496:, who enters from the palace in tears. When the chorus-leader presses her for news, she gives a confusing response: "She is alive. And dead." Alcestis stands, she explains, at this moment on the brink of life and death. The chorus-leader anxiously confirms that all of the customary preparations have been made for her proper burial. The maidservant joins the chorus-leader in praising Alcestis' virtue. She narrates a long description of Alcestis' prayers and preparations to die earlier that morning, when Alcestis cried over the bridal bed that will destroy her, embraced her sobbing children, and bade all farewell. She describes how Admetus held Alcestis weeping in his arms while her eyes clung to the sight of the last rays of sun she would see. The maidservant welcomes the chorus-leader to the palace and goes inside to inform Admetus of their arrival.
561:, especially in ancient times, has been variously analysed by Rabinowitz, Vellacott, and Burnett, who explain that ancient Greek morality differed considerably from that of the present day. Modern interpretations of the play have been extremely varied, so much so that critics (such as Michelini and Gounaridou) have noted their failure to agree on much of anything. Gounaridou argues that Euripides meant for the play to be understood in many different ways. The psychologies and motivations of Admetus and Alcestis are especially disputed, with the question of Admetus's selfishness strongly contested.
29:
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527:. After much discussion, he finally forces a reluctant Admetus to take her by the hand, but when he lifts the veil, he finds that it appears to be Alcestis, back from the dead. Heracles has battled Death and forced him to give her up. She cannot speak for three days, after which she will be purified and fully restored to life.
515:
Alcestis to abstain from merrymaking during the period that follows her death. Heracles gets drunk and begins to irritate the servants, who loved their queen and are bitter at not being allowed to mourn her properly. Finally, one of the servants snaps at the guest and tells him what has happened.
514:
arrives at the palace, having no idea of the sorrow that has befallen the place. Unwilling to turn a guest away, the king decides not to burden
Heracles with the sad news and instructs the servants to make him welcome and to keep their mouths shut. By doing this, Admetus breaks his promise to
432:. They sing of the silence that greets their search for signs of mourning, the evidence of Alcestis' death. "When goodness dies," they lament, "all good men suffer, too." The chorus-leader concludes by dismissing the chorus' search for hope in the situation: "The King has exhausted every
312:
The time of
Admetus' death comes and he still has not found a willing substitute. His father, Pheres, is unwilling to step in and thinks that it is ludicrous that he should be asked to give up the life he enjoys so much as part of this strange deal. Finally, Admetus' devoted wife
506:
never again marry, nor forget her or place a resentful stepmother in charge of their children. Admetus agrees to this and also promises to lead a life of solemnity in her honour, abstaining from the merrymaking that was an integral part of his household. Alcestis then dies.
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382:) who will wrestle Alcestis away from Death. Alone with the audience, Thanatos warns that "this was a god of many words; but words / are not enough," before he summons the doors open with the tip of his sword and slowly enters the palace.
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when the funerary sacrifices are made at
Alcestis' tomb. When he returns, he brings with him a veiled woman whom he tells Admetus he has won in a competition. He asks his host to take her and look after her while Heracles is away on
308:
who treated Apollo well. Apollo wishes to repay
Admetus' hospitality and offers him freedom from death. The gift, however, comes with a price: Admetus must find someone to take his place when Death comes to claim him.
377:
banter, proposes a postponement of
Alcestis' death, which is sarcastically rebuffed. Thanatos concludes, "you may not have what is not yours." Defeated, Apollo leaves angrily, prophesying the arrival of a man
373:. Thanatos challenges Apollo's apparent defense of Alcestis and accuses him of "twisting slippery tricks" when he helped Admetus cheat death in the first place. Apollo reassures him and, in a passage of swift
543:. Conacher explores how Euripides expanded the myth of Admetus and Alcestis, and added elements of comedy and folk tales. Beye also discusses legendary and fairy tale aspects of the play.
539:
has been a subject of debate among literary critics. It employs both tragic and comic elements, and (when first performed) occupied a slot that was generally reserved for
658:. The production supplemented Euripides' play with material drawn from a range of sources, united by their exploration of the themes of death and rebirth. It began with
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agrees to be taken in his place because she wishes not to leave her children fatherless or be bereft of her lover. At the start of the play, she is close to death.
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of unconnected plays in the competition of tragedies, for which he won second prize; this arrangement was exceptional, as the fourth part was normally a
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345:), dressed in white and carrying his golden bow, with the intention of leaving to avoid becoming stained by the imminent death of
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the privilege of living past the allotted time of his death. The Fates were persuaded to allow this by the god
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Heracles is deeply embarrassed at his blunder and his bad behaviour and he decides to ambush and confront
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for a year and a day and spent the time in the service of the
Thessalian king, a man renowned for his
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Fitts (1960b, 143), Banham (1998, 353), and
Brockett and Hildy (2003, 16–17, 37).
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of the theatre. The chorus-leader complains that they are in a state of
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There are at least seven operas based on the play, six of them named
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1060:. Ninth edition, International edition. Boston: Allyn and Bacon.
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Paul Roche, 1998; from a Signet edition of ten plays by
Euripides
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1142:"Gifts of Humiliation: Charis and Tragic Experience In Alcestis"
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in 438 BC. Euripides presented it as the final part of a
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than this, that a wife should die her husband's death?
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Banham (1998, 352) and
Brockett and Hildy (2003, 16).
878:
Banham (1998, 353) and
Brockett and Hildy (2003, 37).
202:
193:
187:
1086:---. 1960b. Introduction. In Fitts (1960a, 143–145).
196:
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1098:
Euripides Alcestis with Introduction and Commentary
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1121:. New York: Performing Arts Journal Publications.
941:Line 141, trans. Fitts and Fitzgerald (1960, 155).
932:Line 131, trans. Fitts and Fitzgerald (1960, 155).
923:Line 110, trans. Fitts and Fitzgerald (1960, 154).
409:, ignorant of whether they ought to be performing
914:Line 72, trans. Fitts and Fitzgerald (1960, 153).
905:Line 63, trans. Fitts and Fitzgerald (1960, 152).
1698:
1115:Explosion of a Memory: Writings by Heiner Müller
1056:Brockett, Oscar G. and Franklin J. Hildy. 2003.
896:Line 32, trans. Fitts and Fitzgerald (1960, 150)
802:Dudley Fitts and Robert Fitzgerald, 1960 - verse
663:Explosion of a Memory (Description of a Picture)
642:staged a production of the play in 1986 at the
349:, who is being comforted within. He offers an
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1089:Fitts, Dudley, and Robert Fitzgerald. 1960.
1179:has original text related to this article:
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1093:. By Euripides. In Fitts (1960a, 149-199).
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1075:. New York: Harcourt, Brace & World.
805:Philip Vellacott, 1974 – prose and verse
708:, laser projections, a musical score by
284:Long before the start of the play, King
1045:Cambridge: Cambridge University Press.
953:
944:
754:Edward Philip Coleridge, 1891 - prose:
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510:Just afterwards, Admetus' old friend
280:Events prior to the start of the play
1100:. Oxford (Oxford University Press).
832:Diane Arnson Svarlien, 2007 – verse
13:
1737:Plays based on classical mythology
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835:George Theodoridis, 2008 – prose,
333:comes out from Admetus' palace in
16:Ancient Greek tragedy by Euripides
14:
1753:
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1148:, 121(2) (2000) pp. 179–211.
1013:"Alcestis adapted from Euripides"
700:" The production also utilised a
631:and was broadcast by the nascent
623:translation. It was performed at
393:" sequence, follows: a chorus of
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808:William Arrowsmith, 1974 – verse
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355:events leading up to this moment
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1043:The Cambridge Guide to Theatre.
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996:
993:Brockett and Hildy (2003, 550).
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959:"Rutland Boughton's "Alkestis""
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704:whose themes parodied those of
239:. It was first produced at the
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841:Rachel Kitzinger, 2016 - verse
638:The American theatre director
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1146:American Journal of Philology
793:and John McLean, 1936 – prose
413:for their queen. The chorus'
401:" (chorus-leader), enter the
811:David Kovacs, 1994 – prose:
684:, the Eleventh Canto of the
633:British Broadcasting Company
453:Is there a higher excellence
7:
1727:Plays set in ancient Greece
1195:public domain audiobook at
607:Pietro Alessandro Guglielmi
549:is also a popular text for
482:Maidservant (Epeisodion I)
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270:is, possibly excepting the
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1071:Fitts, Dudley, ed. 1960a.
1041:Banham, Martin, ed. 1998.
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778:, 1930 – prose and verse:
644:American Repertory Theater
357:. He hails the arrival of
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1732:Plays adapted into operas
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1625:
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1113:, ed. & trans. 1989.
1091:The Alcestis of Euripides
844:Brian Vinero, 2019: verse
595:Christoph Willibald Gluck
475:knows it, and affirms it.
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732:is a modern adaption of
648:Cambridge, Massachusetts
369:to lead Alcestis to the
557:aspects. The nature of
1096:L. P. E. Parker, 2007
1058:History of the Theatre
605:, and a 1768 opera by
587:George Frideric Handel
535:The categorization of
241:City Dionysia festival
1002:Weber (1989, 93–102).
395:fifteen men of Pherae
1742:Plays about Heracles
1712:Thessalian mythology
1358:The Phoenician Women
1281:Children of Heracles
702:Japanese kyogen play
1685:Alcmaeon in Psophis
1413:Alcmaeon in Psophis
1406:Alcmaeon in Corinth
1337:Iphigenia in Tauris
1208:W. M. L. Hutchinson
1017:Playwrights' Center
860:Banham (1998, 353).
650:and in 1987 at the
579:Jean-Baptiste Lully
531:Critics' commentary
288:was granted by the
1707:Plays by Euripides
1661:(Schweitzer, 1773)
1616:The Cocktail Party
1379:Iphigenia in Aulis
1140:Padilla, Mark W.,
1019:. 15 February 2020
797:Richmond Lattimore
785:Augustus T. Murray
746:Rev. Robert Potter
729:The Cocktail Party
1722:Tragicomedy plays
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1398:fragmentary plays
1163:Works related to
981:Weber (1989, 94).
955:Scholes, Percy A.
776:Richard Aldington
677:which quotes the
671:automatic writing
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444:Who will deny it?
385:The entry of the
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132:Original language
44:fresco (45–79 AD)
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1574:Maidservant
1483:Philoctetes
1448:Cresphontes
1441:Bellerophon
1111:Weber, Carl
827:Anne Carson
791:Moses Hadas
724:T. S. Eliot
692:Hitchcock's
565:Adaptations
555:patriarchal
541:satyr plays
525:his labours
494:maidservant
471:The entire
430:antistrophe
306:hospitality
235:playwright
86:Maidservant
1701:Categories
1553:Characters
1295:Andromache
1288:Hippolytus
1177:Wikisource
1106:0199254672
821:Ted Hughes
599:1773 opera
591:1767 opera
583:1750 opera
575:1674 opera
488:The first
399:coryphaeus
389:, or the "
371:underworld
367:psychopomp
351:exposition
329:, the god
257:tragicomic
249:satyr play
70:Characters
50:Written by
1546:Euripides
1490:Theristai
1455:Hypsipyle
1434:Archelaus
1420:Andromeda
1245:Euripides
1243:Plays by
971:(15): 45.
837:full text
813:full text
780:full text
771:full text
756:full text
750:full text
696:The Birds
656:Stuttgart
559:sacrifice
403:orchestra
339:Velestino
253:ambiguous
245:tetralogy
237:Euripides
54:Euripides
1594:Heracles
1579:Alcestis
1565:Thanatos
1541:Alcestis
1497:Thyestes
1476:Phaethon
1469:Peliades
1427:Antigone
1396:Lost and
1323:Herakles
1267:Alcestis
1197:LibriVox
1192:Alcestis
1181:Ἄλκηστις
1165:Alcestis
734:Alcestis
726:'s play
706:Alcestis
682:Kumasaka
679:Noh play
675:Alcestis
667:prologue
617:Alkestis
547:Alcestis
537:Alcestis
512:Heracles
500:Alcestis
407:suspense
380:Heracles
359:Thanatos
347:Alcestis
343:Magnesia
337:(modern
327:prologue
321:Synopsis
315:Alcestis
268:Alcestis
226:Athenian
224:) is an
222:Alkēstis
217:Ἄλκηστις
169:Alcestis
160:Thessaly
102:Heracles
90:Alcestis
78:Thanatos
34:Alcestis
22:Alcestis
1677:Related
1658:Alceste
1650:Alceste
1634:Alceste
1589:Eumelus
1584:Admetus
1462:Oedipus
1372:Bacchae
1365:Orestes
1316:Electra
1260:Cyclops
1035:Sources
1023:28 June
687:Odyssey
627:by the
571:Alceste
504:Admetus
490:episode
426:strophe
422:stanzas
415:lyrical
391:parodos
353:of the
302:Olympus
286:Admetus
231:by the
229:tragedy
152:Setting
146:Tragedy
105:Servant
98:Eumelus
94:Admetus
64:Old men
38:Admetus
1642:Admeto
1626:Operas
1599:Pheres
1560:Apollo
1386:Rhesus
1302:Hecuba
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690:, and
573:: the
434:ritual
387:chorus
335:Pherae
331:Apollo
298:exiled
294:Apollo
273:Rhesus
251:. Its
156:Pherae
126:Athens
117:438 BC
108:Pheres
74:Apollo
60:Chorus
1608:Plays
1569:Death
1351:Helen
1274:Medea
1117:. By
849:Notes
520:Death
363:Death
300:from
290:Fates
212:Greek
142:Genre
82:Death
1123:ISBN
1102:ISBN
1077:ISBN
1062:ISBN
1047:ISBN
1025:2022
589:, a
581:, a
473:city
428:and
260:tone
36:and
1544:by
1344:Ion
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