尤里匹底斯「新酒神頌」見之於他晚後期的悲劇，如《斐尼基婦人》(409B.C.)、《奧瑞斯特》(408 B.C.)、《伊菲貞妮亞在奧里斯》（407 B_C.) ' 與《酒神的女信徒》（407 B.C.)等，其間的劇中人與 歌隊對互動的「場上歌」詩行的抒情大段允爲尤里匹底斯晚後 期的悲劇的語典特色，後世稱之爲「新酒神頌」，有別於老悲 劇--佛呂尼寇斯到愛斯庫羅斯古風悲劇中的頌神歌。本文即從 這一切入點硏討尤里匹底斯晚後期悲劇的現代性，在形式上爲 言詞與思想的轉化，在內容上則爲雅典價値質疑與感喟，就西 元前貝拉(407 B.C.)及雅典(405 B.C.)當年的劇場演出推想當時 演出的指義價値。 從劇場表演上看，筆者前此論古希臘劇場演出，所抱持的 觀點是悲劇演出之歌隊的演唱部分，其實由「酒神頌」演化而 來，當時的論據多取自《酒神的女信徒》，現在，我們的論點 有了較細緻的分疏，即酒神頌語典後來有所分化，「場上歌」 劇中人與歌隊互動的酒神頌經尤氏用在他晚期創作，這一風格 或語典或詩作形式爲「新酒神頌」分疏，這一語典性是本文的 出發點，論述尤氏悲劇詩的現代性則以尤氏悲劇風格分析展開 與最後以當代價値辯證爲本文論述的結點。 尤里匹底斯傳世劇作達十七部之多，他的戲經轉化爲羅馬 悲劇如《希波立特斯》之轉化爲席內嘉的《費得爾》，連莎士 比亞都在《哈姆雷特》中的戲中戲朗誦尤氏的《安得羅瑪各》，後再轉化爲法國古典悲劇拉辛的《費得爾》與《安得羅瑪各》 等，則不只是中世紀劇場傳統與尤里匹底斯的悲劇詩作有引借 的淵源，對兩大劇場傳統的相通性即犧牲動作的劇場性還大有 硏究開發的空間。

New Dithyramb m Euripides appears in his later tragedy such as "Phoenician Women"( 409B.C), " Orestes" ( 408 B.C), "Iphigenia in Aulis" (407-6 B.C), and "Bacchus" (407-6 B.C),etc. The stasimen of chorus and main character are so different from the former tragedy as that of Frynicus and Aeschylus. This is our setting out points to do research on the modernity in Euripides.New Dithyrambs are varies m rhythm, rich in expression and with function in mixed-up styles. This idiosyncratic traits would be the focus of style analysis and the discourse of value in his tragic poetry. Here are several comprehension comments on the value orientation in his later tragedies mentioned above.There are over seventeen plays of Euripides' plays that survives, then the later transformation to Roman tragedy ,even in Hamlet's play within play, and they are adapted by Racine such as Phaedra , Andromaque thus we consider that there are further space for our study.