And so, forsooth, the youth are said to be taught them by Socrates, when there are not unfrequently exhibitions of them at the theatre (Probably in allusion to Aristophanes who caricatured, and to Euripides
who borrowed the notions of Anaxagoras, as well as to other dramatic poets.
Hence they are in error who censure Euripides
just because he follows this principle in his plays, many of which end unhappily.
Nay, some persons affirm that the education of those who are intended to command should, from the beginning, be different from other citizens, as the children of kings are generally instructed in riding and warlike exercises; and thus Euripides
Fragment #17 -- Hecataeus (15) in Scholiast on Euripides, Orestes, 872: Aegyptus himself did not go to Argos, but sent his sons, fifty in number, as Hesiod represented.
Fragment #67 -- Scholiast on Euripides, Orestes 249: Steischorus says that while sacrificing to the gods Tyndareus forgot Aphrodite and that the goddess was angry and made his daughters twice and thrice wed and deserters of their husbands.
In his tragedies, 'Sejanus' and 'Catiline,' he excluded comic material; for the most part he kept scenes of death and violence off the stage; and he very carefully and slowly constructed plays which have nothing, indeed, of the poetic greatness of Sophocles or Euripides
(rather a Jonsonese broad solidity) but which move steadily to their climaxes and then on to the catastrophes in the compact classical manner.
Verily, then, tragedy is a wise thing and Euripides
a great tragedian.
It is told of Brutus, that when he fell on his sword after the battle of Philippi, he quoted a line of Euripides
Young gentlemen of all ages from nine to fifteen were to be found there, who expended such part of their energies as was devoted to Latin and Greek upon a book of Livy, the "Bucolics" of Virgil, and the "Hecuba" of Euripides, which were ground out in small daily portions.
The lower-fourth, and all the forms below it, were heard in the great school, and were not trusted to prepare their lessons before coming in, but were whipped into school three-quarters of an hour before the lesson began by their respective masters, and there, scattered about on the benches, with dictionary and grammar, hammered out their twenty lines of Virgil and Euripides in the midst of babel.
Directed by Andreas Christodoulides, and with music by Ross Daly, Euripides
Medea focuses on the place and time of the drama, cutting the figure of Medea from its mythological context.
However, our appreciation of the play's complex treatment of Greek ritual could be deepened by more broadly synthesizing and tracking the thematic deviation from Greek ritual paradigms through which Euripides
represents the moral disturbance occasioned by past Atreid transgressions and the play's revenge action.