Euripidean Tragedy: Between Myth and Individuation

Abstract

The tragedies of the fifth‐century Athenian playwright Euripides do not qualify as “world literature” by virtue of their characterization, which (as is true of Greek tragedy as a genre) tends toward stylization rather than individuation. They do qualify by virtue of their enduring status, adaptability to multiple contexts, and international circulation. In the playwright's lifetime Euripidean tragedy was admired in the Greek‐speaking world beyond Athens; even the attacks on it should be recognized as a form of homage. By the century after his death Euripidean tragedy was influencing other genres, and it has remained canonical ever since, even as its reach has become global. The literary qualities of Euripidean tragedy and its afterlife in translations and adaptations both explain and presage its continuing renown.