caa a22 4500 388081953 CHVBK 20180307125219.0 cr unu---uuuuu 161130e199904 xx s 000 0 eng 10.1017/S0017383500026097 doi S0017383500026097 pii (NATIONALLICENCE)cambridge-10.1017/S0017383500026097 Hall Edith Medea and British Legislation Before The First World War [Elektronische Daten] [Edith Hall] Euripides' Medea has penetrated to parts of modernity most mythical figures have not reached. Since she first rolled off the printing presses half a millennium ago, she has inspired hundreds of performances, plays, paintings, and operas. Medea has murdered her way into a privileged place in the history of the imagination of the West, and can today command huge audiences in the commercial theatre. Yet in Britain, at least, her popularity on the stage is a relatively recent phenomenon. Medea has transcended history partly because she enacts a primal terror universal to human beings: that the motherfigure should intentionally destroy her own children. Yet this dimension of the ancient tragedy was until the twentieth century found so disturbing as largely to prevent unadapted performances. On the British stage it was not until 1907 that Euripides' Medea was performed, without alteration, in English translation. Copyright © The Classical Association 1999 Greece and Rome Cambridge University Press 46/1(1999-04), 42-77 0017-3835 46:1<42 1999 46 GAR https://doi.org/10.1017/S0017383500026097 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0017383500026097 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Hall Edith NATIONALLICENCE 773 0- Greece and Rome Cambridge University Press 46/1(1999-04), 42-77 0017-3835 46:1<42 1999 46 GAR CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge