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Ancient Greece Euripides Sorceress Medea Argonauts Jason Golden Fleece Aphrodite

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Seller: ancientgifts (4,181) 99.3%, Location: Ferndale, Washington, Ships to: Worldwide, Item: 381791972355 TRANSLATE Arabic Chinese French German Greek Indonesian Italian Hindi Japanese Korean Swedish Portuguese Russian Spanish Your browser does not support JavaScript. To view this page, enable JavaScript if it is disabled or upgrade your browser. Click here to see almost 800 archaeology/ancient history books and 500 authentic ancient artifacts on our eBay store! Euripides: Medea – A New Translation and Commentary by John Harrison, Introduction to the Greek Theatre. DESCRIPTION: Softcover: 115 pages. Publisher: Cambridge University Press; (2005). This story is told in a variety of ways, most famously by Apollonius of Rhodes in his romantic epic “The Voyage of the Argo”, which was written in the third century B.C. Medea was the granddaughter of the Sun. Her father was Aeetes, who was King of Colchia, at the eastern end of the Black Sea. In his kingdom was the Golden Fleece, a treasure that was guarded by a dragon. Medea met Jason when he came to Colchia in quest of the Golden Fleece. Jason was the rightful king of the Greek state of Iolcus (modern Volos). While he was too young to rule we was sent away to be educated by the centaur Chiron, and his uncle Pelias reigned in his place. When Jason was old enough to return to Iolcus, Pelias was reluctant to give up the throne. He asked Jason what one should do to rid oneself of a man by whom one felt threatened. “Send him to get the Golden Fleece”, Jason replied. Pelias took the advice, and Jason accepted the challenge. Jason assembled an expedition of fifty of the noblest heroes. They sailed in the ship Argo, the first long ship, built with pines cut from the peninsula of Pelion near Iolcus. The expedition sailed through the Straits of Bosporus, which were flanked by the formidable Clashing Rocks, and into the Black Sea. After many adventures they came to Colchis. Aeetes was reluctant to part with the Golden Fleece, but offered it to Jason if he could perform a series of difficult tasks. Jason had to first yoke two monstrous, fire-breathing bulls and plough with them. Then sow some dragons teeth from which would spring armed warriors whom he had to kill. Finally, Jason would have to overcome the dragon which guarded the Golden Fleece. Aeetes was confident that the tasks would prove too difficult for Jason. But he did not reckon with Jason’s divine protectress, Hera, the Queen of the gods, who persuaded Aphrodite, the goddess of love, to make Medea fall in love with Jason. With the assistance of Medea’s magical powers, Jason accomplished all the tasks. Having betrayed her father, Medea was forced to flee with Jason back to his native Greece. In some way, during the flight, Medea’s brother Apsyrtus was murdered. In one version of the story his dismembered body was scattered at sea, to delay the pursuing Aeetes, who would be obliged to collect the pieces. In Euripides’ play, Medea is said by Jason to have killed her brother at the family hearth. After many adventures the Argo returned to Iolcus where Pelias was still king. Medea again used her magic skills, offering to show Pelias’ daughters how to rejuvenate their aging father. She cut a ram into pieces and boiled these in a cauldron with magic herbs, and the ram emerged as a newborn lamb. But when the daughters cut up and boiled Pelias, Medea withheld the crucial herbs. She and Jason were forced to flee again, and came as refugees to Corinth, where this plots picks up the story. CONDITION: New, never read. PLEASE SEE IMAGES BELOW FOR SAMPLE PAGES FROM INSIDE OF BOOK. PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW. PUBLISHER REVIEW: REVIEW: This edition presents Medea, the most famous play of the Athenian tragedian Euripides, in ancient Greek, and includes a commentary designed for university-level Greek classes, from second-year upward. This translation helps students to appreciate the work's artistry and relationship to its culture and performance tradition. The introduction summarizes interpretive and cultural issues and provides background on important aspects of Greek tragedy, including language, style and meter. Classical Greek drama is brought vividly to life in this series of new Cambridge translations. The new versions remain faithful to the original Greek, yet the language has all the immediacy of contemporary English. The result is a series of genuinely actable plays, which bring students as close as possible to the playwrights original words and intentions. The reader is encouraged to engage with the text through detailed commentaries, which include suggestions for thought and analysis. In addition, numerous practical questions stimulate ideas, contemplation, thought, and encourage the reader to explore the play’s dramatic qualities. “Cambridge Translations from Greek Drama” is suitable for students of both classical civilization and drama. Useful features include a full synopsis of the play; commentary alongside translation for easy reference; a comprehensive introduction to Greek theatre; a time line to set the play in its historical context; a guide to pronunciation of names; an index of topics and themes. This series affirms the enduring power of classical Greek theatre, and opens up the plays to a whole new audience. One of antiquity’s greatest poets, Euripides has been prized in every age for the pathos, terror, and intellectual probing of his dramatic creations. Athens of the fifth century B.C.E. represents one of the towering achievements of civilization. It is the crucible in which Western Civilization was given form. It created democracy: rule by the people. Of the three supreme tragedians of Classical Athens, Aeschylus, Sophocles and Euripides, Euripides (480-406 B.C.) is the most modern. His people are no longer the heroes of Aeschylus, inspired by Homer and the Heroic world of war and warriors. Nor are they the more humanistic characters of Sophocles, who created men and women of grand moral integrity. Rather, Euripides' people are psychologically drawn, they are frequently petty, conniving, and conflicted. In other words, they are like us. PROFESSIONAL REVIEWS: REVIEW: One of the most powerful and enduring of Greek tragedies, “Medea” centers on the myth of Jason, leader of the Argonauts, who has won the dragon-guarded treasure of the Golden Fleece with the help of the sorceress Medea. Having married Medea and fathered her two children, Jason abandons her for a more favorable match, never suspecting the terrible revenge she will take. Euripides’ masterly portrayal of the motives fiercely driving Medea’s pursuit of vengeance for her husband’s insult and betrayal has held theatre audiences spellbound for more than twenty centuries. Rex Warner’s authoritative translation brings this great classic of world literature vividly to life. REVIEW: Deserted by Jason, whose life she saved at a great cost to herself and others, and forced into exile by the father of her rival in love, Medea plots a barbaric revenge. The consequences wrought by her destructive actions, and by those who underestimate her bewitching power, are harrowing. Accessible, but not prosaic, vivid but not overstated, poetic but not inflated. REVIEW: Here Euripides stands, in vigorous English versions that fully do him justice. The most modern of the Greek tragedians has found a compelling modern form. A boon for classicists and general readers alike. For the reader who comes to tragedy for the first time, these translations are eminently “accessible”. For the classicist, these versions constitute an ambitious reinterpretation of traditional masterpieces. READER REVIEWS: REVIEW: According to the introductory note in the Dover Thrift Edition, "Medea," the play by Euripides was first produced in 431 B.C. After more than two millennia, this remains a powerfully written human tragedy. The Dover Thrift edition features an English translation by Rex Warner; this very effective translation manages to sound both classic and contemporary at the same time. "Medea" tells a story involving the classical Greek hero Jason and Medea, by whom he has fathered two children. As the play opens, Jason has angered Medea by taking on another woman to be his wife. This conflict drives the drama forward. "Medea" is a gripping story about love, parenthood, politics, betrayal, anger, and revenge. There is a subtle but fascinating theme of ethnic tension as Medea and Jason clash. I believe that, after all these centuries, Euripides' sociological and psychological insights remain compelling. REVIEW: The great screen writers and directors of the last century have nothing on Euripides when it comes to being an innovator of art. Euripides tore away the shackles of the "how to write a play" of his day, Aristotelian dramatic theory. In the process, modern Western drama was born. His play “Medea” is a prime example. At first glance “Medea” does, in some respects, exemplify Aristotle's requirements for a tragedy. However, the play violates Aristotle's vision more than it corresponds to it. It does this through untraditional content and innovation. In layout and movement of the plot, Medea closely matches the form of Aristotle's standard example of a tragedy, Sophocles' “Oedipus Rex”. “Medea” shares Oedipus's convention of beginning with the perspective of a mournful look back on the events that are about to be told. Medea is highborn and descends from the lineage of the Gods. This in some ways fulfills Aristotle's requirement that the protagonist be exceptional. Likewise, both Medea and Oedipus depict what Aristotle would call "terrible and piteous events”. However, this is where the similarity with Aristotle's ideal of the tragic ends. The character of Medea is the main wrench that Euripides throws into Aristotle's description of tragedy. Aristotle's idea of the tragic hero demanded a change of experience and fortune that entails unmerited suffering on the part of the character and a fearful viewing of events on behalf of the audience. These things do not happen in “Medea”. Medea has a history. She has killed spitefully and coldly in the past. She continues to do so throughout the play. She never even faces the threat of a fall from a high station because she secures sanctuary in Athens before she sets her revenge into motion (incidentally, one comes to feel like the psalmist who wrote: "I have seen a wicked and ruthless man flourishing like a green tree in its native soil"--though in this case it is a wicked woman). Euripides uses “Medea” to make a commentary, not to bring about that lynch-pin of Aristotelian drama: catharsis. “Medea” does not attempt to meet up with Aristotle's requirements. Instead, it is becomes new form of art; tragedy as social commentary. Euripides shows himself to be among the great artistic innovators in history by his transformation of a received dramatic form into something different but wholly effective in its own way. REVIEW: Honestly reading this story overwhelmed me. Considering how short the play is, at the end I found myself mentally and emotionally exhausted. "Medea" explores many different themes that are still present in life today. Although I found her undying attachment to Jason annoying, I understood after reading the play how love and revenge can overpower one’s mind. I felt as if Euripides toyed with the fact that women are both the weakest and the strongest in relationships. Medea's passion was overwhelming as a reader because I felt like it was a cry for attention rather than a true plea of lost love. Euripides' "Medea" although short, is very intense and filled with many emotions. I was lucky enough to see an amazing performance of this play. If done thoughtfully, it can engage you to the point where you sympathize with Medea and are annoyed by her at the same time. REVIEW: I thought “Medea” was pretty interesting to read, especially since I found it difficult to decide whether I supported Medea's decisions throughout the play. So much to go through just to inflict pain on her former husband Jason! I understood her reasoning for revenge, which was fueled by hurt and grief, and enjoyed the fact that unlike most women in ancient Athens, Medea took action when she was wronged. Like the women in the Chorus, I supported Medea. However, when Medea goes as far as to kill her own children, I was disappointed that Medea found Jason's agony to be more important than the lives of her own two sons. Overall, I enjoyed reading “Medea”, though I would have liked to have known if any guilt managed to catch up to Medea afterwards. REVIEW: Euripide's "Medea" certainly has an interesting plotline similar to that of many drama series and movies of today: man falls in love with woman who saved his life, man and woman marry and have kids, man has affair with a king's daughter, wife seeks revenge. What makes this story different from the cheesy revenge stories of today is that Euripides, like other Ancient Greek writers, brings in the question of what is morally right or wrong according to the Greek gods who treasure obedience and trust, more than anything. So! In "Medea," where Jason denies the life-saving help he received from Medea and disobeys her by having an affair with a higher-class person, and Medea is extremely pained by Jason and performs the most inhumane revenge, who is more wrong? To rephrase this question, to what extent of inhumanity is a revenge valid/morally right for the oh-so-important Greek gods to accept? Throughout the book, it was very difficult for me to support either Medea, who is extremely suffering from her husband's affair that she could kill herself, or Jason, who just wants to get away from his wife to start a new, higher-class life with his children. However, I think that it is this inner conflict of who to A. sympathize with emotionally or B. support because he or she is "justified/right", that makes the reader really question his or her viewpoint of extreme situations, making this book sincerely amazing. I always ship books Media Mail in a padded mailer. This book is shipped FOR FREE via USPS INSURED media mail (“book rate”). The shipment will include free USPS Delivery Confirmation (you might be able to update the status of your shipment on-line at the USPS Web Site and free insurance coverage). If you are concerned about a little wear and tear to the book in transit, I would suggest a boxed shipment - it is an extra $1.00. Whether via padded mailer or box, we will give discounts for multiple purchases. International orders are welcome, but shipping costs are substantially higher. Most international orders cost an additional $12.99 to $33.99 for an insuredshipment in a heavily padded mailer, and typically includes some form of rudimentary tracking and/or delivery confirmation (though for some countries, this is only available at additional cost). There is also a discount program which can cut postage costs by 50% to 75% if you’re buying about half-a-dozen books or more (5 kilos+). Rates and available services vary a bit from country to country. You can email or message me for a shipping cost quote, but I assure you they are as reasonable as USPS rates allow, and if it turns out the rate is too high for your pocketbook, we will cancel the sale at your request. ADDITIONAL PURCHASES do receive a VERY LARGE discount, typically about $5 per book (for each additional book after the first) so as to reward you for the economies of combined shipping/insurance costs. Your purchase will ordinarily be shipped within 48 hours of payment. 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Send it back, I will give you a complete refund of the purchase price (less our original shipping costs). Most of the items I offer come from the collection of a family friend who was active in the field of Archaeology for over forty years. However many of the items also come from purchases I make in Eastern Europe, India, and from the Levant (Eastern Mediterranean/Near East) from various institutions and dealers. Though I have always had an interest in archaeology, my own academic background was in sociology and cultural anthropology. After my retirement however, I found myself drawn to archaeology as well. Aside from my own personal collection, I have made extensive and frequent additions of my own via purchases on Ebay (of course), as well as many purchases from both dealers and institutions throughout the world – but especially in the Near East and in Eastern Europe. I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. In fact much of what we generate on Yahoo, Amazon and Ebay goes to support The Hermitage Museum in St. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology. I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with. Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia. I would be happy to provide you with a certificate/guarantee of authenticity for any item you purchase from me. There is a $2 fee for mailing under separate cover. Whenever I am overseas I have made arrangements for purchases to be shipped out via domestic mail. If I am in the field, you may have to wait for a week or two for a COA to arrive via international air mail. But you can be sure your purchase will arrive properly packaged and promptly - even if I am absent. And when I am in a remote field location with merely a notebook computer, at times I am not able to access my email for a day or two, so be patient, I will always respond to every email. Please see our "ADDITIONAL TERMS OF SALE."

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