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According to traditional accounts, the history of tragedy is itself tragic: following a miraculous birth in fifth-century Athens and a brilliant resurgence in the early modern period, tragic drama then falls into a marked decline. While disputing the notion that tragedy has died, this wide-ranging study argues that it faces an unprecedented challenge in modern times from an unexpected quarter: political economy.

Since Aristotle, tragedy has been seen as uniquely exhibiting the importance of action for human happiness. Beginning with Adam Smith, however, political economy has claimed that the source of happiness is primarily production. Eclipse of Action examines the tense relations between action and production, doing and making, in playwrights from Aeschylus, Marlowe, Shakespeare, and Milton to Beckett, Arthur Miller, and Sarah Kane. Richard Halpern places these figures in conversation with works by Aristotle, Smith, Hegel, Marx, Hannah Arendt, Georges Bataille, and others in order to trace the long history of the ways in which economic thought and tragic drama interact.

Political by its very nature, Greek tragedy reflects on how life should be lived in the polis, and especially the polis that was democratic Athens. Instructional as well, drama frequently concerns itself with the audience's moral education. Euripides and the Instruction of the Athenians draws on these political and didactic functions of tragedy for a close analysis of five plays: Alcestis, Hippolytus, Hecuba, Heracles, and Trojan Women. Clearly written and persuasively argued, this volume addresses itself to all who are interested in Greek tragedy. Nonspecialists and scholars alike will deepen their understanding of this complex writer and the tumultuous period in which he lived.

". . . a lucid presentation of the positive side of Euripidean tragedy, and a thoughtful reminder of the political implications of Greek tragedy." --American Journal of Philology

". . . the principal defect of [this] otherwise excellent study is that it is too short." --Erich Segal, Classical Review

". . . a most stimulating book throughout . . . ." --Greece and Rome

Justina Gregory is Professor of Classics, Smith College, where she is head of the department. She has been the recipient of Fulbright and Woodrow Wilson fellowships.

Where is the pleasure in tragedy? This question, how suffering and sorrow become the stuff of aesthetic delight, is at the center of Charles Segal's new book, which collects and expands his recent explorations of Euripides' art.
Alcestis, Hippolytus, and Hecuba, the three early plays interpreted here, are linked by common themes of violence, death, lamentation and mourning, and by their implicit definitions of male and female roles. Segal shows how these plays draw on ancient traditions of poetic and ritual commemoration, particularly epic song, and at the same time refashion these traditions into new forms. In place of the epic muse of martial glory, Euripides, Segal argues, evokes a muse of sorrows who transforms the suffering of individuals into a "common grief for all the citizens," a community of shared feeling in the theater.
Like his predecessors in tragedy, Euripides believes death, more than any other event, exposes the deepest truth of human nature. Segal examines the revealing final moments in Alcestis, Hippolytus, and Hecuba, and discusses the playwright's use of these deaths--especially those of women--to question traditional values and the familiar definitions of male heroism. Focusing on gender, the affective dimension of tragedy, and ritual mourning and commemoration, Segal develops and extends his earlier work on Greek drama. The result deepens our understanding of Euripides' art and of tragedy itself.

“The most extensive scholarship to appear on this Greek dramatist in many years, Michelini’s work will be important to specialists and students of classical literature, literary theory, and both English and comparative literature.”—Modern Greek Studies

Marriage is a central concern in five of the seven extant plays of the Greek tragedian Sophocles. In this pathfinding study, Kirk Ormand delves into the ways in which these plays represent and problematize marriage, thus offering insights into how Athenians thought about the institution of marriage.

Ormand takes a two-fold approach. He first explores the legal and economic underpinnings of Athenian marriage, an institution designed to guarantee the legitimate continuation of patrilineal households. He then shows how Sophocles' plays Trachiniae, Electra, Antigone, Ajax, and Oedipus Tyrannus both reinforce and critique this ideology by representing marriage as a homosocial exchange between men, in which women are objects who may attempt—but always fail—to become self-acting subjects.

These fresh readings provide the first systematic study of marriage in Sophocles. They draw important connections between drama and marriage as rituals concerned with controlling potentially disruptive female subjectivities.