According to the tradition, it is born in Salamine the very same day from the battles of the same name of an Athenian family taken refuge on the island to escape the Perses. Its name would come from the Euripe, channel where the battle is played which sees delivered Greece of its enemies. Aristophane insinuates to many recoveries in its parts which it is basic extraction, which confirms Théophraste. Nevertheless, its culture shows an expensive education, near Sophiste S like Prodicos de Céos or Protagoras, which would hardly have been possible if his/her mother had actually sold grasses. It would have constituted a rich person library, one of the first of which it is made mention. Euripide also takes part in plays gymnic, and is crowned with the plays théséens.
Contemporary of Socrate, he is also his friend. He publicly launches out in the tragedy starting from 455. The women in its tragedies describe physical and moral passion, except for Oreste in Andromaque . Médée, Sthénébée, Pasiphaé, Phèdre made scandal in the Athenian public which estimated that the theater was to represent religious solemnity and not the human dramas. Root was inspired by its tragedies. Its first part, the Pleiads , gains a third price. It quickly becomes rather popular. Plutarque, in its Life of Nicias , tells that in 413, after the naval disaster of Syracuse, the Athenian prisoners being able to recite tirades of Euripide are slackened. Towards 405, Euripide is withdrawn with Magnésie, then in Macedonia, at the court of Archélaos, where he dies. It is only after its death that Greece recognizes it and its works become popular. The Athenians drew up to him into 330 a bronze statue in the theater of Dionysos.
Euripide would have, according to the tradition, writes 90 parts. There us remain only 19 tragedies about it (a selection of 10, retained for teaching, plus 9, resulting from part of an alphabetical classification, E to K), including one most probably apocryphal book, and a Drame satyric:
- Médée ( Μήδεια / Mếdeia ) in 431;
- Héraclides ( Ἡρακλεῖδαι / Hêrakleĩdai ) in 430;
- Hippolyte carry-crown ( Ἱππόλυτος στεφανοφόρος / Hippólytos stephanophóros ) in 428;
- Andromaque ( Ἀνδρομάχη / Andromákhê ) in 426;
- Hécube ( Ἑκάϐη / Hekábê ) in 424;
- the Madness of Héraclès ( Ἡρακλῆς μαινόμενος / Hêraklễs mainómenos ) in 424;
- Begging Them ( Ἱκέτιδες / Hikétides ) in 414;
- Ion ( Ἴων / Íôn ) in 418;
- Trojan the ( Τρώαδες / Trốades ) in 415;
- Iphigénie in Tauride ( Ἰφιγένεια ἡ ἐν Ταύροις / Iphigéneia He in Taúrois ) in 414;
- Electra ( Ἠλέκτρα / Êléktra ) in 413;
- Helene ( Ἑλένη / Hêlénê ) in 412;
- Phéniciennes ( Φοινίσσαι / Phoiníssai ) v. 410;
- Oreste ( Ὀρέστης / Oréstês ) in 408;
- Iphigénie in Aulis ( Ἰφιγένεια ἡ ἐν Αὐλίδι / Iphigéneia He in Aulídi ) in 406;
- Bacchantes ( Βάκχαι / Bákkhai ) in 405.
To note a big number of fragmentary tragedies (who form a total of approximately 3000 worms, including 1000 for only the Hypsipyle ):
- Bellérophon ( Βελλεροϕόντης / Bellerophontês ) in 430 - 425 which comprises only 90 preserved worms but is famous for this tirade: “If the gods make a nonsizeable act, they are not gods. ”.
- Hypsipyle ( Ὑψιπύλη / Hupsipulê ) in 412 - 405, most important cuts some because broad extracts were found by it on payprus. But, by this same fact, the reading in is difficult. In addition a hole of 500 worms remains what makes the reconstitutions always problematic.
- Phaéton ( Φαεθών / Phaethôn ) in 427 - 404 preserved, 200 worms of which a hundred by Plutarque. Goethe tried a reconstitution of it.
- Palamède ( Παλαμήδης / Palamếdês ) in 415 preserved, 43 worms (of which ten incomplete). The part multiplied the innovations.
Euripide is the only one of the three “great tragedies” to which one can allot, with some probability, a musical work. An extract of sound Oreste (v.338-344), registered on papyrus, would go back to 200 av. J-C, that is to say “only” 200 years after its death. Consequently, by taking account of the academism of Athens of then, it seems plausible that he is the type-setter. The music in itself is a chromatism of a great sound purity (, sol#, if, if, la#, it) what makes it more pleasant to listening than the other preserved musical productions of antiquity. The use of this chromatism is in addition quite characteristic of Euripide, if one believes of them the few sources which we have on the subject.
Another “composition” of Euripide extracted from Iphigénie in Aulis also reached us, but attribution is this time much more dubious and the music (a simple accompaniment of quadrant) of less interest.
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