The Trojan Women

Edith Hamilton, in The Greek Way, says that "Euripides is the saddest of the poets" and that "no poet's ear has ever been so sensitively attuned as his to the still, sad music of humanity." The Trojan Women, a heart-rending read, certainly supports these opinions. Written in Athens in 415 B.C. in the throes of the ruinous Peloponnesian War, the play was a condemnatory response to the recent Athenian atrocities against the neutral Greek island of Melos. After taking the island, the Athenians executed all the men and enslaved the women and children. It was an end of innocence of sorts for the city that had long considered itself the world's citadel of what we now call civilization and culture. In criticizing it, Euripides reached back to the central event of the Greek epic heritage, the legendary victory over Troy, for his setting and characters. The resulting tragedy opens in the aftermath of the slaughter of the Trojan men, with Troy in flames and the women being divvied up as slaves to the conquering Greeks. Euripides is unflinching in his depiction of the inhumanities visited upon the vanquished. King Priam's daughter, Cassandra, is raped by Agamemnon, king of the Greeks. His other daughter Polyxena is cruelly murdered. In one of the most moving scenes in all of literature, his grandson Astyanax, a young child and the only surviving heir to the Trojan throne, is taken from his mother Andromache's grieving embrace and thrown to his death from the highest wall of the city. In fact, the only pity and decency presented among the Greeks is found in the Greek messenger Talthybius, who cleans the body of Astyanax and brings it to his grandmother Hecuba after Andromache's pleading to bury him is denied as she is taken away to her fate as a Greek slave. Many have read this work as a blanket indictment of war. I read it as a misanthropic perspective on human nature, with its glimmers of what we call humanity intersticed between the harsh reality of our cruelty, hatred and violence, a reality set free within the lawless terrain of war. Those with a rosy view of our genetic inheritance should generally be given fair warning before engaging the works of Euripides, and The Trojan Women is no different. That said, whatever one's views of our species, this is one of its finer artifacts and it deserves a wide reading despite the passage of over 2,400 years.

About 416 B.C. the island of Melos refused to aid Athens in the war against Sparta. The Athenians then slaughtered the men and enslaved the women and children, an atrocity never before inflicted on one Greek city-state by another. As preparations were made for the ruinous expedition against Syracuse, Euripides wrote "The Trojan Women," as a plea for peace. Consequently there is a strong rhetorical dimension to the play, which prophesies that a Greek force would sail across the sea after violating victims and meet with disaster. However, there the play also has a strong literary consideration in that the four Trojan Women--Hecuba, Queen of Troy; Cassandra, daughter of Hecuba and Priestess of Apollo; Andromache, widow of Hector; and Helen--all appear in the final chapter of Homer's epic poem the "Iliad," mourning over the corpse of Hector, retrieved by his father Priam from the camp of the Acheans. Whenever I have use "The Trojan Women" in class I have always used at least that last chapter of Homer to set up the play. As with his last play "Iphigenia at Aulis," which tells of the events right before the Achean army left for Troy, "The Trojan Women" reflects the cynicism of Euripides. Of all the Achean leaders we hear about in Homer, only Menelaus, husband of Helen, appears. He appears, ready to slay Helen for having abandoned him to run off to Troy with Paris, but we see his anger melt before her beauty and soothing tones. In this play the Greeks do more than enslave women: they have already slain a young girl as a sacrifice to the ghost of Achilles and they take Astyanax, the son of Hector, out of the arms of his mother so that he can be thrown from the walls of Troy. Even the herald of the Greeks, Talthybius, cannot stomach the policies of his people. The play also reminds us that Helen was a most unpopular figure amongst the ancient Greeks, and there is no satisfaction in her saving her life (Note: you might want to check out Isocrates's "Encomium on Helen," an exhibition speech in which he shows off his talent by defending the hated woman). The idea that all of these men died just so that she could be returned to the side of her husband is an utter mockery of the dead. This translation by Nicholas Rudall focuses on the performance of "The Trojan Women," but it is certainly useful for those interested in the historical or literary aspects of the play as well. Another interesting analogy is to use this play in conjunction with "Lysistrata" by Aristophanes, so that students can compare and contrast an anti-war comedy and drama.

Nicholas Rudall's Euripides' The Trojan Women: Plays For Performance provides a new translation of a literary classic of pathos and war, capturing the classical drama in a new form designed as a play for performing to modern audiences. An outstanding literary work Euripides' The Trojan Women is highly recommended for any studying Euripides.Diane C. Donovan Reviewer

Having seen a staged production of this text at the Shakespeare Theater in Washington, DC, I am looking forward to reading the text in detail. In the theater, this was a powerful, painful confrontation of the effects of war on the victims -- the women and children. No heroes, no vainglorious praise of war. Just the horrors of surviving and loss. Troy becomes every war-devastated landscape. The parallels to Bosnia, Kosovo, Rwanda, etc., etc. were not to be denied.Rudell is able to bridge the centuries and make Troy contemporary. The language is both elevated (in the style of classic tragedy) and immediate in its emotional impact.