ABSTRACT
This chapter discusses the Most of the Translating Classical Plays on Hit or Myth. The resurrection of any of what was left from the repertoire of Greek tragedy as theatre pieces was left effectively till the latter end of the nineteenth century. The stage world of Medea was always, is always, a fantasy world, as was the world of all Greek tragedy, including Aeschylus' Persians, the only tragedy set in the knowable past. Irish Greek tragedy is apposite because Ireland's past is steeped in injustice and oppression. Chekhov was considered one of these inviolables, until, that is Thomas Kilroy translocated The Seagull to Ireland. Knowing at first hand, and sympathizing with, the struggles of women. In Ireland, Kennelly finds a kind of justice in Medea's destruction of her children that places in the frame a whole stratum of Irish social history. Derek Mahon's version is subtitled 'after Euripides'. Marianne McDonald wrote of it 'This parable is suitable for Ireland.
