By the way, Euripides can suck it.

顺便一说 让欧里庇得斯见鬼去吧。

Euripides, an ancient Greek playwright, was called a misogynes, or woman-hater.

古希腊剧作家欧里庇得斯被称为“misogynes”或“woman-hater”（两词均意为“厌女者”）。

Fourth grade are reading Euripides, Emerson and Shakespeare. These unteachable ones at the age of 10 are doing high school mathematics.

欧里庇得斯 爱默生和莎翁的作品 这些不可教的学生在十岁时 便可以做高中的数学。

Scholars (and readers) still dream of discovering a lost play by Euripides or new poems by Horace.

学者们（和读者）仍然梦想着发现一部丢失的欧里庇得斯的戏剧或贺拉斯的新诗。

But it destroyed many of the works of Aristotle, Aeschylus, Euripides, Sophocles and countless other ancient astronomers, mathematicians, poets, playwrights and philosophers.

但它烧毁了很多亚里士多德、埃斯库罗斯、欧力比德斯、索福克勒斯（希望人名木有查错）以及其他无数古代天文学家、数学家、诗人、剧作家和哲学家的著作。

In Euripides, everything that we think we know about tragedy begins to fall apart.

在欧里庇得斯那里， 我们自以为了解的关于悲剧的一切都开始分崩离析。

As for the poets, they have Aristophanes, Homer, Euripides, and Sophocles of Aldus's edition; and for historians, Thucydides, Herodotus, and Herodian.

至于诗人，他们有阿里斯托芬、荷马、欧里庇得斯和阿尔都斯版本的索福克勒斯；对于历史学家，修昔底德、希罗多德和希律王。

In Euripides, Electra has her hand on the sword, urging Orestes on with ruthless violence.

在 Euripides 中， Electra 手握剑， 用无情的暴力驱使 Orestes 继续前进。

But the truth is that this warping and subversion of tragic conventions is not restricted to Euripides.

但事实是，这种对悲剧传统的扭曲和颠覆并不仅限于欧里庇得斯。

Eventually, scales are brought onstage and the lines of Aeschylus and Euripides are weighed for their literary and moral heft.

最终，天平被带到舞台上， 埃斯库罗斯和欧里庇得斯的台词因其文学和道德的重要性而受到权衡。

The guidance of action by the gods in Aeschylus becomes sheer bloodlust in Euripides.

在埃斯库罗斯那里， 众神对行动的指导在欧里庇得斯那里变成了纯粹的嗜血。

Euripides looked at the same story and saw smeared makeup.

Euripides 看了同一个故事， 看到了污迹斑斑的妆容。

Returning to Poetics XIII, we find another fascinating passing reference to Euripides.

回到《诗学 XIII》， 我们发现了另一个引人入胜的对欧里庇得斯的引用。

By contrast, as I will try and show in Part 5, Euripides—the most tragic, tragikotatos—is the supremely tragicomic poet.

相比之下，正如我将在第 5 部分中尝试展示的那样，欧里庇得斯——最悲惨的悲剧诗人——是至高无上的悲喜剧诗人。

Lefkowitz, Mary. Euripides and the Gods. New York: Oxford University Press, 2015.

莱夫科维茨，玛丽。欧里庇得斯和众神。纽约：牛津大学出版社，2015 年。

Euripides, but equally Sophocles too as we saw in his Electra, leads us step by step toward something much more devastating where catharsis is suspended.

欧里庇得斯， 但同样是索福克勒斯， 正如我们在他的伊莱克特拉中看到的那样，带领我们一步步走向更具破坏性的东西， 宣泄暂停。

His 1969 " Medea" is a very personal, political, visceral and violent take on the same Euripides tragedy that inspired Cherubini's more austere and formal opera.

他 1969 年的《美狄亚》是对欧里庇得斯悲剧的一种非常个人化、政治性、发自内心和暴力的演绎，而正是这个悲剧启发了凯鲁比尼创作出更为严肃和正式的歌剧。

Greek tragedy, particularly with its obsessive focus on the aftermath of the Trojan War, especially in the delightful excessiveness of Euripides, is largely about combat veterans.

希腊悲剧，尤其是它对特洛伊战争后果的过度关注，尤其是在欧里庇得斯令人愉快的过度中，主要是关于退伍军人的。

The effect is deflationary bathos, which nails what Aeschylus sees as the folksy and sentimental way in which Euripides plays on the emotions of his audience (lines 1052–88).

效果是通货紧缩的 bathos，它强调了埃斯库罗斯所认为的欧里庇得斯 (Euripides) 对观众情绪的平易近人和多愁善感的方式（第 1052-88 行）。

Against what is seen as the democratic decay of tragedy in Euripides, Aeschylus's drama will restore the heroic virtue of the Athenians and give them back some proper patriotism.

与欧里庇得斯悲剧的民主衰败相反，埃斯库罗斯的戏剧将恢复雅典人的英雄美德， 并给他们一些适当的爱国主义。