“The Greeks must be given what is the Greeks.” This revised and corrected proverb pays tribute to what has been passionate and inspiring over the centuries the biggest authors such as Racine, Giraudoux, and many others: the Greek tragedy. Indeed, the tragedy reached the peak of his art in the 5th century J.-C. (...) worked by the Greek authors, the tragedy acquired his nobility letters and still embodies all the splendor of the theatre. Having an interest in the Greek Theatre of Antiquity necessarily leads to thinking about the three main figures in gender: Eschyle, Sophocle and finally Euripide. However, he did not know the glossary of his predecessors who had already been adulthored from their lives. Euripide was very controversial at the time, but nevertheless acquired an unparallelable post-mortem glossary. In fact, the lack of understanding of his contemporaries did not prevent the recognition of postesity thanks to the eighteen pieces that he was able to keep. Moreover, Euripide definitively conquered the world of literature by becoming Racine’s own ‘muse’, which wrote one of the nineteenth century masterpieces, Iphigenia, played in 1674. Contemporary literary criticism agrees with the modernity of an author of the 5th century Euripide, based on the mythical themes that formed the repertoire of the ancient tragedy, giving a second breathing to theatrical expression. It is therefore very wise to look at the work of this author whose inspiration has provoked so many reactions. Among the coins that arrived to us, Euripide wrote a number of them from the Troyen cycle. The Trojan War remains, thanks to Homère, the Greek myth par excellence. Euripide used mythology to showcase the dangers of war, causing so many mistreates and victims. While aède was alone on the scene to report the homeric gesture, the theatre presents two and then three protagonists to report and make these events alive. The spectator therefore revitalises the sacrifice of Polyxene, a Trojan princess by birth, in Hécube and in Iphigenia, a Greek princess killed in Iphigenia in Aulis. Euripide wrote each of the two exhibits in 424 J.-C. and in 405 J.-C. The weft of Hécube already projected us into the troylean defeat and referred to the fate of the kidnapped queen, Hécube, who loses the last of his children in the room: Polydore and Polyxene. Almost twenty years later, Iphigenia in Aulis presented the sacrifice of Princess Iphigenia, a condition for the Greek fleet to leave for Trojan. The fate of these war victims is very interesting to study when it is known that both of them are sacrificed in a war where men are not the only ones facing themselves. Each of them is killed in the name of a god and becomes almost the perfect depiction of the sacrifice of the ritual ‘victim’ of the dionysiac festivals. A thematic study of these two girls would help to gain a better understanding of the work of an author who has been keen to develop the theme of ‘heroes’, which Euripide seems to believe in. How do these two characters move towards death? What are the debates that they provoke? How do they join? So many questions have to be asked about victims whose fate is inexorably sealed, as everyone knows from the beginning of the performance. In order to best appreciate the study of the characters, it is first necessary to immerse themselves in the context of their literary birth. It was then necessary to know the historical situation of Athens, the ‘home’ of the Greek tragedy, which reached its peak with Euripide. The author uses the Greek terroir to introduce the subject of his parts; the viewer finds himself in Greek myths. The key characters of the two pieces studied, Hécube and Iphigenia in Aulis, can then be studied in more detail. Iphigenia and Polyxene have many commonalities. And although their path to death differs according to the personality of each of them, Euripide gives the same challenge to each: make two innocent girls, victims of human folia, true heroin. Finally, this reading leads to a broader reflection on heroes and heroin in the face of ancient gods. All this highlights the modernity of Euripide, which presents the characters in the face of their destiny, leaving them ‘free’ to become heroes or monstres that can attract the best of the catharsis to the audience.