Oxyrhynchus Papyri in the context of "Papyrology"

The Catalogue of Women (Ancient Greek: Γυναικῶν Κατάλογος, romanized: Gunaikôn Katálogos)—also known as the Ehoiai (Ancient Greek: Ἠοῖαι, romanized: Ēoîai, Ancient: [ɛː.ôi̯.ai̯])—is a fragmentary Greek epic poem that was attributed to Hesiod during antiquity. The "women" of the title were in fact heroines, many of whom lay with gods, bearing the heroes of Greek mythology to both divine and mortal paramours. In contrast with the focus upon narrative in the Homeric Iliad and Odyssey, the Catalogue was structured around a vast system of genealogies stemming from these unions and, in M. L. West's appraisal, covered "the whole of the heroic age." Through the course of the poem's five books, these family trees were embellished with stories involving many of their members, and so the poem amounted to a compendium of heroic mythology in much the same way that the Hesiodic Theogony presents a systematic account of the Greek pantheon built upon divine genealogies.

Most scholars do not currently believe that the Catalogue should be considered the work of Hesiod, but questions about the poem's authenticity have not lessened its interest for the study of literary, social and historical topics. As a Hesiodic work that treats in depth the Homeric world of the heroes, the Catalogue offers a transition between the divine sphere of the Theogony and the terrestrial focus of the Works and Days by virtue of its subjects' status as demigods. Given the poem's concentration upon heroines in addition to heroes, it provides evidence for the roles and perceptions of women in Greek literature and society during the period of its composition and popularity. Greek aristocratic communities, the ruling elite, traced their lineages back to the heroes of epic poetry; thus the Catalogue, a veritable "map of the Hellenic world in genealogical terms," preserves much information about a complex system of kinship associations and hierarchies that continued to have political importance long after the Archaic period. Many of the myths in the Catalogue are otherwise unattested, either entirely so or in the form narrated therein, and held a special fascination for poets and scholars from the late Archaic period through the Hellenistic and Roman eras.

Dyskolos (Greek: Δύσκολος, pronounced [dýskolos], translated as The Grouch, The Misanthrope, The Curmudgeon, The Bad-tempered Man or Old Cantankerous) is an Ancient Greek comedy by Menander, the only one of his plays, and of the whole New Comedy, that has survived in nearly complete form. It was first presented at the Lenaian festival in Athens in 316 BCE, where it won Menander the first prize.

It was long known only through fragmentary quotations; but a papyrus manuscript of the nearly complete Dyskolos, dating to the 3rd century, was recovered in Egypt in 1952 and forms part of the Bodmer Papyri and Oxyrhynchus Papyri. The play was published in 1958 by Victor Martin.

Bernard Pyne Grenfell FBA (16 December 1869 – 18 May 1926) was an English scientist and egyptologist. Excavations he did with Arthur Surridge Hunt uncovered manuscripts including the oldest Oxyrhynchus Papyri.

The Ichneutae (Ancient Greek: Ἰχνευταί, romanized: Ikhneutaí, lit. 'trackers'), also known as the Searchers, Trackers or Tracking Satyrs, is a fragmentary satyr play by the fifth-century BC Athenian dramatist Sophocles. Three undistinguished quotations in ancient authors were all that was known of the play until 1912, when the extensive remains of a second-century CE papyrus roll of the Ichneutae were published among the Oxyrhynchus Papyri. With more than four hundred lines surviving in their entirety or in part, the Ichneutae is now the best preserved ancient satyr play after Euripides' Cyclops, the only fully extant example of the genre. The manuscript is now kept in the British Library in London.

Tereus (Ancient Greek: Τηρεύς, Tēreus) is a lost Greek play by the Athenian poet Sophocles. Although fragments have long been known, the discovery of a synopsis among the Oxyrhynchus Papyri has allowed an attempt at a reconstruction. Although the date that the play was first produced is not known, it is known that it was produced before 414 BCE, because the Greek comedic playwright Aristophanes referenced Tereus in his play The Birds, which was first performed in 414. Thomas B. L. Webster dates the play to near but before 431 BCE, based on circumstantial evidence from a comment Thucydides made in 431 about the need to distinguish between Tereus and the King of Thrace, Teres, which Webster believes was made necessary by the popularity of Sophocles's play around this time causing confusion between the two names. Based on references in The Birds it is also known that another Greek playwright, Philocles, had also written a play on the subject of Tereus, and there is evidence both from The Birds and from a scholiast that Sophocles' play came first.

Some scholars believe that Sophocles' Tereus was influenced by Euripides' Medea, and thus must have been produced after 431. However, this is not certain and any influence may well have been in the opposite direction, with Sophocles' play influencing Euripides. Jenny Marsh believes that Euripides' Medea did come before Sophocles' Tereus, based primarily on a statement in Euripides' chorus "I have heard of only one woman, only one of all that have lived, who put her hand on her own children: Ino." Marsh takes this to imply that as of the time of Medea's production, the myth of Tereus had not yet incorporated the infanticide, as it did in Sophocles' play. Akiko Kiso was the first Japanese scholar to publish on Sophocles. In 1984 Kiso published The Lost Sophocles, which reconsidered fragments of Sophocles' lost works. It included reconstructions of Epigoni and Tereus.