Hugh Lloyd-Jones, Blood for the Ghosts: Classical Influences in the Nineteenth and Twentieth Centuries (1982), p. 208
“

The Trojan Women powerfully depicts the horrors of war, and Murray assumed that Euripides meant it as a protest against atrocities committed by his own side in the war against Sparta and her allies that Athens was fighting at the time. This view still has some advocates; but those who are aware of the difference between a tragedy and a drame engagé see the play not as a protest against the behaviour of any actual persons, but as a portrayal of what the poet regards as a permanent feature of the human situation. This view of Euripides as a crusader for contemporary causes is eloquently expressed in Murray's book Euripides and his Age, published in 1913; the work is delightfully written, and (if you will forgive a personal reminiscence) did more than any other to make me want to be a scholar when I read it at the age of fourteen. But I now believe it to be almost totally misguided.

— Hugh Lloyd-Jones

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "The Trojan Women powerfully depicts the horrors of war, and Murray assumed that Euripides meant it as a protest against atrocities committed by his own side in the war against Sparta and her allies that Athens was fighting at the time. This view still has some advocates; but those who are aware of the difference between a tragedy and a drame engagé see the play not as a protest against the behaviour of any actual persons, but as a portrayal of what the poet regards as a permanent feature of the human situation. This view of Euripides as a crusader for contemporary causes is eloquently expressed in Murray's book Euripides and his Age, published in 1913; the work is delightfully written, and (if you will forgive a personal reminiscence) did more than any other to make me want to be a scholar when I read it at the age of fourteen. But I now believe it to be almost totally misguided." in the context of "Hugh Lloyd-Jones, Blood for the Ghosts: Classical Influences in the Nineteenth and Twentieth Centuries (1982), p. 208" to mean that wisdom is timeless.

Source: Wikiquote: "Gilbert Murray" (Quotes about Gilbert Murray) The 'What it means' explanation text was generated by Google Gemini Flash (accessed January 18, 2026). https://gemini.google.com/app
Gilbert Murray

About Gilbert Murray

George Gilbert Aimé Murray, OM, FBA (2 January 1866 – 20 May 1957) was an Australian-born British classical scholar and public intellectual, with connections in many spheres. He was an outstanding scholar of the language and culture of Ancient Greece, perhaps the leading authority in the first half of the twentieth century. He is the basis for the character of Adolphus Cusins in his friend George Bernard Shaw's play Major Barbara, and also appears as the chorus figure in Tony Harrison's play Fram.