Heracles/ Iphigenia Among the Taurians/ Helen/ Ion/ Cyclops: Of these plays, only 'Heracles' truly belongs in the tragic sphere with its presentation of underserved suffering and divine malignity. The other plays flirt with comedy and comic themes. Their plots are ironic and complex with deception and elusion eventually leading to reconciliation between mother and son in 'Ion', brother and sister in 'Iphigenia', and husband and wife in 'Helen'. The comic vein is even stronger in the satyric'Cyclops' in which the giant's inebriation and subsequent violence are treated as humorous. Together, these plays demonstrate Euripides' challenge to the generic boundaries of Athenian drama.

The first three plays in this volume are typical of Euripides, filled with violence or its threat, while the fourth, Cyclops, is a satyr play, full of crude and slapstick humour. Alcestis shows various reactions to death with pathos and grim humour while the blood-soaked Heracles portrays deep emotional pain and undeserved suffering. Children of Heracles deals with the effects of war on refugees and the consequences of sheltering them.

There is more material available on Herakles than any other Greek god or hero. His story has many more episodes than those of other heroes, concerning his life and death as well as his battles with myriad monsters and other opponents. In literature, he appears in our earliest Greek epic and lyric poetry, is reinvented for the tragic and comic stage, and later finds his way into such unlikely areas as philosophical writing and love poetry. In art, his exploits are amongst the earliest identifiable mythological scenes, and his easily-recognisable figure with lionskin and club was a familiar sight throughout antiquity in sculpture, vase-painting and other media. He was held up as an ancestor and role-model for both Greek and Roman rulers, and widely worshipped as a god, his unusual status as a hero-god being reinforced by the story of his apotheosis. Often referred to by his Roman name Hercules, he has continued to fascinate writers and artists right up to the present day. In Herakles, Emma Stafford has successfully tackled the ‘Herculean task’ of surveying both the ancient sources and the extensive modern scholarship in order to present a hugely accessible account of this important mythical figure. Covering both Greek and Roman material, the book highlights areas of consensus and dissent, indicating avenues for further study on both details and broader issues. Easy to read, Herakles is perfectly suited to students of classics and related disciplines, and of interest to anyone looking for an insight into ancient Greece’s most popular hero.

Translated by John Davie with an Introduction and Notes by Richard Rutherford.

Heracles and Other Plays, written by legendary author Euripides, is widely considered to be among the greatest classic texts of all time. This great classic will surely attract a whole new generation of readers. For many, Heracles and Other Plays is required reading for various courses and curriculums. And for others who simply enjoy reading timeless pieces of classic literature, this gem by Euripides is highly recommended. Published by Classic Books International and beautifully produced, Heracles and Other Plays would make an ideal gift and it should be a part of everyone's personal library.

Sophocles’ innovative plays transformed Greek myths into dramas featuring complex human characters, through which he explored profound moral issues. Electra portrays the grief of a young woman for her father Agamemnon, who has been killed by her mother’s lover. Aeschylus and Euripides also dramatized this story, but the objectivity and humanity of Sophocles’ version provides a new perspective. Depicting the fall of a great hero, Ajax examines the enigma of power and weakness combined in one being, while the Women of Trachis portrays the tragic love and error of Heracles’ deserted wife Deianeira, and Philoctetes deals with the conflict between physical force and moral strength.