(note 23 there mentions some bibliographical surveys of this work).
Martin Cropp’s work for these volumes has been facilitated by research grants from the University of Calgary. Jason McClure assisted him in checking refererences and preparing the Index, and Elizabeth Cropp read most of our introductions and translations with improving effect. Thanks for various kinds of personal support and practical help go also to Bill Allan, James Diggle, John Gibert, Doreen Innes, Jim Neville and Peter Toohey. We happily record appreciation of a quite different kind, not least for much wondering patience, to our wives, Jean Collard and Elizabeth Cropp.
Lastly, Christopher Collard would like it known how much is owed to Martin Cropp’s expertise in preparing the copy for publication.
Christopher Collard, Oxford
Martin Cropp, Calgary
Euripides first produced plays at the Athenian Dionysia in 455 when he was probably in his late twenties; his dramatic career continued for almost fifty years.1 Our knowledge of his plays depends almost entirely on the texts collected and edited two centuries later by scholars at Alexandria, who may have relied largely on the official Athenian collection commissioned by Lycurgus around 330; but so little is known about the earlier history of the original scripts, and particularly about the processes of authorial revision, circulation, and adaptation for reperformance at Athens and elsewhere, that we cannot know how exactly these were reproduced in what became the standard texts; we can only assume that what we read for the most part represents Euripides’ work.2
The Alexandrian scholars seem to have known of ninety-two titles but could find and edit texts of only seventy