Editing Euripides (section)

===Chronology===
Original production dates for some of Euripides' plays are known from ancient records, such as lists of prize-winners at the [[Dionysia]]; and approximations are obtained for the remainder by various means. Both the playwright and his work were travestied by comic poets such as [[Aristophanes]], the known dates of whose own plays can serve as a [[terminus ad quem]] for those of Euripides (though the gap can be considerable: twenty-seven years separate ''Telephus'', known to have been produced in 438 BC, from its parody in ''[[Thesmophoriazusae]]'' in 411 BC.). References in Euripides' plays to contemporary events provide a [[terminus ad quem|terminus a quo]], though sometimes the references might even precede a datable event (e.g. lines 1074–89 in ''[[Ion (play)|Ion]]'' describe a procession to [[Eleusis]], which was probably written before the Spartans occupied it during the [[Peloponnesian War]]).<ref>A.S. Owen, ''Euripides: Ion'', Bristol Classical Press, Introduction pp. xl–xli</ref> Other indications of dating are obtained by [[stylometry]].

Greek tragedy comprised lyric and dialogue, the latter mostly in [[iambic trimeter]] (three pairs of [[iamb (foot)|iambic feet]] per line). Euripides sometimes 'resolved' the two syllables of the iamb (˘¯) into three syllables (˘˘˘), and this tendency increased so steadily over time that the number of resolved feet in a play can indicate an approximate date of composition (see [[Euripides#Extant plays|Extant plays]] below for one scholar's list of resolutions per hundred trimeters). Associated with this increase in resolutions was an increasing vocabulary, often involving prefixes to refine meanings, allowing the language to assume a more natural rhythm, while also becoming ever more capable of psychological and philosophical subtlety.<ref>B. Knox, 'Euripides' in ''The Cambridge History of Classical Literature I: Greek Literature'', P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 337</ref>

The trochaic tetrameter catalectic{{emdash}}four pairs of [[trochee]]s per line, with the final syllable omitted{{emdash}}was identified by Aristotle as the original meter of tragic dialogue (''Poetics'' 1449a21). Euripides employs it here and there in his later plays,<ref>Justina Gregory, 'Euripidean Tragedy', in ''A Companion to Greek Tragedy'', Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 257</ref> but seems not to have used it in his early plays at all, with ''The Trojan Women'' being the earliest appearance of it in an extant play—it is symptomatic of an archaizing tendency in his later works.<ref>M. Platnauer, ''Iphigenia in Tauris'', Oxford University Press (1938), Introduction page 14</ref><ref>E.R.Dodds, ''Euripides: Bacchae'', Oxford University Press (1960), Introduction p. xxxvi</ref>

The later plays also feature extensive use of [[stichomythia]] (i.e. a series of one-liners).<ref>John Gould, 'Tragedy in performance' in ''The Cambridge History of Classical Literature I: Greek Literature'', P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 281</ref> The longest such scene comprises one hundred and five lines in ''Ion'' (lines 264–369). In contrast, Aeschylus never exceeded twenty lines of stichomythia; Sophocles' longest such scene was fifty lines, and that is interrupted several times by αντιλαβή<ref group="nb">i.e. lines are split between speakers</ref> (''[[Electra (Sophocles)|Electra]]'', lines 1176–1226).<ref>A.S. Owen, ''Euripides: Ion'', Bristol Classical Press (1990), Introduction p. 91</ref>

Euripides' use of lyrics in sung parts shows the influence of [[Timotheus of Miletus]] in the later plays{{emdash}}the individual singer gained prominence, and was given additional scope to demonstrate his virtuosity in lyrical duets, as well as replacing some of the chorus's functions with monodies. At the same time, choral odes began to take on something of the form of [[dithyrambs]] reminiscent of the poetry of [[Bacchylides]], featuring elaborate treatment of myths.<ref>Justina Gregory, 'Euripidean Tragedy', in ''A Companion to Greek Tragedy'', Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 258</ref> Sometimes these later choral odes seem to have only a tenuous connection with the plot, linked to the action only in their mood. The ''Bacchae'', however, shows a reversion to old forms,<ref>B. Knox, 'Euripides' in ''The Cambridge History of Classical Literature I: Greek Literature'', P. Easterling and B. Knox (ed.s), Cambridge University Press (1985), p. 338</ref> possibly as a deliberate archaic effect, or because there were no virtuoso choristers in Macedonia (where it is said to have been written).<ref>Moses Hadas, ''Ten Plays by Euripides'', Bantam Classic (2006), Introduction, p. xvi</ref>