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Euripides V: The Bacchae, Iphigenia in Aulis, The Cyclops, Rhesus
Euripides V includes the plays “The Bacchae,” translated by William Arrowsmith; “Iphigenia in Aulis,” translated by Charles R. Walker; “The Cyclops,” translated by William Arrowsmith; and “Rhesus,” translated by Richmond Lattimore.
284 pages, Paperback
First published April 19, 2013
About the author
Euripides
2,936 books2,129 followersEuripides (Greek: Ευριπίδης) (ca. 480 BC–406 BC) was a tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom any plays have survived in full. Some ancient scholars attributed ninety-five plays to him, but the Suda says it was ninety-two at most. Of these, eighteen or nineteen have survived more or less complete (Rhesus is suspect). There are many fragments (some substantial) of most of his other plays. More of his plays have survived intact than those of Aeschylus and Sophocles together, partly because his popularity grew as theirs declined—he became, in the Hellenistic Age, a cornerstone of ancient literary education, along with Homer, Demosthenes, and Menander.
Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. He also became "the most tragic of poets", focusing on the inner lives and motives of his characters in a way previously unknown. He was "the creator of ... that cage which is the theatre of William Shakespeare's Othello, Jean Racine's Phèdre, of Henrik Ibsen and August Strindberg," in which "imprisoned men and women destroy each other by the intensity of their loves and hates". But he was also the literary ancestor of comic dramatists as diverse as Menander and George Bernard Shaw.
His contemporaries associated him with Socrates as a leader of a decadent intellectualism. Both were frequently lampooned by comic poets such as Aristophanes. Socrates was eventually put on trial and executed as a corrupting influence. Ancient biographies hold that Euripides chose a voluntary exile in old age, dying in Macedonia, but recent scholarship casts doubt on these sources.
Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. He also became "the most tragic of poets", focusing on the inner lives and motives of his characters in a way previously unknown. He was "the creator of ... that cage which is the theatre of William Shakespeare's Othello, Jean Racine's Phèdre, of Henrik Ibsen and August Strindberg," in which "imprisoned men and women destroy each other by the intensity of their loves and hates". But he was also the literary ancestor of comic dramatists as diverse as Menander and George Bernard Shaw.
His contemporaries associated him with Socrates as a leader of a decadent intellectualism. Both were frequently lampooned by comic poets such as Aristophanes. Socrates was eventually put on trial and executed as a corrupting influence. Ancient biographies hold that Euripides chose a voluntary exile in old age, dying in Macedonia, but recent scholarship casts doubt on these sources.
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Displaying 1 - 30 of 39 reviews
June 15, 2025
As has been the case for each of the volumes I've read, I highly recommend the University of Chicago versions of the Greek playwrights. The general introduction to Euripides, plus the play-specific introductions are very useful. I continue to like Euripides, but this volume was more of a mixed bag. I really like the Bacchae, and each time I read it get more out of it. I also like Iphiginia in Aulis (although I like the alternative version where she lives better). The Cyclops, a satyr play, was interesting. However, I just couldn't get into Rhesus (a bit of the Trojan war told from the Trojan perspective). The editors acknowledge that scholars are divided over whether Rhesus was even written by Euripides, with some suggesting an alternative version (listed in the festival records as being produced by Euripides), was actually lost, and somehow this one was associated with Euripoides name.
March 18, 2017
yup Euripides is for sure my favourite Greek playwright, based on the plays I've read so far
My Ranking
1. Bacchae
2. Iphigenia in Aulis (a very close second)
3. The Cyclops
4. Rhesus
This was a very interesting set of plays that contained a nice variety of subgenres, and it for sure started off very strong. The first play, Bacchae I had been looking forward to reading for a long time and it had a really great representation of religious mania and the power of Dionysus, and Iphigenia in Aulis which was dramatic, tragic, and full of noble choices and sacrifices that kept me completely caught up in the storyline. As expected, The Cyclops had the standard humour of a satyr play.
But the last play was just so unfortunate and not entertaining whatsoever? I see the tragic elements of it but it seems to be just a couple of war deaths that you never get invested in the characters. If this play had been first, or you know just not included in the collection, I would've been so much more satisfied and given it 5 stars because it started off so good, but the ending just kind of... plunked
My Ranking
1. Bacchae
2. Iphigenia in Aulis (a very close second)
3. The Cyclops
4. Rhesus
This was a very interesting set of plays that contained a nice variety of subgenres, and it for sure started off very strong. The first play, Bacchae I had been looking forward to reading for a long time and it had a really great representation of religious mania and the power of Dionysus, and Iphigenia in Aulis which was dramatic, tragic, and full of noble choices and sacrifices that kept me completely caught up in the storyline. As expected, The Cyclops had the standard humour of a satyr play.
But the last play was just so unfortunate and not entertaining whatsoever? I see the tragic elements of it but it seems to be just a couple of war deaths that you never get invested in the characters. If this play had been first, or you know just not included in the collection, I would've been so much more satisfied and given it 5 stars because it started off so good, but the ending just kind of... plunked
November 16, 2022
im a euripides stan he's my fave tragedian so i love reading his work for class
March 19, 2022
I was only assigned 2/4 plays in this book, (The Bacchae and The Cyclops,) but they were both great. I might read the other two in the future, but I'm booked(!) with all my reading commitments. The Bacchae was a wild ride. It's the coming out party for the god Dionysus. He seems to be a new god on the block and is punishing the blasphemers who say he's not. It's really fitting that he punishes the city by making it to where they don't see reality clearly. The Cyclops was a slave to his desires and offered a lot of good spiritual insight.
November 12, 2018
Not bad!
Bacchae was my favorite, followed closely by Iphigenia in Aulis. I didn't get much from Rhesus, honestly, so that was just meh. The Cyclops was interesting mainly to see what other types of plays they watched back then.
Quick reads, though.
Bacchae was my favorite, followed closely by Iphigenia in Aulis. I didn't get much from Rhesus, honestly, so that was just meh. The Cyclops was interesting mainly to see what other types of plays they watched back then.
Quick reads, though.
June 25, 2024
Happy I finally read Iphigenia in Aulis. And to everyone on the internet--and Wikipedia!--who cites this play when explaining The Killing of a Sacred Deer, I am compelled to say: nowhere in Euripedes' version of the myth does he say why Artemis demands Iphigenia as a sacrifice. In fact, the killing of a sacred deer is not mentioned in either this play, nor in Euripedes' other Iphigenia. The part about the sacred deer is only mentioned in Sophocles' Electra. Just thought I'd clear that up for anyone who was as confused as I was after finishing the play and seeing nothing about a sacred deer 🤠
May 27, 2026
Wow! What have I just read? A dark, violent, unsettling, and morally fraught drama. At the centre is the tragedy of Agave, driven into Bacchic frenzy by the vengeful god Dionysus and made to dismember her own son Pentheus, mistaking him for a wild beast. The horror is intensified by the claim that all of this follows from blasphemy - the family’s refusal to recognise Dionysus’ divinity.
Euripides certainly raises many questions:
- Worship of the gods clearly mattered ... but who exactly are the gods, and what is their nature? How are they different from man? Cadmus says that “gods should be exempt from human passions”, yet this sits at total odds with the Greek pantheon, which from Homer onwards is portrayed as intensely human in its emotions and desires.
- There is a deep tension between passion and rationality, ecstasy and order, mania and logos. Is religion a threat to social stability and civilisation? Is religion rational? And what happens when religion becomes corrupt or destructive?
- How do the gods reveal their divinity, and how does an individual soul recognise the divine? Is Pentheus heroic in his rational scepticism, anticipating something like Enlightenment thinking? Or is he himself culpable? The play also seems to distinguish between acceptance, nominal belief, and genuine faith. Cadmus may belong to the first two categories, but that is not enough to save him from the charge of blasphemy.
- Does religious commitment necessarily involve the loss of individual identity? (Christians would strongly deny this, insisting instead that faith transforms rather than erases the self)
Disturbing and compelling.
Euripides certainly raises many questions:
- Worship of the gods clearly mattered ... but who exactly are the gods, and what is their nature? How are they different from man? Cadmus says that “gods should be exempt from human passions”, yet this sits at total odds with the Greek pantheon, which from Homer onwards is portrayed as intensely human in its emotions and desires.
- There is a deep tension between passion and rationality, ecstasy and order, mania and logos. Is religion a threat to social stability and civilisation? Is religion rational? And what happens when religion becomes corrupt or destructive?
- How do the gods reveal their divinity, and how does an individual soul recognise the divine? Is Pentheus heroic in his rational scepticism, anticipating something like Enlightenment thinking? Or is he himself culpable? The play also seems to distinguish between acceptance, nominal belief, and genuine faith. Cadmus may belong to the first two categories, but that is not enough to save him from the charge of blasphemy.
- Does religious commitment necessarily involve the loss of individual identity? (Christians would strongly deny this, insisting instead that faith transforms rather than erases the self)
Disturbing and compelling.
January 12, 2026
The Bacchae and Iphigenia in Aulis are two instances of drama at its absolute best.
The Cyclops is a curiosity in that it is our only surviving complete Greek Satyr play. It retells the adventure of Odysseus with the Cyclops. It is good fun, but also rather vulgar to say the least and hardly an example of "high art".
Rhesus is a solid but not particularly inspiring take on the night raid of Odysseus and Diomedes during the Trojan War. The theme of destiny is interesting in this one. Rhesus is clearly destined to conquer the Greek host, Achilles included, but he instead meets an ignominious end in the night at the hands of the Greek spies. These spies, however, are also interestingly told not to kill Paris when he comes within their reach because they "must not go beyond what is destined for you; there is no authority in you to kill this man."
The translations are quite readable achieving dignity without resorting to either common idiom or high-flown rhyming silliness.
The Cyclops is a curiosity in that it is our only surviving complete Greek Satyr play. It retells the adventure of Odysseus with the Cyclops. It is good fun, but also rather vulgar to say the least and hardly an example of "high art".
Rhesus is a solid but not particularly inspiring take on the night raid of Odysseus and Diomedes during the Trojan War. The theme of destiny is interesting in this one. Rhesus is clearly destined to conquer the Greek host, Achilles included, but he instead meets an ignominious end in the night at the hands of the Greek spies. These spies, however, are also interestingly told not to kill Paris when he comes within their reach because they "must not go beyond what is destined for you; there is no authority in you to kill this man."
The translations are quite readable achieving dignity without resorting to either common idiom or high-flown rhyming silliness.
November 26, 2016
I used two hours to finish Bacchae. Comparing to Antigone, Clouds, I like Bacchae most. Antigone's suicide makes it a tragedy but not a good ending to me. She cares about her dead brothers' dignity but she deserts her sister alive. Her husband's death is also too abrupt. I know the death is the punishment to Cleon. But he could be a good king. He seems to be the most innocent characters among the play. I feel helpless instead of empathetic after finishing the play. Clouds is too dramatic. Socrates is described as an amusement park clown who is always here to take photos with visitors. That helps me to understand how people from that period saw Socrates. It's good amusement but I can hardly accept this form. Bacchae depicts how a god is denied at first and later avenges on people who once slander him. It reminds me of how people always negate our potentials for all kinds of cliches or stereotypes and suppress our growth. I feel emphatic to Dionysus. If I have the power, I would also do what he does but in a mild way.
Mortals can never challenge gods. This is the eternal them for ancient greek tragedies. Except that, both Antigone and Bacchae are centered on family conflicts. Antigone insists on burying her brother and uses the divine law to defy the mortal laws. Agave and Pentheus slanders Dionysus's mother and his own god blood and they are relatives. Why the two plays are centered among family members instead of friends, neighbors? Does it imply that belief to gods overpower families? Is the purpose to alienate relationships among family members so that gods can be the absolute power, which is later applies by Socrates, who claim to separate children and their mothers?
Gender is the second biggest topic, according to most people. Some may argue that Dionysus uses women as targets because they are vulnerable and negligible. But, in my perspective, woman is the only explainable reason for the play. Not because their gender is woman but because only woman owns those characters.
Firstly, woman is jealous. And that's maybe the reason why Agave is more willing to believe her sister is having an affair with a mortal instead of the most powerful god Zeus and later also gives a birth to Zeus's son. Since her sister takes up those credits, she chooses to slander, humiliate and shame her. Among the same species, women are not vulnerable at all. Their jealousy can be the sharpest weapons.
Secondly, woman is primal. Compared to men, women are more animal like. They protect their children, and families. When women smell the scent of danger, they can be as ferocious as beasts. That't why they are chosen for the target to attack people. Men are trained to kill because of the honors that the society grows in their hearts. Women are born to kill people who attack their children. That's the instinct.
In conclusion, it's not that they are women so that they are chose to finish this tragedy. It's because what they have for being women that is destined what will have.
Moreover, I really like this paragraph:
Dionysus:
You and you alone will labor for your city.
A great ordeal awaits you, the one that you're allotted
as your fate. I shall lead you safely there;
someone else shall bring you back..
Pentheus:
Yes, my mother
Dionysus
...conspicuous to all men
Pentheus:
It is for that I go.
Dionysus
You will be carries home..
Pentheus:
O luxury!
Dionysus:
...cradled in your mother's arms
Pentheus:
You will spoil me!
Whne Pentheus says "It's for that I go", I first thinks that he has Oedipus complex. And "luxury" implies that he whether has a peculiar relationship to his mom or that he is always mom's boy. (this point can be arguable) I can't wait to laugh out when Pentheus says "spoil me". This is really an endearing way to express one's emotions. It's really girlish. Dionysus is calculated. He first strips off Dionysus man's appearance, (helps him to dress as a woman), and later strips off his man's soul, (the change of his words). Even though he is not killed by his mother, he will not be Pentheus, the king of the country at all. In his heart, he has already became a neighbor girl.
It seems that Pentheus does have an Oedipus complex through his mother, which is first implied by
Dionysus:
And I say, Don't chain me up! I am sane but you are not
Pentheus:
But I say: chain him. And I'm the ruler here.
Dionysus:
You do not know what is the life you live. You do not know what you do. You do not know who you are.
Pentheus:
I am Pentheus, the son of Echion and Agave.
Dionysus:
Pentheus: you shall repent that name.
When I first read the passage, I thought it was insane instead of "sane". And the explanation would be that both of them are insane, but Dionysus knows his insanity so he is sane for he acknowledges it. But Pentheus denies his insanity and claims he is sane so he, on the contrary, is mad indeed. When Dionysus says he is insane, he actually means he is sane.
Dionysus is the god of wine and theater, which can act as both catharsis and poison. He knows himself through them. While Pentheus knows himself through power "And I'm the ruler here" and mortal standards "I'm the son of Echion and Agave". He is culturally captivated. He sees himself through different social rules instead of his own need. That's why Dionysus says "You do not know what is the life you live. You do not know what you do. You do not know who you are." He never knows himself clearly. His opinions about his life or himself always come from others.
Mortals can never challenge gods. This is the eternal them for ancient greek tragedies. Except that, both Antigone and Bacchae are centered on family conflicts. Antigone insists on burying her brother and uses the divine law to defy the mortal laws. Agave and Pentheus slanders Dionysus's mother and his own god blood and they are relatives. Why the two plays are centered among family members instead of friends, neighbors? Does it imply that belief to gods overpower families? Is the purpose to alienate relationships among family members so that gods can be the absolute power, which is later applies by Socrates, who claim to separate children and their mothers?
Gender is the second biggest topic, according to most people. Some may argue that Dionysus uses women as targets because they are vulnerable and negligible. But, in my perspective, woman is the only explainable reason for the play. Not because their gender is woman but because only woman owns those characters.
Firstly, woman is jealous. And that's maybe the reason why Agave is more willing to believe her sister is having an affair with a mortal instead of the most powerful god Zeus and later also gives a birth to Zeus's son. Since her sister takes up those credits, she chooses to slander, humiliate and shame her. Among the same species, women are not vulnerable at all. Their jealousy can be the sharpest weapons.
Secondly, woman is primal. Compared to men, women are more animal like. They protect their children, and families. When women smell the scent of danger, they can be as ferocious as beasts. That't why they are chosen for the target to attack people. Men are trained to kill because of the honors that the society grows in their hearts. Women are born to kill people who attack their children. That's the instinct.
In conclusion, it's not that they are women so that they are chose to finish this tragedy. It's because what they have for being women that is destined what will have.
Moreover, I really like this paragraph:
Dionysus:
You and you alone will labor for your city.
A great ordeal awaits you, the one that you're allotted
as your fate. I shall lead you safely there;
someone else shall bring you back..
Pentheus:
Yes, my mother
Dionysus
...conspicuous to all men
Pentheus:
It is for that I go.
Dionysus
You will be carries home..
Pentheus:
O luxury!
Dionysus:
...cradled in your mother's arms
Pentheus:
You will spoil me!
Whne Pentheus says "It's for that I go", I first thinks that he has Oedipus complex. And "luxury" implies that he whether has a peculiar relationship to his mom or that he is always mom's boy. (this point can be arguable) I can't wait to laugh out when Pentheus says "spoil me". This is really an endearing way to express one's emotions. It's really girlish. Dionysus is calculated. He first strips off Dionysus man's appearance, (helps him to dress as a woman), and later strips off his man's soul, (the change of his words). Even though he is not killed by his mother, he will not be Pentheus, the king of the country at all. In his heart, he has already became a neighbor girl.
It seems that Pentheus does have an Oedipus complex through his mother, which is first implied by
Dionysus:
And I say, Don't chain me up! I am sane but you are not
Pentheus:
But I say: chain him. And I'm the ruler here.
Dionysus:
You do not know what is the life you live. You do not know what you do. You do not know who you are.
Pentheus:
I am Pentheus, the son of Echion and Agave.
Dionysus:
Pentheus: you shall repent that name.
When I first read the passage, I thought it was insane instead of "sane". And the explanation would be that both of them are insane, but Dionysus knows his insanity so he is sane for he acknowledges it. But Pentheus denies his insanity and claims he is sane so he, on the contrary, is mad indeed. When Dionysus says he is insane, he actually means he is sane.
Dionysus is the god of wine and theater, which can act as both catharsis and poison. He knows himself through them. While Pentheus knows himself through power "And I'm the ruler here" and mortal standards "I'm the son of Echion and Agave". He is culturally captivated. He sees himself through different social rules instead of his own need. That's why Dionysus says "You do not know what is the life you live. You do not know what you do. You do not know who you are." He never knows himself clearly. His opinions about his life or himself always come from others.
This entire review has been hidden because of spoilers.
December 31, 2024
I adore the Bacchae so much, but each reread really highlights how cruel it is. Dionysus is decidedly queer in the play, and there's no word other than monstrous that fits how he uses Pentheus' (extremely) latent queerness against him and inflicts madness to make his own family suffer.
Iphigenia in Aulis was very new to me, and so uncharacteristically (from the Iliad) chaste/prudish/proper in how it depicts social relations. Loved the Menelaus/Agamemnon interactions, not sure how much I cared for the rest.
I've never liked the cyclops and don't intend to start now.
Iphigenia in Aulis was very new to me, and so uncharacteristically (from the Iliad) chaste/prudish/proper in how it depicts social relations. Loved the Menelaus/Agamemnon interactions, not sure how much I cared for the rest.
I've never liked the cyclops and don't intend to start now.
This entire review has been hidden because of spoilers.
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August 19, 2020The Bacchae
- Lines! 58 “ten thousand men posses ten thousand hopes” 62 “yes in a certain way” 71 “you are proud?” 73 “proud and happy”
- Hellas - Greece
- 52 “you will all be routed, shamefully defeated,/ when their sands of ivy turn back your shields/ of bronze” anti-epic? Anti-military? Phallic wording applied to women bc power?
- Men becoming women - 12th Night Shakespeare at it again
- nets
- “To accept the gods, to act as a mortal—/ that is a life free from pain” ie shut up and believe
- Lines! 58 “ten thousand men posses ten thousand hopes” 62 “yes in a certain way” 71 “you are proud?” 73 “proud and happy”
- Hellas - Greece
- 52 “you will all be routed, shamefully defeated,/ when their sands of ivy turn back your shields/ of bronze” anti-epic? Anti-military? Phallic wording applied to women bc power?
- Men becoming women - 12th Night Shakespeare at it again
- nets
- “To accept the gods, to act as a mortal—/ that is a life free from pain” ie shut up and believe
January 5, 2024
I wrote reviews for each but lost them due to a careless mis-swipe. I will only rehash that I read this book because Michael Surgue, a public historian and philosopher, announced that he would use the Bacchae as reference for one of his special lectures for medical professionals, particularly doctors. Nevertheless I’ll put my rating for each piece below and then average them for the final rating.
The Bacchae - 5/5
Iphigenia in Aulis - 4/5
The Cyclops - 3/5
Rhesus - 3/5
The Bacchae - 5/5
Iphigenia in Aulis - 4/5
The Cyclops - 3/5
Rhesus - 3/5
February 5, 2019
Bacchae was great, and had surprisingly strong parallels to the Gospels. Imagine, a story about a man who loves to drink and celebrate claiming to be immaculately conceived and a god, and others rejecting him and claiming that his mother was simply unfaithful. Who knew!
'Cyclops" was so similar to that in the Odyssey that I barely cared. Same with "Rhesus" and the Iliad. Iphigenia in Aulis was good; I enjoyed seeing her willingness to die for her country.
'Cyclops" was so similar to that in the Odyssey that I barely cared. Same with "Rhesus" and the Iliad. Iphigenia in Aulis was good; I enjoyed seeing her willingness to die for her country.
March 29, 2022
The Revised edition of Euripides plays are wonderfully done, though this one was a mixed bag for me. It has one of my favorites - 'Iphigenia in Aulis' - and another great one - 'The Bacchae' - but it ends with two uninspiring plays, 'The Cyclops' and 'Rhesus'. Still, a worthy volume for what it includes and what it tells. Again, a future purchase candidate.
December 22, 2021
Bacchae is HANDS DOWN my favorite Greek Tragedy. I love seeing Dionysus in the stage between pre-Greek Dionysus and post-acceptance Dionysus. It reminds us of why he is a god. This play just has it all for me and now I might just go get possessed by mad or something idk
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November 26, 2024... only read "Iphigenia in Aulis" not all four of these.
... no proper review, because I read it aloud with a family member, which was a very enjoyable experience, but not due to the text.
... best part was Iphigenia near the play's end.
... some of the speeches did seem quite unnecessarily long.
... no proper review, because I read it aloud with a family member, which was a very enjoyable experience, but not due to the text.
... best part was Iphigenia near the play's end.
... some of the speeches did seem quite unnecessarily long.
October 30, 2018
Just read the Bacchae from this collection. Fascinating story. Read along with Leithart’s *Heroes of the City of Man* which is very insightful.
March 21, 2020
The Bacchae! alright Dionysus
April 13, 2020
The Bacchae.... those gods and their rites!
June 26, 2021
all excellent except Rhesus
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March 19, 2024Only read Iphigenia In Aulis for school
June 19, 2024
Iphigenia was a masterpiece.
March 7, 2025
The Bacchae might be my new favourite Greek play (with Antigone). Cyclops was fantastic, Iphigenia was solid, didn’t care for Rhesus.
March 18, 2025
why does hector act so stupid here? he's not some meathead. cmon.
January 8, 2026
I didn't like rhesus at all, but again, it may not be written by euripides so that's good to know. my favorite would be in between the bacchae and iphigenia in aulis
April 20, 2026
Only read “Cyclops.” I found it quite humorous and a good reference to how Greeks viewed the “other.”
July 2, 2026
Such a great translation in comparison to the others I've tried
July 9, 2026
(The cyclops)
3/5
(The Bacchae)
4.5/5
3/5
(The Bacchae)
4.5/5
August 5, 2025
Just read “The Bacchae”
March 11, 2025
pentheus is such a loser if he wasn’t so damn nosy this could’ve all been avoided
Displaying 1 - 30 of 39 reviews