removed in the hut.
A rich chariot with cliques is entering the orchestra. But in "Elert", this is not at all the stunning woman's cruelty woman, which paints Eschil in Agamemnon. Eschila Climennessers is not ashamed of his crime and herself reports to the people. Evripid is afraid to seem to the eyes of the Citizens of Argos, as it knows that she hates her. According to her, she was ready to forgive Agamemnon the sacrifice to them the sacrifice of infigration, if he had forced to do it for the sake of salvation of the Motherland or his home and other children. But the infidencies were sacrificed for the sake of vicious Elena. In addition, with his return from Troy Agamemenon brought the captive, Kassandra, and began to keep two wives. She killed her husband, referring to the help of his enemies, and thinks that he deserved death. Electra gives a sharp consumer of the mother, accusing it in the fact that she destroyed the most famous person in all of Eldead. The pretext was the desire to take revenge on Agamemnon for the death of his daughter. But she, an electra, like no other, knows his mother. Even before the sacrifice of infigration, barely only Agamemenon left the palace, the mother was already sitting in front of the mirror and laid his blond curls. What would she have to exhibit his beauty outside the palace, if she did not strive for another? In addition, she was one of all the Greeks rejoiced to the successes of the Trojans and was upset by their failures. Because of his passion, Egisfu did not want to return Agamemnon from under Troy. If the murder should entail the retribution and kara for the killer, then the children are cliques, mushy for the death of their father, betrayed her death. Cliqueness calmly responds to the accusation of electric. This calm is explained by the fact that after issuing a daughter married a poor agriculture and removing her from the Palace of Climetra, there is nothing to fear the electricity; A boy born from such a marriage cannot become a contender for royal power. The dispute stops, and Eletra invites the mother to enter the hut. Soon because of the scene there is a cry of a clique leaning about mercy. From the hut, the soles and electra are spattered with blood and communicate the chorus about how the murder itself happened. Just like Eschil. Cliqueness exposes his chest. But there are other details: Cliqueness is crawling on his knees before the son - and Orest drops his sword. Raising

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his, he hides his face in the folds of his raincoat and immerses the blade in the mother's chest. Electra says that she together with his brother raised his sword.
Castor and Pollux appear in the embroidery - Dioscury Dioscury Dioskuri Dioskuri (Zeusov "), Brothers Climers and Elena. Interestingly their judgment of revenge, implemented by the orette: Cliqueness was worthy of punishes, but not from Ores. Further, the twins of the Daizkuri express judgment about Apollo:

About Apollo
How about the king my own, I will sile
Ile to break the mind can not wise? one

Now the ore needs to obey fate and Zeus. He must give the electro for the piland. After killing a mother himself, he himself can no longer stay in Argos: it will be driven by terrible casters 2. Having come to Athens, he will have to fall to the sacred idol Pallad. She will protect him from the persecution of Erinia. Orest will be justified by the Court of Areopaga and then settle in Arcadia by the Alpharey. Choir asks Dioscurov, whether it is possible to contact them with the word. Orest asks about it. Dioskurs allow the chorus and even the desecrated murder of Oestus ask them:

Apollo Will Val
And blood and evil 3.

The insidious question follows:

You are gods, and brothers were
Killed wife ...
Why didn't you save it from Ker? ..
- Heavy Mlat of Fate Socked
Houdua speech for the trunks 4 -

replies Castor.
After these words, Electra and Orest say goodbye to each other, and the Daizkurs go to the Sicilian Sea; - Save the sailors from the storm. Recent words are probably a hint of a Sicilian expedition.
The tragedy, which begins in the atmosphere of some bucolic environment, ends like Eschil and Sofokla, terrible bloody revenge. In the implementation of it, as well as in Sofokla, electra is played by the main role. She rolls out immeasurably more cruel and vengeful than Orest. Electra Evripid is a more effective character than both of its predecessors. And this is understandable, since the euripide of the Orest from the very beginning is configured against the order given to him by Apollo to kill his mother. Eschil in his "Oreste" puts and solves the question of the struggle between father's and dying maternal law. Orest is justified by the Human Court of Areopag, after he was challenged and pursued by Erinia. Sophokl in his "electre" gives the tragedy of retribution committed by the Son for the terrible crime of his mother, and does not even put the question of the guilt of Orest: the latter performed only the beer of Feba. As for Evripid, he definitely wants to emphasize all the monstristence of the crime of Orests in his tragedy. Describing the murder of cliques, Euripide even as if deliberately thickens paints, applying purely naturalistic descriptions of the description to make the crime even more disgusting. Orest thinks

1 Euripid, plays, p. 277.
2 KERS - the goddess of death, as well as the goddess of retaliation.
3 Euripid, plays, p. 278.
4 ibid, p. 278-279.

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not angry with the Spirit instead of Apollo commanded him to make it a truly terrible thing. The doskours are already directly criticized by the command of the fub, calling it "unreasonable." Although Kara Klistemes and is valid, but still not the Orest should have judged her. This motive is in the future repeated in the tragedy "Orest", where the father of CliMenestra, Tindar, dramatically condemns the bloody violence at least for how terrible crimes. Evripid reveals a kind of rationalism in the approach to the myths itself and transfers the center of gravity to the question, whether the right of the Ortest to kill his mother, - and, on the basis of the ethical norms of his time, gives it a negative answer.

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In the "Electra", the desire of the playwright in sympathetic features to portray the old ARGOS is clearly felt. All the cute characters of the tragedy - the uncle of Agamemnon, the farmer, the girl of the choir (not to mention the Electra and Oreste) - all the original Argos residents. Maybe this affects the desire of the poet to emphasize the need for an agreement between Athens and Argos for the success of the Sicilian expedition.
True, in Trojanka, Euripid expresses his negative attitude towards this expedition, but, since she began and lasted and continued for about two years, he could not not think about her successful completion.

"Orest"

The tragedy was put on stage in 408 in its content, it is a continuation of the "Electra". The action of the play takes place in Argos, in front of the Palace of Meal, for the sixth day after the murder of the Clique. From the Electra, serving in the Prologue, the audience will learn that Orest is experiencing terrible torment: he does not eat anything and does not refresh the body by abyption. At times they attack him madness. After seizures, Orest usually falls asleep. So now - Orest is sleeping, and Electra is sitting at his headboard, fearing to wake a brother. It is possible that the curtain was applied in this play, which was hid at the beginning of the electra and oriest from the public. But the Orest wakes up, and this time, in front of the public, he again begins the fountain of madness. When he passes, Orest believes Apollo for pushing him to the unholy act.
Meanwhile, the fate of Orestes and Electra in the People's Assembly should be decided on this day. Father's Father Climet, Tindar. He insists on led by both the death penalty. However, Tindar condemns the cliqueman for killing her husband. Meneli, presented in the play by a coward, does not want to interfere in this case and to help Ores and Electra. Pill comes, decided to divide the fate of his friends. He carries Orest, who cannot move away from weakness, to the people's assembly. Orest and Pill are returning from the National Assembly, which awarded Brother and Sister to the death penalty. In the development of action comes a fracture. If the play has been deployed through the household drama line, now the tragedy becomes the features of the adventurous plays. Electra, Orest and Pill decide to take revenge on Elena for all that evil, what she causing Greece. Orest and Piland will now have to penetrate the palace, hiding swords into the folds of the raincoat, and there to kill Elena. After that, they will capture Hermione, the daughter of Meal and Elena, and, bringing swords over it, will require melani, so that he will give an oath not to pursue them for the murder of Helena. Ores and Pilat can capture Hermione, but then the tragedy turns around, in essence, tragicomedia. From the palace runs frightened to death Frigian slave - Eunuch. From the story of this comic character, viewers learned what exactly happened in the palace. At that moment, when Orest and Pill swung on Elena's swords, she mysteriously disappeared somewhere.
The last scene probably was very spectacular in the spectacular relation

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sew. On the roof of the Palace Orest and Pill hold swords over Hermione. Orest demands from Menel, who is below, guarantees that they will not be committed to death. Their excited explanation interrupts Apollo, which announced that Elena is taken to heaven and became a new constellation. Meneli must take a different wife, and the Orest goes to Athens, where the gods will judge him on the hill of Ares. He will receive Hermione in his wife, and the pendant marries Electra. Apollo cums his speech with a call to honor the goddess of the world - the most beautiful of all the goddesses.
In Oreste, Euripid still performs a subtle connoisseur of the human soul. The suffering of mothers and experiences of the electra, caring for their brother, are very bright. But this tragedy decreases to the level of household drama. Here we are before us, who asks the Electra to make the inspired by the grave of CliMenders. She herself does not want to go there, afraid of hostile attacks from the people.
But at first she does not want to send there and her daughter, as it is inconvenient to let the girl in the crowd. In "Oreste", besides, the desire to make an adventurous element in the development of action, and at times to give tragedy some melodramatic traits, for example, in the episode with the seizure of Hermione. All these features will meet later in the new household comedy, which borrowed them just from the theater heritage of Euripid, which produced very effective in the changed historical conditions.

"IFIGNATIONS IN AVLIDE"

The plot of this play is based on a famous myth about the sacrifice of Agamemnon his daughter infigatory. Euripid made some changes to the traditional myth. He introduced the role of Achilla and strengthened, and maybe he introduced the role of cliques. But the most important change touched the image of the heroine. And epic poets, and, in all likelihood, Eschil and Sofocl represented the sacrifice of infigration as a violent act. Euripide also portrayed her going to death voluntarily. The text of the tragedy reached us in a strongly spoiled form. Apparently, the Euripid himself did not have time to finish it, and "Iphigenia in Avlida" was improved and put on the stage after the death of the playwright of his son, also Euripid. At a later time, this play was subjected to further changes. Despite the poor condition of the text, it is not doubtful that the basis of the play itself is purely Euripid and that this tragedy should be attributed to the number of its best works.
The action of the tragedy begins before sailing in Avlida, from where the Ahase system should swim on Troy, near the campaign Tent Agamemnon. Unlike those of Euripide, where the drama proller is given in a monologue with one of the actors, the Prologue to "Iphigenia in Avlida" is dramatic. From the Agamemnon dialogue with an old slave, the audience was recognized that some time ago the king wrote a letter to the letter with the orders to bring in Avlidu IFIEND to issue her marry Achilla. However, marriage was only a pretext. In fact,

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by blaming the evidence of Kalkhanta, Agamemenon should bring infidency by Artemis. But now he has changed his decision and wrote a new letter, in which he asks his wife not to come with his daughter in Avlude. Transfering a letter to the old slave, Agamemenon tells him to go on the road and give a letter to CliMenestre. A parel of choir, consisting of chalkid 1 women who appeared to look at the Greek camp. The first part of the parquare gives a picture of the life of the Greek mill, the second - contains a list of ships that went to Troy 2.
Meanwhile, the letter of Agamemnon intercepts the scene of Meneli. Between the brothers, already in front of the audience, there is a stormy explanation, accompanied by mutual reproaches. At this time, the Bulletin appears and reports Agamemnon that the cliques with the Iphigenia and the baby's orent arrived at the camp. Agamemenon and Meneli are suppressed by this message. Menelai repents in the most obsolent words. He suggests to dissolve the army and leave Avlidu. Answer Agamemnon sounds tragic hopelessness. He praises his brother's words, but he says that the need forces him to make a brutal murder of his daughter: the promise to sacrifice the sacrifice know the evidence of Kalkhant and Odyssey, and through them about the progress recognizes the army, and it, killing Agamemnon and Meal, will still bring infigracy in Sacrifice.
After the song of the choir, glorifying those who are moderately and chastely by the gifts of Aphrodite, as well as remembering the insane passion of Paris and Elena, chariot enters the orchestra. It stands on her cliques, in her hands she has a sleeping Orest (face without speeches), next to her - Iphigencies. To meet them from the tent surrounded by the warriors Agamemenon. The scene of Agamemnon with his wife and his daughter occurs strongly at its truthfulness and theatrical expressiveness. The love of Iphigenia to the Father and the joy of date with him is perfectly shown. On the contrary, Agamemenon confused and depressed this meeting. A number of replicas pointing to his serious mental state, he takes to the side. Some words are distinguished by ambiguity. So, he tells the daughter that they are waiting for separation, meaning her death; Iphiya thinks the father is preparing her marriage. After sending a daughter to his tent, Agamemnon asks for his wife to return to Argos and take care of daughters; A woman is indecent in the camp, among the troops; He himself will raise the marriage torch of infigration. Cliqueness is responsible for this decisive refusal; She, according to custom, will be present at the daughter's wedding. Cliqueness goes to the tent. Agamemnon is removed towards the mill, wanting to consult with the prisoner of Calkhant. There is an extremely painful situation. What will Agamemenon will do now, who could not send back to Argos his spouse? Will he be able to resist the troops when the victim is ready? How will the deceived cliques behave? What will Ahill take, whose name is so injured? Achilles and cliques at the same time recognize

1 Halkida is the most significant city of Evbei in the Strait of Euryip, against Amida. 2 This list of ships is considered later interpolation, representing the imitation of the II oriadi song.

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about the deception of Agamemnon. This is given in a living scene, not deprived of some comedy raid. Ahill comes to find out by the king, when finally the Greek army moves to Troy. His warriors raise Ropot: they demand that Ahill or Troy led them, or let go home. Achilla's voice comes out of the climes Shatter. She calls himself and, when Achilles wish to leave, hesitantly stretches his hand. But Achille does not decide to touch her hand, this does not allow him a decency, as she is Agamemnon's spouse. "But you watches my daughter," the queen objects with surprise. The amazed Achille says that he never watched the infigration and have never spoken the atrides with him about this marriage. Cliqueness is amazed by Achilla's response. The old slave, released from the side door of the tent, opens the cliques the whole truth. Cliqueness begins Achilla to save the infigration. Achilles indulges on Agamemnon for the fact that for the sake of his deception used his name, however, from pity for the Clique and her daughter, she promises to save her infigration, but gives advice to first try to persuade Agamemnon not to sacrifice the daughter.
It comes one of the strongest and scenic of expressive moments. Climer comes from the tent. From her words, the audience will learn that she has already told the infigration about everything. Agamemenon appears from the right piece. He still continues to lie and talk about the upcoming Wedding of Infigration and Achilla. Then Cliqueness causes his daughter from the tent. Leaves dressed in a marriage dress crying infigration; She leads with me orie. Cliqueness asks Agamemnon, does he not think to kill his daughter. At first, Agamemenon tries to escape from the answer, but then forced to confirm that he is already known to his wife and daughter. Cliqueness persuades Agamemnon to abandon his intention. Why kill your own daughter? So that Melani got back to Elena? But how can I have a slutty woman to redeem the price of your own children? In the speech, CliMenestr also contains a hidden threat to revenge Agamemnon (Art. 1178 and the next). Then it follows the Iphigenia itself. This is one of the best scenes in the whole tragic heritage of Euripid.
The magical mouth of Orpheus 1 is not given, my father, your daughters, so that the rocks are crowded around her and the songs of the people rushed ... Then I would say, but Nature judged me one art - tears, and this gift I bring you ... 2.
Iphigencies recalls the time when she was still a baby. She first told him "Father", and he is her daughter. She climbed on his knees. He walked in the future to see her happy bride. She remembers all the words of the Father, and he forgot everything and wants to kill her. But Agamemenon does not answer her and does not even look at her. Iphygenia asks for a gentle look at her and kiss, so that, dying, she could carry a memory of this caress, if you can't hurt her words. She appeals to the help of Orest, who silently beg the father. Both of them touch the face

1 Orphea-mythic singer who tamed his singing wild animals and driving trees and rocks.
2 Euripid, plays, p. 420-421.

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Agamemnon. Her plea is completed by such words:

What I still think up to say?
For the mortal gratifying the sun,
And underground so scary ... if anyone
Does not want to live - he is sick: the burden of life
All flour is better than the glory of the dead man 1.

Showing the daughter of all ships and army, Agamemnon responds to her that the Greeks are impossible to take Troy if the infigration will not be sacrificed.

No mellius
Like a slave, doing ... Allada tell me
You kill you ... She is your death,
Want if I don't, she doesn't care;
Oh, we and I are nothing in front of Ellosa;
But if blood, our whole blood, child,
Need her freedom to the barbarian
In it did not rear and not dishonor
Atridge and daughter atridge will not refuse 2.

After these words, Agamemenon leaves.
The next episeodium shows the nutrition at the time of the highest heroic lifting when it matches the decision to give his life for the glory of the fraud. Achille appears at the head of the Armed Warriors. He informs Klistener about the mute, which began in Greek troops, which requires that the infigration led to the mortgage; He came to save the infigration, but he will have a cruel struggle. Hearing these words, the infidencies interfere in the conversation. She refuses the help of Achille, saying that he would still die without benefit in the fight against his friend. She has already decided to die for the sake of the Glory of Eldla, and her death will be car for the Trojans. If Artemide is pleased with her death, then she does not fit to argue with the goddess. The solution of infigration to donate his life entails a complete change towards her Achilla. Up to this point, protecting the infigration, he was headed only by a sense of pity and indignation on an unworthy game by his name, now that he sees a relative soul in front of him, he is experiencing a hot desire to call the infinity of his wife. He wants to help her and take it into his house. Iphigenia is responsible to Achille that she firmly decided to save Ellad. Achilles calls the solution of infidation noble, her feelings testify to the courageous soul. Now he leaves the idea of \u200b\u200bthe immediate protection of the girl from the Ahasey troops, since her will to self-sacrifice is insurmountable, and goes, saying, however, that if there, at the altar, Iphigenia will change his mind and the heart thrown it, he will help her with his people.
Iphygencies appeals to the mother asking not to wear on her mourning. She is happy that Ellad saves. She last hugs Oreste and asks her mother not to eat to the father of hatred for his act. Then follows the scene of the tragic dance that the infigration performs together with the choir. In this dance, as it were, the rite of the upcoming sacrifice is depicted. Iphigenia sings that she is the winner of Troy. Saying goodbye to life, she famous the goddess Artemis and asks it to safely deliver the army of the Greeks to the Trojan Earth. Having finished its ritual dance, the yehibries goes to the scream.
Exodue reached us (the final part of the tragedy, "Exodus") contains a story of a messenger who has witnessed the sacrifice. Herald talks about the miracle that happened at the very moment of the stamp. In the meadow, near Alta-

1 Euripid, plays, p. 422
2 ibid, p. 422-423.

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rya, lying, shuddering, Lan, from which blood flowed, the philiation was miraculously disappeared. After the story of the messenger, Agamemnon comes, who tells the cliques that the infigration lives now among the gods.
Currently, it is generally recognized that this outcome could not be written by Evripid himself: in addition to mistakes in the language and poems in it, contrary to art. 1337-1432, a very active role in the rite of sacrifices of infigration is given to Achillu. Exode was written by some scientist Byzantine. A few poems stored by Elian 1 pointing to existence in ancient times of another outcome in which Artemis appeared and reported Agamemnon or Klistener that she was replaced during the sacrifice on the altar of Lanu's infigration. However, it is not known whether this exode belonged to Evripid himself or was written later.
In this tragedy, Euripid gave a bright, unforgettable image of a girl who sacrifice for fragile. And what is all wonderful, he with an amazing artistic convincing showed the growth of heroism in infigration. At first in front of the viewer - a tender girl, almost a child. She brought with him only love for his father. She would always like to be with him and therefore naive asking to leave the war and return to Argos. And when she finds out that she will have death, she as touching and naively asks to spare her. So it is gratifying to see the sun and so scary to die. What is her deal to Paris and Elena! But then an authentic heroine grows in front of the audience from the tender girl. Refusing to the help of Achilla, Iphigenia says Mother that she survived a lot in his soul. All Ellad looks at her. In her death - everything for Greeks: and the passing wind and victory over the Troy. And the war of the Greeks with the Trojans itself is represented by the struggle of Greek freedom with Trojan slavery. Thus, Paphos of Love to the Father goes to Paphos of Love to Motherland. And the playwright did not silence against the psychological truth: it is in young and clean authors like infigration, such spiritual transitions are performed rapidly and violently.
The remaining characters of this play with many features of their character are reminded by medium-sized people - European contemporaries. These are Agamemnon with its constant spiritual fluctuations, with its ambitious ideas and very low diplomacy to achieve them, with his lies in relation to Cliquenestre and Infigration. In a dialogue with Menel, speaking of the inevitability of the sacrifice, he points to the fatal confluence of the circumstances: the yofening will be pulled out even from the walls of Argos. In the scene with her daughter, when she begs not to kill her, another motive sounds: Ellade requires death of infigration. And the Father is obliged to submit to this requirement. In Agamemnon's litters, these words are somewhat unexpected and the transition to a new understanding of their debt before the ellosa is not quite motivated. The voluntary solution of the IFIEND, which makes not only a patriotic feat in the Phallinskie sense, but also a feat of subsidiary love, takes away from her heavily father all responsibility for her death. In that negative characteristic that

1 Claudian Elenian - Writer II century. n. E., Italian by origin, writing in Greek.

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ruya gives Agamemnon Meneli, there are undoubtedly some features of modern playwright of demagogues.
Meneli is also an ordinary person, then frankly selfish, then repent of its egoism. He owns an extraordinary eloquence and says a skillful indictment against Agamemnon, not to mention, however, no word that he himself is a stakeholder and that the main aspirations are aimed at returning to Elena. The main dramatic function of the image image is sharp to emphasize the helplessness and the lack of accuracy of Agamemnon. After the first episeodia, Meneli disappears and no longer appears on the scene.
Cliqueness is not reminded by the superhuman image of the tragedy of Eschil. In normal life conditions, it retains even royal dignity. But when the misfortune disappears on her, his whole pride disappears, and the audience just suffering from a woman who rushes to the feet of Achille with a plea to save her daughter. Yet in the tragedy, hints are slipped at her future revenge of Agamemnon.
You can agree with I. F. Annensky that "Achilles is the most pale of the Pieces" 1. He reminds little of that Hero, whom we know in "Iliad". In his speech, in which he comforts the Clique, a lot of rhetoric, resonance and some dozen everyday experience. In the nobility itself there is something cold. He himself speaks about himself (Art. 919 and the following) that sadness and joy are moderately concerned with the soul and that his mentor is a mind. But his teacher Centaur Chiron brought up in it to direct the soul. He believes that the cliques and her daughter caused an inexpressible suffering, and is ready to fight for disgusting him, as far as the strength is enough. In this place (Art. 933 and the following) it sounds sincerely, and anger against Agamemnon and the oath will prevent the sacrifice of the infigration to be reminded by their passion of epic Achilla. In the dialogue with Iphigenia in the fourth episcodia, when she declares her willingness to die and refuses the help of Achille, again the cold nobility of the hero appears to the fore. He praises with infidency for the fact that she sensibly judged, following his debt that he could not object to her decision, and removed, promising again in the event of his help at the altar. In the whole stage, Achilles filed rather pale. In this tragedy, the effect of sophistic philosophy is felt in this tragedy, his nobility is based on its rationalist and good harmony with the desire of Achilla to develop peace of mind. The seal of the Spirit of Time lies on this character from which Epos did an embodiment of heroic wholeness at one time.
In "Iphigenia in Avlida", a different attitude of the playwright to the Trojan War was noticeable than in the previous plays of Euripid - "Andromache", "Heekube". "Trojanka". It is now becoming the first link in the long chain of the clashes between the Greeks and Barbamas, turning into a large Phallin enterprise to liberate Greece and the overthrow of the Trojan arrogance. In the play, the idea of \u200b\u200bthe justice of the domination of the Greeks above the barbarians is expressed, since the Greeks -

1 "Theater of Euripid", vol. III, p. 18.

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free people, and barbarians - the people of slaves. In such a revaluation of the Trojan war, it is probably likely to influence the modern poet of political events. Perhaps, Euripid by the end of the Peloponnesian war began to experience concerns that the mutual exhaustion of Athens and Sparta will lead to the enhancement of Persia. In emphasizing the superiority of the Greeks over the barbarians, it is possible that the indirect censure of both warring parties, each of which sought to attract the Persians to his side, that is, to make judges in their affairs just those of the most barbarians, with whom the Greeks once fought the victorious.
In antiquity there were many works of fine art dedicated to the sacrifice of infigration. Since the exodes of the tragedy reached us in a strongly spoiled form, it is difficult to say to what extent these works have their own euripide play. The drawing of one of Pompeysky frescoes rises, in all likelihood, the film of Timanfa famous in ancient times (the beginning of the IV century BC). On this picture that did not reach us, according to the testimony of the ancients, the sadness of Calkhanta is perfectly shown perfectly, and Agamemenon is depicted with a head covered with a cloak hiding their sorrow from foreign eyes.
The tragedy of Evripid "Iphigenia in Avlida" was subsequently subsequently subsequently the Roman Mistorate of Annie (see below). He occurred to him the original idea to replace the choir of women by choir soldiers, complained about aimless stay in Avlida.
In 1674 he wrote a "infidency" Rasin. In the preface to the play, he said that he could not finish her or the murder of a virtuous girl nor the advent of the goddess by car and the transformation into which they could believe in ancient times, but in which no one would believe in our days. Therefore, Rasin introduced a new character: Eraphila, daughter of Tene, a rival of infigration, seeking love of Achilla, and an intrigue. Oracle Calhanta falls on it, and she herself cums up with him on the sacrificial altar.

Satirovskaya drama "Kiklop"

This is the only of Satirov drama that has come down completely. Only on the basis of the "cyclop" and "trackers" of Sofokla, significant excerpts from which the Oksinkh Papyrus retained us, found in 1912, can be obtained an idea of \u200b\u200bthis dramatic genre of ancient Greece.
The date of the "Cyclop" is unknown to us. The opinions of scientists on this issue differ greatly, but some of them determine the date of production approximately between 428 and 422. It is also unknown, in which the tetrallium it was this play. The plot of "Cyclop" is borrowed from the IX song "Odyssey". However, Euripid changes somewhat compared to Homer. So, in "Odyssey" the country of Kiklopov is not named after and inhabit them somewhere on the edge of the world. Euripide also transfers the action in Sicily. In addition, Homeric Kiklopa is very far from human appearance, and Euripid has a number of purely human traits. Euripide, in addition, introduced a new character in his drama - Satir's father, Silena.
The drama action takes place on the seashore at the foot of the ethna, before the cave

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Cyclop. In the prologue, Silen is speaking, telling about how he and his children, satires, were captured by Kylishop. Having learned that Dionysis was kidnapped by Tirren pirates, Silen and his sons are sent to the search for God, but the storm brings them to Sicily and they capture to Kiklop. In the parel on the orchestra, before the cave cyclop, satires, driving sheep and goats appear in the fence. Paroda choir, representing a kind of working song, is distinguished by amazing ease and grace. Singing was accompanied, obviously, mimic movements showing how satirs are trying to drive herd to the cave. In the long epode, there is opposed to a happy past when satir served as their Lords to Dionysus, and severely real when they are in slavery in Kylishop. Since the choir was supposed to stay on stage, then the work of Satirov ended, obviously, an additional sorny choir from servants, which satire and ordered to drive the sheep under the cliff arch (Art. 83). Silen suddenly sees that the ship is stuck to the shore. Included Odyssey with his companions. They are looking for edible supplies that they have completely on the outcome. Odyssey hangs fur with wine by shoulders. He calls his name to Silen, says that the opposite wind nailed him here upon returning from under Troy, asks for the country's inhabitants and their inels. Odyssey asks Silena and Satirov to sell them food. He gives Silen fur with a wonderful wine, and he greedily begins to drink. Satira, in turn, ask Odyssey about the fate of the beautiful Elena, holidaying at the same time several indecent comments on her account.
Food baskets are already taken out of the cave, but they cannot take them to Odyssey, because at this moment the scary owner of the cave is returned. He takes Odyssey and his companions for the robbers who wanted to kidnap him well. Silen from the cowardice confirms the guess of the kilop. The satirs themselves are indignant by the shameless lies of their father. In the complete dignity of the speech Odyssey asks for the kilopa to provide hospitality with the unfortunate woofers. At the same time, he refers to the fact that the gods themselves prescribed the law of hospitality to people. But on this burona, the conveyed speech should be a rough answer of the kilop. He says that he has no way to gods, he himself does not consider himself weaker Zeus, and for the wise there is only one God - wealth. Kikill even develops a kind of everyday philosophy, the meaning of which comes down to the fact that it is necessary to settle in every way, his womb. He forces Odyssey and his companions to enter the cave, intending to eat them. A little later, from there, the Odyssey runs out in horror and tells the chorus about the death of the two satellites. He tells Satyram his revenge plan, which is to buy an eye to Kiklop's eye burned on fire, and convinces them to help him in this matter.
Cyclops appear from the cave. Having tasted the satisfying lunch, he came to a good mood. He asks Odyssey about his name and receives in response, like Homer: "Nobody." It follows a very live comic scene. Kickles all the time applied to the cup with wine that gave him Odysseus, but the same very deftly spends both Silen, using the vitality and intoxication of the kilopa. Completely oxane kickstop goes finally in the cave

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and he captures Silena with him, going to enjoy unnatural love with him. Such a kind of obscentness was, apparently, an integral part of Satirovsky drama, as it can be judged by the reviews of some ancient writers. Finally, Kiklop falls asleep in his cave, and an hour of revenge comes. But cowardly satires with comic horror refuse their promise. Odyssey has to fulfill a conceived matter. A little time from the cave runs away kicks with a bloody face. Without a doubt, the actor who played the role of kilopa changed his mask before this scene. Odyssey opens its real name to Kiklop. Satires congratulate each other with the fact that now they have no other master, except Dionysus. Thus, the drama, starting by the name of Dionysus, returns again to him.
Euripid made a bright comic character from a terrible polyfem. I had to recycle the image created by Homer. Evripid's kikop thought somewhat. Although it is still a terrible giant, thickening on his bonfire of trees trunks and filling a huge crater out of ten amphors for his meal, but still it is no longer the wild dewenk "Odyssey." Evripid's cycles is distinguished by chatter, he knows something, for example, about the abduction of Elena and about the Trojan War; He is not even a mind poflocher. It can be thought that in the image of the cyclopa, a caricature on the degenerate representatives of sophistics and rhetoric was given, which, having made the extreme conclusions from the position of the protagon on the relativity of human knowledge, began to argue that a separate person himself establishes that it is for him the truth, law and the norm of social behavior. From here there was one step before the preaching of the naked peculiarity, which is not considered with any public institutions. It must be said that such views did not remain only in the sphere of abstract reasoning, but penetrated into politics, meeting sympathy among supporters of the oligarchy. On this side, the play not only amused, but also acquired certain satirco-accurate features.
Father Satirov Syilen, Lyun, Coward and a drunkard, ready for the cup of wine to give all herds ready to give all the herds of Kiklopov in the drama. The cowardice is connected in a sillena with unrestrained lasty and serving towards Kiklop, which are a living comedy expression. When Kiklop says that he was already enough for meat of lions and deer, but for a long time he did not eat human meat, she helps it hard that the same dishes were annoyed for every day and a new dish in this case is very nice. Odyssey retains all the advantages of the tragic hero: he remembers his merits under Troy and considers shameful to shy away from dangers. With his serious tone, it is perfectly contrasted with an ironic attitude towards the events of the Trojan War of Silena, Satirov and Cyclop, who calls the war because of one woman shameful. Satir's Choir takes great part in the development of the play. It is very moving and expressive even at the moment when evading the help of Odyssey, that is, from the action: the chorals begin to chrome and clutch their eyes, complaining that they were filled with somewhere dust or ash.
"Kiklop" demanded three actors for his performance.

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The importance of the dramatic activity of Euripid

Almost all euripide tragedies came to us were written during the Peloponnesian War. With her start and revealed the overall crisis, in which all the contradictions of the Hellenic life were performed with full force, the rebellion of slaves, the aggravation of the struggle between the supporters of democracy and the oligarchy, clashes within the democracy itself between its right and left wing, as well as complication relations between Athens and their allies. It is quite natural that this crisis has manifested most of all in the forefront of the Greek State - Athens. The social crisis is reflected in the field of spiritual life of society. The usual views and the concept of society are destroyed or questioned: religious, philosophical, legal. Vera fluctuates in the old gods, in philosophy many sophists defended the principle of subjectivism in morality, from which other makes extreme conclusions. The right of severe proclaimed as the basis of the activities of a separate personality. Interestingly, this principle was also often postponed to the policy; So, based on it, the Athenians, as Fukidide repeatedly testifies to, justified their domination over the allies. A long war spent at times in Athens society a sense of fatigue and desire of the world. This feeling was especially covered by peasants whose fields were systematically devastated by Spartans. The war spawned a strong fiercely against a friend of fighting parties. Movement among allies was suppressed by the Athenians with cruelty, not justified by considerations of state necessity. Fuchidide has repeatedly spoke of a dullness of a feeling of pity and about manifestations of extreme fierce during the war.
Some of these contradictions of modern Euripid of life were directly reflected in his works. In a number of his tragedies, a hostile attitude towards Sparta sounds clear. All contemporaries well understood that the "Trojanka" depicts disasters generated by the war. Euripid was not afraid to condemn the cruelty of the Athenian in relation to the Union Island of Melosu. In the "pleading" with great art defending democracy against tyranny. If you remember that during the Peloponnesian War - especially in the second half - the lively activities of aristocratic secret communities launched, it is impossible to not recognize these disputes on the form of government very relevant for that time, and moreover, not only for Athens.
However, by the very property of its dating, Euripid is more interested in the spiritual world of his heroes. The dramatic activity of Euripid is closely connected with the new direction in philosophy (the poet remained, however, free from the extremes of sofics with its arbitrary game of concepts) and in general, with the cultural life of Athens the second half V c. Following this area, Euripid seeks to transform Athenian tragedy, make her descend from ideal heights to the world of everyday life. The sound of a heroic topic in the tragedies of Euripid is reduced, however, attention to the psychological world of man and the phenomena of his surrounding life increases.

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The above was already given testimony of Aristotle, which is as if sofocl himself, evaluating the playwrith of Euripid, said that the latter portrayed people as they were in life. In the comedy Aristofan "Frog" in the mouth of Euripid, words are investing that he aims to teach the audience everyday affairs; It gives in tragedy an image of ordinary and everyday so that the audience could be easier to judge their own affairs. Of course, Aristophane sets out the views of Euripid on the challenges of the tragedy in a caricature form, but the fact that Euripide has put his task to reproduce everyday life, captured correctly.
Ancient Greek historian, writer and critic I. BC e. Dionysius Galicarnassky in the treatise "On the imitation" also attributes Euripud to the reproduction of life, exciting and its negative sides. "Sofokl as a picture of passions differed observing the dignity of persons. Evripid also delivered pleasure only truthful and corresponding to modern life, why he often went to the decent and elegant and did not fix, as Sofokl did, the characters and feelings of their actors in the direction of nobility and hill. He has traces of a very accurate image of the obscene, sluggish, cowardly "1.
Speaking about the image of a modern poet of life, it is necessary to make a reservation applicable, however, to all Greek tragics. Modern life finds their reflection through the mythological plot, which undoubtedly rolls the completeness of its image in the sense of the events themselves. The larger space was opened in the image of the characters and the world of the human experiences, and it must be said that Euripide reaches more perfection here compared to Sophocl.
In accordance with the views on the tasks of their poetry, Sofokl gave heroic characters raised over reality, Euripide in generalized images of his tragedies showed modern people with their thoughts, feelings, aspirations, sometimes contradictory in the same person, with their finest spiritual experiences . The myth for Euripid became only material or foundation that gives the opportunity to speak it to contemporaries. This euripide ability to give an in-depth psychological characteristics of its contemporaries, in many ways representing a living interest for us, makes it more intelligible and understandable for the modern reader. I. On the contrary, the proximity of the heroes of Euripid to life was outraged by some defenders of the old tragedy, which can be seen by the criticism of Aristophan in the "frogs". However, it can be assumed that contemporaries confused the skeptical attitude of the playwright to the old religion and myths. It is possible that there was a place of consideration and a political nature: during the period of severe military testing, it could seem dangerous manifestation of freightness in relation to such polls as traditional religion and old myths. With the analysis of individual tragedies, Euripid has already been indicated that the gods are derived from him in a number of cases in a very unattractive form. In non-

1 quote. According to the "History of Greek Literature", t. I, edited by S. I. Sobolevsky et al., M., Publishing House of the Academy of Sciences of the USSR, 1946, p. 416.

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the hero on the winged horse that came to us on the winner rises to the sky to find out whether there are gods there or not: who sees violence and evil on earth, notes Bellerofont, he will understand that there is no gods and that everything told an empty fairy tale (fragm. 286). True, Bellorofont is punished, he falls to the ground and breaks down, but the viewer heard in the theater of the essay of the same thoughts that the modern philosophy expressed him. Of course, Euripid was not an atheist in today's understanding of this word, but in his skeptical attitude to old religious beliefs do not have to doubt.
On the variety of characters derived by Euripid, about the stunning dramatic situations in which his heroes are, about the image of their subtlest experiences, when analyzing individual tragedies of the playwright. The faithful life faithful to his desire to reflect his life, Euripid was not afraid to introduce characters in the tragedy, acting by representatives of gross physical strength or personal egoistic aspirations. Such, for example, a face in the tragedy "Hercules" or Eurysfea in the tragedy "Heraklida", brutally pursuing his children after the death of his children, Meneli, derived by man low in the "Orest" tragedy, and others.
It would be wrong, however, without reservations to equate the tragedy in that kind she got in the hands of Euripid, to the household drama. Such characters like infidencies ("IFIGNATIONS IN AVLIDE"), Hercules in the tragedy of the same name, Ippolit, Penfa in "Vakhanki" and others are truly tragic. The decline in the heroic topic in the work of Euripid does not indicate the transformation of the tragedy into the domestic drama, although some of his plays are very much reminded.
The new nature of the Drama in Euripid often demanded new means of theatrical expressiveness that before it or not applied at all, or was applied much less frequently. First of all, Euripid began to apply in theatrical music of Lada, not used before, for example, "mixed Lida". The Lydi Lada was generally perceived as a plaintive, sorrowful and intimate. From this Lada, as from others, some derivatives of Lada were also built. Unfortunately, we cannot - because of the insufficient knowledge of the ancient Greek music in general - to appreciate the musical side of the tragedy of Euripid. However, she apparently produced a strong impression on his contemporaries, since new and more corresponding to the spirit of his plays of musical expressiveness was used here. In the Hellenistic era, solo arias and duets of soloists and choir from the tragedies of Euripid were performed separately.
The new content of the tragedies of Euripid demanded a new syllable. Indeed, this syllable in the dialogic parts and stories of the messengers is very close to the then speaking speech. Aristotle in Rtorika praises Euripid for making him speech from expressions taken from everyday life. Agons in which Euripid faces opposite opinions and aspirations so well, the influence of sofics and rhetoric is particularly pronounced. We have these speeches, however, it seems sometimes dry, rationalistic, knocking on "general places". Some of the contemporaries of Euripid, how much can be judged by attacks

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Aristophan, they seemed woven from intricacies, with which the individual characters of the tragedy tried to justify their bad acts, issued false and immoral for true and moral. But, on the other hand, it is not for any doubt that such speeches really liked people who went towards a new philosophical movement in the then Athens, perceiving sometimes and negative features of sofics and rhetoric (for example, convictions in opportunities and allowing the truth with the help of formal arguments or the falsity of any position). Big art discovers Euripide and in the use of the so-called poechomifia (a dialogue in which every replica takes one verse). These vehomaphy reaches greater theatrical expressiveness than the sofocla. We are amazed in them an extremely skillful mapping of various human experiences, tone passion, the ability to hit the enemy to the most sore place, psychologically excused inconsistency of the thought of this acting person, etc.
The spectacular side of the tragedies of Euripid, how much we can make an idea of \u200b\u200bthe text on the basis of the text of the plays themselves, it was closely related to the combination of events and with the characters depicted, was considered with the requirements of the scene and helped a more complete disclosure with specific theatrical means of the main idea of \u200b\u200bthe work. The spectacular part of the tragedies of Euripid includes some scenes that before it or not at all appeared in the theater in front of the audience, or were shown much less often. These include, for example, death scenes, the image of the disease, physical suffering, scenes of madness, mourning ceremonies, launching children to the scene, dressing the acting persons, showing the scene of the feelings and experiences of the in love of the woman, the junction of tragedies by applying the machine for flights or the appearance of gods and Much.
During the lifetime, Euripid, as mentioned, did not enjoy success. He was an innovator, striving and in content and in shape to bring his drama from the close framework, which took him along the tradition. This innovation was apparently unacceptable for many of his contemporaries. And indeed, during the lifetime, Euripid could not compare in glory with esshil, nor with sofokl. But barely descended to the grave, how eclipsed the glory of them both. Eschyl for the subsequent century becomes a majestic, but no longer understood by the giant of drama. Always admired Sophokl, but he was too attic a poet and fully belonged to the central age. He gave images perfect, which could not keep their meaning to the Hellenistic era, which places completely different demands to the drama. Euripid, artist, in whose work they found a brighter expression of realistic trends, should have conquered the fame in all the ends of the civilized Mediterranean world. Starting with IV century. BC e. And before the fall of the ancient world, Euripid admired and he was more studied than any other playwright. However, during the lifetime, Euripid found many imitators. He willingly imitate Greek, and later Roman tragics, quoted and comment on it and at a later time. Euripid had a great influence on a new attic (domestic) comedy.

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This is directly indicated by testimonies that are still from antiquity. The tragedies of Euripid were performed a lot of time after his death and in the countries of the East. So, Plutarch ("Crass", Ch. 33) reports execution in 53 BC. e. Under the courtyard of the Armenian king Artavazd II in Artaste, the passage from the tragedy of Euripid "Vakhanki". In the XVII century Much from Euripid Classicism playwrights. Creating its tragedies "Fedra", "Iphigenation" and "Androma", Rasin was under the strong influence of EURIPIDE plays. Euripide met a high rating at Goethe and Schiller. He was also fond of Byron, Shelly, Grillparter, Lekont de Lille, Verjn and many other poets. The full translation of the tragedies of Euripid (except for "begging") and the Satirov drama "Kiklop" gave an outstanding Russian poet I. F. Annensky, in love with the severity of Euripid psychologist and imitated him in his own original work (for example, the tragedy "Famir-Kyfharad" and others. ). The modern variation on the motifs of "Medele", Euripid gives "Medea" of the modern French playwright J. Anuy.

Eurypid (Greek. E? Syankazt, Lat. Euripides, 480 - 406 BC. Er) - ancient Greek playwright, a representative of a new attic tragedy, in which psychology prevails above the idea of \u200b\u200bDivine Rock. The last of the three Great Athenian tragics, the younger contemporary of Eschil and Sofokla, "philosopher on stage" 3.

Eurypid was born, according to his ancient "life ways", on the day of the Salamina victory in 480 BC. e. On the island of Salamine, where many inhabitants of Athens were evicted at the time of the invasion of Persians. However, such dating is questionable, as it indicates a desire to associate all three tragics with the Salamina victory. More reliable seems to date 484, noted in the "Paros Chronicle".

According to "Bestiography", Eurypid was the son of a simple venge of the Menarch, or Mnumbrid, and Vegetable Vegetables Clit. But this information is unreliable, as they are taken from comedy. In other, more reliable sources, he took place from a noble kind and even served at the temple of Apollo Zosteria

Education and drama

Euripide received a wonderful education, visiting the lecture by Anaksagora and Protagora, possessed the richest library and was a friend of famous philosophers - Socrates, Archel and Dit. An apparent participation in the socio-political life of Athens Evripid did not accept that, however, it did not prevent him from taking place on the most acute questions of modernity: most of the play of the playwright was written during the hardest Peloponess War (431 BC. - 404 BC .E.). However, initially Euripid was preparing to become a professional athlete, she was engaged in drawing for some time, but at the age of 25 he devoted himself to drama, putting the tragedy of Peliad (455 BC) at the festival dedicated to Dionysus. By the end of his life, Euripid wrote about 90 plays: 18 reached us completely, the rest were preserved in fragments8. The earliest of its reliably dated tragedies, "alkest", refers to 438 BC. The remaining 17 plays is written in the interval between 431 BC. and 406 BC: "Medea" - 431 BC, "Geraklida" - about 430 BC, "IPPOLIT" - 428 BC, "KIKOPO", " Hekaba "," Hercules "," Supils "- between 424 BC. and 418 BC, "Troyanki" - 415 BC, "ELEKTRA" - about 413 BC, "ion", "Iphigencies in Tavrid", "Elena" - about 412 BC, "Andromach" and "Phoenicianki" - about 411 BC, "Orest" - 408 BC, "IFIGNATIONS IN AVLIDE" - 407 BC, " Vakhaanka "- 406 BC. 9 Plum plots are taken from different mythological cycles, and 9 of them are associated with the history of the Trojan War. During the life of Euripid, 5 times participated in poetic competitions, but only 3 times received the first award in lifestyle10, and 2 times already after death ("Vakhanki", "Iphigenia in Avlude") 11.

Last years Evripide Dramaturgia Political

The unfavorable situation, which established for Euripid in Athens, forced the playwright to leave the native city in 408 BC, and after a short stay in the Fessel magnesia12, he accepted the invitation of the Macedonian king Archeli. In Pelle, Euripid wrote 2 tragedies - "Archelai" in honor of the legendary tremene, the mythical ancestor of his patron, the founder of the Temken dynasty and the first Macedonian capital of EG, as well as - "Vakhanok". In Macedonia, Euripid died at the age of 74 in 406 BC. In the same year, Sophocles, shortly before his death, honored the memory of Euripid in Proagay14 before the holiday of Dionysius in Athens. Athenians honored the memory of Euripid, putting him an empty tomb (Kenotaph) 15.

Political and moral aspects of euripide creativity

The works of Euripid reflect contradictory public sentiment in Athens of the era of the Peloponesian War. In several tragedies of the playwright, quite sharp drops are made towards the opponents of Athens. So, in Andromache, the king of Sparta Melai and his wife Elena and his daughter Hermione, who, treacherously breaking the Word, do not stop before killing Andromakhi's child, born from the son of Achille Neoplohem. Andromahi speeches, sending a curse on the head of Spartans, undoubtedly expressed the negative attitude of the author himself and its contemporaries to Sparta. Everyone was known to the cruelty of Spartans to the prisoner and to enslaved Ilota. In Oreste, Spartans are also depicted with cruel and treacherous people. Thus, the Father Climetra Tindar demands an execution of Ores for the murder of Mother to them, although it is known that Orest committed this crime by the will of God Apollo. Disgusting in his meanness and cowardice and mennel. When the Orest reminds him of helping his father Agamemnon in the war against Troy and asks support, then Meneli replies that it does not have the strength to combat the residents of Argos and can only act as cunning16. In the "senders" in the Iola statement on the face of heraklides, that they should never raise the weapon against Athenian as their Savior, and the accusations of the actions of Sparta and Argos in the first years of the Peloponess War are also obvious. In the same play, the relatives of the warriors who fell under the walls of Five at the time of the fratricidal war between Etheokl and Policks were depicted. The fivans do not allow the families of the killed to take the corpses for the burial, and then relatives are asked for help from Athens. This shows a direct allusion on the events after the battle at Delhi in 424 BC, when, after the victory over the Athenians, the fivans refused to give up the corpses of killed warriors for burial. For Euripid, this act is a violation of the generally accepted moral law.

In the era of the incessant wars, Euripid considered the issues of war and the world through the prism of mythological plots. The tragedy of "Hube" is permeated by anti-war sentiments, it depicts immense suffering of defeated, innocent wives, mothers and children. After taking Troy, the Aheitsy, they are captured by the relatives of Tsar Priama, and Euripid admires the greatness of the spirit of the Trojan. Proud daughter Heekba - Polyken, prefers to die than living in slavery17. Troyanki is also devoted to the war of the Greeks with the Trojans, but the traditional mythological interpretation is changed by the author, and instead of praising the exploits of the ahetsev, they are depicted with cruel people, inhumanly treating prisoners. The messenger informs the family of Priama that the wife of King Hekab will be the slave of Odyssey, her eldest daughter of Cassandra - Agamemnon's top daughter will be sacrificed to the grave of Achilla, Hector Andromaha's wife will be in the supernger to the son of Achilla to neopopolo. The winners kill the son of Androma, although the child is not to blame for the Greeks18. Evripid condemns the conciliatory war, believing that the truth is on the side of the Trojans who defended their homeland, while the Greeks went to Troy because of the Depraved Helen, which, carried away by the beauty and fabulous wealth of Paris, rushed into his arms. It is possible that the tragedy of "Troyanki", put in front of the people of Athens in 415 BC, was a warning against a hike in Sicily, who turned into 413 to AD, was a prevention against alkiviad. The monstrous catastrophe when the beneficial part of the Athenian fell in captivity and was sold to slavery, and the strategic and demosphen were executed.

Euripide allowed war only as a means of defense and protection of justice. In the "senders" of Testa, an expressant of the poet's glances, leads war against the Fivans only until he causes defeat, but stops his army when it could break into a defeated city. And in the "Geraklida", the Athenians insist on the liberation of captive captive, as opposed to Alcmen, personifying Spartan cruelty. We must know, says the poet that the victory does not bring strong happiness. "The madness is one of the mortals who ruffles cities, temples and graves, the shrines of the dead: betrayed them by devastation, afterwards he will die," such a warning makes Poseidon at the beginning of the "Trojan".

Patriot Athens Evripid chased the self-sacrifice of citizens to save the native city. So, in the tragedy "Geraklida" daughter Hercules, Young Makaria, sacrifices to himself to save the hometown and their brothers and sisters. In the "Phoenicians" of Mereke, the son of Creonte, having learned that for the victory of the Motherland over the enemies, it is required to sacrifice him, without hesitation, secretly from his father, gives his life. Self-sacrifice is the main motive of the tragedy "Iphigenia in Avlida", where the heroine volunteer is sacrificed for the sake of the good of Greece. The tragedy of the "Erehettei", the mother brought his daughter to Sacrificing his daughter to save Athens.

In some tragedies, Euripid, under the guise of the events of mythological past, showed noble acts of the Athenian state, always ready to stand up for the protection of meal justice. So, once Athens came to the Hercules' children ("Geraklida"), made the take-off honors to the victims of the campaign of seven verses against FIV ("Sliters").

The ideal state structure for Euripid is democracy, as evidenced by one of the scenes in the "senders", where Tesove takes under his patronage of wives and mothers of the soldiers under the poles. When an ambassador to negotiations in Athens are from this city, the playwright introduces a dispute on the theme on the best state device19. The FVAN Ambassador proves the unsuitability of democracy in view of the fact that the power belongs to the crowd, which is filled with deft demagogues. In response to this exposes the vitality of tyranny, glorifies freedom and equality reigning in a democratic state.

The basis of the Athenian democracy, Euripid considered the average social sections of small owners and artisans. The type of such a citizen living in the fruits of his work is shown in the image of a peasant, a fictitious husband of Elektra. Electra herself marks his high nobility, and Orest, having acquainted with him, reflects on the discrepancy, which is observed in the people of people. The son of a noble father turns out to be unsuitable, and a person from the poor and insignificant kind is noble. Therefore, it is necessary to appreciate not the origin, but the moral properties of people ("Electra", 367-398). External position will not change moral qualities: no longer will always remain unfasteless, but no misfortune will ever consult a noble. A considerable importance in this is also education ("Hube", 595-602).

At the same time, Euripid understood the danger of influence on the Athenian society for demagogy, considering her fertile soil for the emergence of tyranny. In Oreste, the image of the speaker is discharged, which, as antique critics believed, was written off by someone from modern euripers of demagogues, maybe from Cleophon. The same demagogue, the playwright has repeatedly represented Odyssey ("Gokuba", 130-131, 254-257; "Troyanki", 277-291; "Iphigenia in Avlude", 525-527).

National and world importance of Euripid

When comedographers ridiculously lost their relevance, and the Drama of Eschila and Sofokla lost novelty, the tragedies of Euripid in their spirit turned out to be surprisingly modern Grekam IV BC, firmly by entering the Golden Fund of Classical Greek Literature20. From the ellinism era, the work of Euripid has also acquired more beneficial popularity and widely spread throughout the antique world. Understanding the soul of man, the originality of the plot, an interesting vision of intrigue, simplicity of the tongue and the grace of spoken speech were close and understandable and connoisseurs of high art, and ordinary people. The plays touched the public that even Tirara Alexander Farsky, calmly ordered his enemies to live in the ground, I cried on the play "Trojankok" 21, and the residents of Abder22, according to Lukian, after the "Andromeda" stage came to such a feverish state, which literally sturped on tragedy. All of them were pale and thin, and spoken yamba and shouted loudly, most often the configuration of monologues from Euripid "Andromeda". Such a state continued with them for a long time until the winter began and the harsh cold did not stop them nonsense.

For critics and grammar, Alexandria simplicity of the euripide language was not so interesting, but they studied the variations of the plots of famous myths and tried to save the texts of the plays from later interpolations. Athenian scientist Philohor, known for his essay on the history of attics, wrote one of the first biographies of Euripid, and Diekarh and Callimakhitis were systematized by tragic essays. Euripide also became pretty early known in Rome: Already the first Roman enlightener Libyan Andronik, who translated Greek poetry to Latin, first of all sought to introduce the Roman audience with the tragedies of Euripid. Creatively recycled Euripide dramas prominent Roman poets - Annie, Ovid, Seneca.

After a break in the Epoch of the Middle Ages, the interest in Euripid reappeared during the revival period and classicism. Evripid tragedies influenced Cornel, Racina and Voltaire. Ancient playwright appreciated Goethe and Schiller. He was fond of Euripid and romance Tick, Byron, Shelly, Tennison. In Russia, the drams of Euripid imitated (for example, "Andromaha" Peter Katrenina), and also translated its individual works. The main merit in the translation of the Dram EURIPIDE into Russian belongs to Innocent Annensky.