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* WidowMistreatment: Being a playwriter who has an extremely prominent fascination with women and their tragedy compared to his contemporaries, Euripides has explored this trope in a few of his surviving plays:
** The crux of ''Theatre/TheTrojanWomen'' is the depiction of the tragedy that falls upon the women of Troy after the Trojan War, many of whom are widows. Two of the main characters Hecuba and Andromache (along with ''many'' nameless extras) are turned to [[SexSlave sex slaves]] because their husbands fought against the Greek army. Andromache also witnesses her son Astyanax being thrown down a mountain because his status as the heir of Troy is too threatening for the Greek army.
** ''Theatre/{{Andromache}}'' follows the life of Andromache after being turned into a sex slave following the Trojan War, with her lamenting ''many'' times in the play about her husband and son's death. Her life with her captor Neoptolemos isn't easy either, with his wife Hermione taking out her frustration of her own childlessness onto Andromache.
** ''Theatre/{{Hecuba}}'' depicts Queen Hecuba's life after the Trojan War killed her husband king Priam. The play depicts her TraumaCongaLine of becoming a sex slave, her son Polydorus is betrayed and killed by King Polymester to steal the gold that was sent with him and her daughter Polyxena is blood sacrificed on the tomb of the Greek warrior Achilles. She got her revenge by [[RoaringRampageOfRevenge stabbing the treacherous Polymestor's eyes and killing his sons, fully knowing that she will very likely die sooner or later]].
** The crux of ''Theatre/TheTrojanWomen'' is the depiction of the tragedy that falls upon the women of Troy after the Trojan War, many of whom are widows. Two of the main characters Hecuba and Andromache (along with ''many'' nameless extras) are turned to [[SexSlave sex slaves]] because their husbands fought against the Greek army. Andromache also witnesses her son Astyanax being thrown down a mountain because his status as the heir of Troy is too threatening for the Greek army.
** ''Theatre/{{Andromache}}'' follows the life of Andromache after being turned into a sex slave following the Trojan War, with her lamenting ''many'' times in the play about her husband and son's death. Her life with her captor Neoptolemos isn't easy either, with his wife Hermione taking out her frustration of her own childlessness onto Andromache.
** ''Theatre/{{Hecuba}}'' depicts Queen Hecuba's life after the Trojan War killed her husband king Priam. The play depicts her TraumaCongaLine of becoming a sex slave, her son Polydorus is betrayed and killed by King Polymester to steal the gold that was sent with him and her daughter Polyxena is blood sacrificed on the tomb of the Greek warrior Achilles. She got her revenge by [[RoaringRampageOfRevenge stabbing the treacherous Polymestor's eyes and killing his sons, fully knowing that she will very likely die sooner or later]].
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* CaretakerReversal: How ''Heracles'' ends. [[spoiler: Heracles is stated as being late home because he saved Theseus from the underworld as a side-quest. Theseus decides to travel to Thebes to overthrow the evil Lykos only to walk into Herakles being tied up after killing his wife and children in a fit of god enduced madness. Theseus then ends up saving Herakles out of mental underworld.]]
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** ''The Trojan Women'' plays up the tragedies which befall the people of Troy after their city fell rather than focusing on the heroics of the main characters. And this isn't the only example--Wiki/TheOtherWiki has noted that Euripides's plays tended to use and adjust old myths and lore to explore the quandaries of contemporary Athenian culture. Which, of course, ''used'' those old myths' baseline forms to define and justify its culture.
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** ''The Trojan Women'' plays up the tragedies which befall the people of Troy after their city fell rather than focusing on the heroics of the main characters. And this isn't the only example--Wiki/TheOtherWiki example--Website/TheOtherWiki has noted that Euripides's plays tended to use and adjust old myths and lore to explore the quandaries of contemporary Athenian culture. Which, of course, ''used'' those old myths' baseline forms to define and justify its culture.
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* TakeThat: ''Electra'' has one toward ''Theatre/TheLibationBearers'', in which Electra recognizes Orestes' hair and footprints because they're identical to her own. Euripides' Electra, faced with such clues, points out that there's no reason to expect siblings to have the same shoe size.
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* TakeThat: TakeThat:
** ''Electra'' has one toward ''Theatre/TheLibationBearers'', in which Electra recognizes Orestes' hair and footprints because they're identical to her own. Euripides' Electra, faced with such clues, points out that there's no reason to expect siblings to have the same shoesize. size.
** Many of his contemporaries hold the same misogynistic views sprouted by his characters (such as that women are inherently evil, corrupted, lustful and stupid and is only useful for bearing children). All of these characters (such as Jason and Hippolytus) are all shown to be extremely unsympathetic and met brutal end by the very women they disrespected.
** ''Electra'' has one toward ''Theatre/TheLibationBearers'', in which Electra recognizes Orestes' hair and footprints because they're identical to her own. Euripides' Electra, faced with such clues, points out that there's no reason to expect siblings to have the same shoe
** Many of his contemporaries hold the same misogynistic views sprouted by his characters (such as that women are inherently evil, corrupted, lustful and stupid and is only useful for bearing children). All of these characters (such as Jason and Hippolytus) are all shown to be extremely unsympathetic and met brutal end by the very women they disrespected.
