This volume is arguably one of the most important studies of Euripides to appear in the last decade. Not only does it offer incisive examinations of many of Euripides' extant plays and their influence, it also includes seminal examinations of a number of Euripides fragmentary plays. This approach represents a novel and exciting development in Euripidean studies, since it is only very recently that the fragmentary plays have begun to appear in reliable and readily accessible editions. The book s thirty-two contributors constitute an international "who s who" of Euripidean studies and Athenian drama, and their contributions will certainly feature in the forefront of scholarly discourse on Euripides and Greek drama for years to come.

First published in 1966 as a reprint of a 1922 original, this book contains the ancient Greek text of the fifteen surviving mimes of Herodas, which were originally written in the late 3rd century BC. An English translation is provided on each facing page, and Headlam and Knox have supplied an exhaustive commentary for each work and fragment. This book will be of value to anyone with an interest in Hellenistic poetry and the works of Herodas.

This is a newly revised, critical text of the fragments attributed to the Roman knight and mimographer Decimus Laberius, a witty and crudely satirical contemporary of Cicero and Caesar. Laberius is perhaps the most celebrated comic playwright of the late Republic, and the fragments of plays attributed to him comprise the overwhelming majority of the extant evidence for what we conventionally call 'the literary Roman mime'. The volume also includes a survey of the characteristics and development of the Roman mime, both as a literary genre and as a type of popular theatrical entertainment, as well as a re-evaluation of the place of Laberius' work within its historical and literary context. This is the first English translation of all the fragments, and the first detailed English commentary on them from a linguistic, metrical, and (wherever possible) theatrical perspective.

J. H. Hordern provides a text (based on Kassel and Austin's Poetae Comici Graeci text but with significant additions), translation, and detailed commentary on the surviving fragments of Sophron's mimes. The commentary deals with both literary and linguistic questions, but focuses particularly on Sophron's relationship with earlier traditions (for example, iambus) and his influence on later literature (for example, the work of Theocritus). A substantial introduction furnishes an overview of the biographical evidence, and discusses the vexed question of audience and performance, arguing that the mimes were essentially symposiac entertainment rather than stage performances. There is detailed discussion of Sophron's dialect and lexicon, the textual tradition, and his impact on post-classical literature.