Helen

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Among the legends of ancient Greece, there is perhaps no story more compelling than that of Helen. Her surpassing beauty was said to have launched the Greek fleet of a thousand ships to Troy. No woman was so adored and so hated. She was seen as both prize and scapegoat, the promise of bliss and the assurance of doom.

213 pages, Paperback

First published January 1,-0412

This edition

Format
213 pages, Paperback
Published
June 27, 1996 by Bristol Classical Press
ISBN
9780906515983
ASIN
090651598X
Language
English
Characters More characters
  • Helen of Troy

    Helen Of Troy

    In Greek mythology, Helen is the daughter of Zeus and Leda and sister of Castor, Pollux, and Clytemnestra. She was wed to king Menelaus of Sparta, but later kidnapped by Trojan Paris, thus sparking the Trojan War, earning her the metonymous epithet "The f...

About the author

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Euripides (Greek: Ευριπίδης) (ca. 480 BC–406 BC) was a tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom any plays have survived in full. Some ancient scholars attributed ninety-five plays to him, but the Suda says it was ninety-two at most. Of these, eighteen or nineteen have survived more or less complete (Rhesus is suspect). There are many fragments (some substantial) of most of his other plays. More of his plays have survived intact than those of Aeschylus and Sophocles together, partly because his popularity grew as theirs declined—he became, in the Hellenistic Age, a cornerstone of ancient literary education, along with Homer, Demosthenes, and Menander.
Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. He also became "the most tragic of poets", focusing on the inner lives and motives of his characters in a way previously unknown. He was "the creator of ... that cage which is the theatre of William Shakespeare's Othello, Jean Racine's Phèdre, of Henrik Ibsen and August Strindberg," in which "imprisoned men and women destroy each other by the intensity of their loves and hates". But he was also the literary ancestor of comic dramatists as diverse as Menander and George Bernard Shaw.
His contemporaries associated him with Socrates as a leader of a decadent intellectualism. Both were frequently lampooned by comic poets such as Aristophanes. Socrates was eventually put on trial and executed as a corrupting influence. Ancient biographies hold that Euripides chose a voluntary exile in old age, dying in Macedonia, but recent scholarship casts doubt on these sources.


Community Reviews

Rating(4 / 5.0, 99 votes)
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99 reviews All reviews
April 1,2025
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There is much wrong with this play.

The main character is despicable (as in Medea). Men are weak and ridiculous. Dialogue/text full of contradictory elements (e.g. religion receives a very unsure treatment). The plot is weak and riddled with cheap turns (e.g. Menelaos leaving his ''fake'' Helen in a cave).

This is laughable coming from a man of the calibre Euripides is.

The text itself is decent and there are several well done speeches. The writing itself is solid (Euripides is still Euripides). But the plot is completely loose and messy. Moreover, it's not credible. The most important moments hang on random chance or sheer invention, and suffer from lazy development. It feels like this is an abandoned draft rather than a play to be put on stage.

The deus ex machina stunt at the end just sums up the whole thing as a dull and an uninspired flight of fancy.

Euripides did not succeed with this one.
April 1,2025
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همونطور که قبلا گفتم علاقه عجیبی به نمایشنامه‌های یونان باستان پیدا کردم و در تکمیل بقیه شاهکارهایی که خوندم رفتم سراغ این عزیز دل و به شدت لذت بردم

۱-هیپولیت: داستان راجع به تزه همسر پادشاه آتن و ترزنه که عاشق پسر نامشروع همسرش یعنی هیپولیت میشه.

۲-هلن: تروا که یادتونه. اون خانمی که سرش این همه خون و خونریزی شد هم یادتونه دیگه. توی این نمایشنامه قصه این خانم روایت میشه که طفلک اصلا بی گناه بوده و به صورت مخفی توسط زئوس برده بودنش مصر و اصلا توی تروا نبوده و ...

۳-آلسست: همسر پادشاه فره است و برای اینکه مرگ همسرش به تعویق بیوفته به صورت کاملا خودجوش پیشمرگش میشه. اینم بگم که هراکلس (همون هرکول) یکی از شخصیتهای این قصه است

۴-ایون: حاصل رابطه نامشروع آپولون (خدای پیشگویی) با کرئوز دختر پادشاه آتنه که یتیم بزرگ میشه و داستان حول پیدا کردن پدر مادرش میگذره

خلاصه هر کدوم از این چهارتا به تنهایی خودشون کلی جذابن و توی این مجموعه که ترجمه خیلی خوبی هم داره و قیمتش هم واقعا به صرفه است به شدت پیشنهاد میشه.

چیزی که برای من جالبه اینه که ته همه این قصه‌ها اوریپید خیلی ریز و زیرپوستی به خدایان میتوپه و میگه اینا جز آزار جنس آدم کاری نمیکنن و سرکشی و عصیان آدما رو خیلی قشنگ توجیه میکنه و از اون جالبتر اینه که به باورهای خرافی و نذر و نذورات و پیشگویی هم اعتراض میکنه و دیگه منتهای جالبی قضیه اینه: ایشون حول و حوش سال ۴۵۰ پیش از میلاد طرفدار جدی حقوق زنان بوده !!
برای همین هم این قصه‌ها با وجود افسانه‌ای و اساطیری بودنش حتی امروز هم جذابن و تاریخ مصرف ندارن اصلا !!

April 1,2025
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In Homer’s epic poem ODYSSEY, Telemachus: the son of Ulysses, travels to Sparta to inquire of Menelaus as to his father’s whereabouts. Menelaus and Helen reveal that, like Ulysses, they too were lost for many years during the return voyage from Troy. Unlike Ulysses; however, they were able to return home after seven years, and instead of bobbing from one Aegean island to the next as Ulysses had; they spent almost the entirety of their time in Egypt.

The drama HELEN by Euripides attempts to provide an account of the improbable reconciliation of Menelaus and Helen which occurred during their time together in Egypt. This should have been a great drama: exploring themes of forgiveness & marriage. Instead, Euripides uses deus ex machina to clumsily remove guilt from Helen.
April 1,2025
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Ακόμα ένα πολύ ωραίο έργο από τον Ευριπίδη. Ένα έργο που για ακόμα φορά δείχνει πόσο μάταια γίνεται ένας πόλεμος.
April 1,2025
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Homer wrote about Helen 800 BC and he did so like a whistleblower. His claim was beware of Helen. He was brave in this acts because deities could punish severely. Like striking with blindness. But Homer was already blind so he had nothing to fear on that.

Some 200 years later an other Greek poet made a critical poem on Helen. His name was Stechisorus. And he was indeed blinded for his act. But clever as he was he wrote a palinode on the subject and said no I never said something critical on behalf of Helen. After that he could again see.

And again 200 years later we have Euripides making a play on the life of Helen. No critical remarks here. On the contrary she is a victim herself, only virtue and good conduct has she.

It has been a slow recovery for Helen but justice is done after al by Euripides.
April 1,2025
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made me laugh so much - the moment where Menelaus and Helen meet again is just a classic moment in my head!
April 1,2025
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I read this as a follow-up to Euripides's The Trojan Women inspired by a reading of Christa Wolf's beautiful novel Cassandra to return to some of the Greek originals surrounding the female figures of the Trojan War. I read this one mostly for this alternate myth of Helen being an Eidolon or ghost-image in Troy, her real self having been spirited away to king Proteus's palace in Egypt, since the poet H. D. use this alternate version in her Helen in Egypt and Wolf uses it as well in Cassandra.

Sad to say, Euripides's version didn't really give me any new insight into this other version of Helen's story, as this play only uses it as a kind of plot device in order to create a romance kind of plot. (Needless to say there's none of the feminine critique here that H. D. and Wolf are aiming at either.) It was interesting, however, to discover that there were romance plays in the Greek tradition as I'd always assumed it was merely a catch-all phrase invented to explain those later Shakespearean plays like The Tempest and A Midsummer's Night Dream that are neither straight comedies, histories, nor tragedies.

Frankly, I found the device a little clumsily used here, making this longer play much less aesthetically pleasing to me than The Trojan Women, which I guess I enjoyed for its unrelenting bleakness. This plot felt belabored and contrived, even if there was a certain amount of pleasant verse (particularly in the long digressive speeches of the chorus) and lovely little pearls of wisdom thrown in as commentary on the action--all offstage, as is normal in the Greek tradition. My favorite of these was Castor's final summation that things would all turn out alright for Menelaus and Helen because "Heaven never hates the noble in the end. / It is for the nameless multitude that life is hard." Ain't that the truth--although it also kind of belies the whole tragic tradition. I guess even Euripides got tired of himself sometimes.
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