The three works translated here (The Trojan Women, Hecuba, Helen) revolve around female prisoners, centering on Hecuba and Helen.

In the first two tragedies, all the Trojan women are gathered, with Hecuba as the prominent figure, while Helen, whether present or absent, the prisoner of the Greeks or the Egyptians, stands alone.

The choice of the resourceful Helen, with her subversive variation of the myth, was made as a theatrical gesture that subtly balances between comedic and dramatic elements, ultimately leading to an escape from the bleak atmosphere of the Trojan destruction that permeates the other two tragedies.

Ultimately, the beautiful heroine asserts herself modestly within her own myth and has no relation to the provocative Spartan of the Trojan Women, nor does the optimistic ending of Helen foretell that somewhere in Argos lurks the circling avenger, Orestes.

The Asia Minor Catastrophe of Troy, over the centuries, changes names along the coast, ending in the present day with the Gaza massacre.

After the trilogies: "Theban Cycle" (Sophocles: Oedipus Rex, Oedipus at Colonus, Antigone) and "Three variations of Electra" (Aeschylus: The Choephori, Sophocles: Electra, Euripides: Electra), poet Dimitris Kalokyris continues his trilogy-like approaches to ancient poetic language, this time linking three Euripidean tragedies that are brought together by the Trojan War.