Edith Hall is Leverhulme Professor of Greek Cultural History at the University of Durham.Fiona Macintosh is Senior Research Fellow at the Archive of Performances of Greek and Roman Drama at the University of Oxford.

...comprehensively and formidably thorough study...a triumph...[Hall and Macintosh] succeed brilliantly...Here is a rich and informing overview of the drama and its various connections to social legislation, educational reform and religious preference...[it] links the history of classical transmission to that of the theatre in ways never previously attempted.

• 1. Regicide, Restoration, and the English Oedipus ; 2. Iphigenia and the Glorious Revolution ; 3. Greek Tragedy as She-Tragedy ; 4. James Thomson's Tragedies of Opposition ; 5. Euripides' Ion, Coram's Foundlings, and Hardwicke's Marriage Act ; 6. Eighteenth-Century Electra ; 7. Caractacus at Colonus ; 8. Revolutionary Oedipuses ; 9. Greek Tragedy in Late Georgian Reading ; 10. Ruins and Rebels ; 11. Talfourd's Ancient Greeks in the Theatre of Reform ; 12. Antigone with Consequences ; 13. The Ideology of Classical Burlesque ; 14. Medea and Mid-Victorian Marriage Legislation ; 15. Page versus Stage: Greek Tragedy, the Academy, and the Popular Theatre ; 16. London's Greek Plays in the 1880s: George Warr and Uocial Philistinism ; 17. The Shavian Euripides and the Euripidean Shaw: Greek Tragedy and the New Drama ; 18. Greek Tragedy and the Cosmopolitan Ideal

Edith Hall is Leverhulme Professor of Greek Cultural History at the University of Durham.Fiona Macintosh is Senior Research Fellow at the Archive of Performances of Greek and Roman Drama at the University of Oxford.

...comprehensively and formidably thorough study...a triumph...[Hall and Macintosh] succeed brilliantly...Here is a rich and informing overview of the drama and its various connections to social legislation, educational reform and religious preference...[it] links the history of classical transmission to that of the theatre in ways never previously attempted.

• 1. Regicide, Restoration, and the English Oedipus ; 2. Iphigenia and the Glorious Revolution ; 3. Greek Tragedy as She-Tragedy ; 4. James Thomson's Tragedies of Opposition ; 5. Euripides' Ion, Coram's Foundlings, and Hardwicke's Marriage Act ; 6. Eighteenth-Century Electra ; 7. Caractacus at Colonus ; 8. Revolutionary Oedipuses ; 9. Greek Tragedy in Late Georgian Reading ; 10. Ruins and Rebels ; 11. Talfourd's Ancient Greeks in the Theatre of Reform ; 12. Antigone with Consequences ; 13. The Ideology of Classical Burlesque ; 14. Medea and Mid-Victorian Marriage Legislation ; 15. Page versus Stage: Greek Tragedy, the Academy, and the Popular Theatre ; 16. London's Greek Plays in the 1880s: George Warr and Uocial Philistinism ; 17. The Shavian Euripides and the Euripidean Shaw: Greek Tragedy and the New Drama ; 18. Greek Tragedy and the Cosmopolitan Ideal

Edith Hall is Leverhulme Professor of Greek Cultural History at the University of Durham.Fiona Macintosh is Senior Research Fellow at the Archive of Performances of Greek and Roman Drama at the University of Oxford.

...comprehensively and formidably thorough study...a triumph...[Hall and Macintosh] succeed brilliantly...Here is a rich and informing overview of the drama and its various connections to social legislation, educational reform and religious preference...[it] links the history of classical transmission to that of the theatre in ways never previously attempted.

• 1. Regicide, Restoration, and the English Oedipus ; 2. Iphigenia and the Glorious Revolution ; 3. Greek Tragedy as She-Tragedy ; 4. James Thomson's Tragedies of Opposition ; 5. Euripides' Ion, Coram's Foundlings, and Hardwicke's Marriage Act ; 6. Eighteenth-Century Electra ; 7. Caractacus at Colonus ; 8. Revolutionary Oedipuses ; 9. Greek Tragedy in Late Georgian Reading ; 10. Ruins and Rebels ; 11. Talfourd's Ancient Greeks in the Theatre of Reform ; 12. Antigone with Consequences ; 13. The Ideology of Classical Burlesque ; 14. Medea and Mid-Victorian Marriage Legislation ; 15. Page versus Stage: Greek Tragedy, the Academy, and the Popular Theatre ; 16. London's Greek Plays in the 1880s: George Warr and Uocial Philistinism ; 17. The Shavian Euripides and the Euripidean Shaw: Greek Tragedy and the New Drama ; 18. Greek Tragedy and the Cosmopolitan Ideal