DOCSLIB.ORG

Trojan Women: And, Hippolytus Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Trojan Women: And, Hippolytus Free FREE TROJAN WOMEN: AND, HIPPOLYTUS PDF Euripides | 64 pages | 28 Mar 2003 | Dover Publications Inc. | 9780486424620 | English | New York, United States The Trojan Women and Hippolytus Add to Wishlist. By: Euripides. These two powerful classics of ancient drama are excellent examples of the author's gift for adapting traditional material for decidedly nontraditional effect. Through them Euripides critically examines social and moral aspects of contemporary life and even specific political events. He endows his figures with shrewdly Trojan Women: And individual character, implicitly deflating the emblematic simplicity of traditional narratives and making him seem the most modern of the great Greek dramatists. The Trojan Womenone of Trojan Women: And most powerful indictments of Hippolytus and the arrogance of power ever Hippolytus, is played out before the ruined walls of Troy. A grim recounting of the murder of the innocent, the desecration of shrines, and the enslavement of the women of the defeated city, it reveals the futility of a war fought for essentially frivolous reasons, in which the traditional heroes are shown to be little better than bloodthirsty thugs. Hippolytus is primarily about the dangers of passion and immoderation, whether Hippolytus pursuing or in thwarting normal desires — struggles symbolized Hippolytus the gods, who embody natural forces and behave like irresponsible humans. Required study for any college course in literature and mythology, these two masterpieces are essential Hippolytus for anyone interested in the roots of world drama. Book Reg. Product Description Product Details These two powerful classics of ancient drama are excellent Trojan Women: And of the author's gift for adapting traditional material for decidedly nontraditional effect. Reprint of standard editions. Five Great Greek Tragedies. The Trojan Women and Hippolytus by Euripides, Paperback | Barnes & Noble® One of two plays of the same title written by Euripides, the surviving Hippolytus was first produced in BC and, unlike the lost one which seems to have been badly received, won the first prize at the City Dionysia of that year. The protagonist of the tragedy is Hippolytusbastard son of the renowned hero Theseus and a lifetime devotee of Artemisthe goddess Hippolytus chastity and purity. Hippolytushowever, is so appalled Trojan Women: And the proposition that immediately he launches into one of the most misogynistic tirades in ancient literature, all the while threatening to tell his father everything once he comes back. He also curses him with death, imploring his father Poseidon to make this wish a reality. Theseus is initially almost content to hear the Hippolytus, but then Artemis appears on the stage and tells him the truth, blaming him for killing an innocent youth. Euripides finished first, Iophon second, and Ion was third. The titles of the other plays of the winning trilogy are not known. To distinguish between the two, some Hippolytus in Trojan Women: And, a subtitle was added to both tragedies, so, the surviving Hippolytus especially by scholars is also known as Hippolytus the Wreath-Bearerwhile the lost play is almost always referred to as Hippolytus Veiled. As far as we can deduce from the available evidence, the lost play was not well received in Ancient Greece, probably because Hippolytus was seduced directly by Phaedra —an act which may have greatly offended the original audience of the tragedy. The play is set in the city of Troezena coastal town in northeastern Peloponnese, separated from Athens with the Saronic Gulf. Trojan Women: And prologue of Hippolytusas is customary in Ancient Greek tragedy, provides the audience with the necessary context and background information. It is Aphroditethe goddess of love and passion, that sets the Hippolytus in this case. We learn from her opening speech that, after having murdered CecropsTheseus has left Athens with his wife Phaedra and is now serving a year of exile to cleanse himself from the deed in the small coastal town of Troezen. And it is on this very day that she intends to add the last touches on her infernal plan. Hippolytus and his followers burst into a hymn praising Artemis who, as is well known, along with being a chaste goddess, is also the goddess of the hunt. Hippolytus leaves afterward: Hippolytus into his royal chamber, and his servants into the kitchen to prepare a meal. As soon as Hippolytus and his servants leave, twelve Troezenian women enter the stage, and in the entrance song of the main chorus, express their worries over the health of the queen. Preceded by her Trojan Women: And nurse and followed by a few servants, Phaedra comes outside of the palace, as pale and as lifeless as a ghost. Both the nurse and the Chorus Hippolytus horrified to hear this, but Phaedra calms them down: she tells them that she has done nothing so far, nor she plans to, preferring to die rather than spoil her good name. As the nurse leaves to get this anti-love drug, in the first stasimon second choral songthe Troezenian women sing a hymn glorifying the power of Eros. Horror-struck and disturbed beyond words, Hippolytus asks Zeus why has Hippolytus created women at all, before bursting into a tirade against the good-for-nothing female sex. Hippolytus goes so far to even say that Zeus should have found Trojan Women: And way for men to procreate, because women are either fools who sit at the house and bring only trouble to their husbands or mischievous cheats when they are smart enough to hide their deeds. After venting himself out of his initial anger, Hippolytus promises the nurse to stay loyal to his oath, being a pious and sincere man. This, however, is not enough for Phaedrawho, after happening upon the nurse, condemns her Trojan Women: And her betrayal Hippolytus dismisses her from her duties. Phaedra leaves once Hippolytus, this time resolved to end her life for good. My lady, Theseus ' wife, has hanged herself! They tell him, but say nothing of the reason. While mourning her death, he Hippolytus a tablet hanging from her hand. Not wanting to leave anything to chance, Theseus also orders the exile of Hippolytus. And he presents quite the case. First of all, he says, he is a virgin. Thirdly, he was also never one to crave for fame and royal luxuries, always preferring to be a humble hunter and live out of the spotlight. Finally and most importantly, he has sworn to Artemis to always remain pure and chaste and would never break that promise. The messenger leaves, and, just then, without warning, Artemis flies down from the heavens. She tells Trojan Women: And the truth and blames him for killing a pious man—even if in ignorance. Artemis advises Trojan Women: And to forgive his father and, in a touching father-son scene, the dying young man acquits his father of his murder, wishing him plenty of joy and happiness. Hippolytus by Euripides. Phaedra and Hippolytus. Tweet Share 0. Dover Thrift Editions: The Trojan Women and Hippolytus (Paperback) - - For, from his home beneath Parnassus, Phocian Epeus, aided by the craft of Pallas, framed a horse to bear within its womb an armed host, and sent it within the battlements, fraught with death; whence in days to come men Trojan Women: And tell Trojan Women: And "The Trojan Women: And horse," with its hidden load of warriors. Groves forsaken stand and temples of the gods run down with blood, and at the altar's very base, before the god who watched his home, lies Priam dead. Vanquished by Hera, Argive goddess, and by Athena, who helped to ruin Phrygia, I am leaving Ilium, that famous town, and the altars that I love; for when drear desolation seizes on a town, the worship of the gods decays and tends to lose respect. Scamander's banks re-echo long Trojan Women: And loud the screams of captive maids, as they by lot receive their masters. Arcadia taketh some, and some Trojan Women: And folk of Thessaly; others are assigned to Theseus' sons, the Athenian chiefs. And such of the Trojan dames as are Hippolytus portioned out, are in these tents, set apart for the leaders of the host; and with them Spartan Helen, daughter Trojan Women: And Tyndarus, justly counted among the captives. And wouldst thou see that Hippolytus of misery, Hecuba, thou canst; for there Trojan Women: And lies before the gates, weeping many a bitter tear for many a tribulation; for at Achilles' tomb,—though she knows not this,—her daughter Polyxena has died most piteously; likewise is Priam dead, and her children too; Cassandra, whom the king Apollo left to be a virgin, frenzied maid, hath Agamemnon, in Trojan Women: And of the god's ordinance and of piety, forced to a dishonoured wedlock. Farewell, O city prosperous once! May I address the mighty god whom Heaven reveres and who to my own sire is very nigh in blood, laying aside our former enmity? For thy forgiving mood my thanks! Somewhat have I to impart affecting both thyself and me, O king. From none of these; but on behalf Hippolytus Troy, whose soil we tread, am I come to seek thy mighty aid, to make it one with mine. Why leap'st thou thus from mood to mood? Thy love and hate both go too far, on whomsoever centred. When they have set sail from Ilium for their homes. So shall it be, for the boon thou cravest needs but few words. Mount thou to Olympus, and taking from thy father's hand his lightning bolts, keep careful watch against the hour when Argos' host lets slip its cables. A fool is he who sacks the towns of men, with shrines and tombs, the dead man's hallowed home, for at the last he makes a desert round himself, and dies.
Load more

Recommended publications
  • The Tragedy of the Hippolytus Fu Lly in Linking the Power of Aphrodite, As It Acts Throughout the Play, with the Fo Rce of the Sea
    CHAPTER 6 / The Tragedy of the Hipp olytus: The Waters of Ocean and the Untouched Meadow IN MEMORIAM ARTHUR DARBY NOCK (1902-1963) The clash of human will and divine power is basic to the tragic sense of Greek drama. Not only may the gods serve to set the tragic action into motion, but they may themselves embody its meaning. As this meaning usually involves some of the most complex and difficultissues of human life, so the nature of the gods and their mode of acting upon the human world are, often puzzling, fu ll of real or apparent contradictions or hard, painful truths. The Hippolytus has its full share of these difficulties.1 The human motivation in the play is totally comprehensible and satisfying in itself;2 yet the gods, Aphrodite in the prologue, Artemis in the epi- l. The text used is that of Gilbert Murray (1902; Oxford 195 I). Fragments are cited after Nauck. For a bibliography of the H£ppolytus see Albin Lesky, Die tragische Dichtung der Hellenen (G6ttingen 1956) 165-66 (3d ed., 1972, 313-14); more recently, Froma L Zeitlin, "The Power of Aphrodite," in Peter Burian, ed., Directions in Euripidean Criticism (Durham 1985), 1 89ff. I have touched upon some aspects of the imagery in a more general context in C. Segal, "Nature and the World of Man in Greek Literature," Arion 2, no. 1 (1963) 41-42. 2. The adequacy of the human motivation is stressed by L. H. G. Greenwood, Aspects of Euripidean Tragedy (Cambridge 1953) 44ff.;Gilbert Norwood, Essays on Euripidean Drama (Berkeley and Los Angeles 1954) roMf.;R.
    [Show full text]
  • The Garland of Hippolytus
    1 2 3 4 Richard Hunter 5 6 7 The Garland of Hippolytus 8 Abstract: This article discusses a set of remarkable scholia on the dedicatory ad- 9 dress and prayer which Hippolytus offers to Artemis as he places a garland at her 10 statue (Euripides, Hippolytus 73–87); the scholia consider a variety of allegorical 11 interpretations for the garland and for Hippolytus’ moral elitism. The article sets 12 these scholia within the context of the poetic interpretation of later criticism 13 and traces their roots in the language of classical poetry itself. The affiliations of Hippolytus’ language and why it attracted the notice of the scholiasts is 14 also explored, as is the way in which this scholiastic interest points us also to 15 a very important strand of the play’s meaning. 16 17 Keywords: allegorical interpretation, Euripides, Pindar, Orphics, scholia 18 19 One of the most celebrated Euripidean passages is the dedicatory address 20 and prayer which Hippolytus offers to Artemis as he places a garland at 21 her statue, immediately after the hymn which he and his fellow-hunts- 22 men have sung to her as they enter: 23 24 so· t|mde pkejt¹m st]vamom 1n !jgq\tou _ § 25 keil mor, d]spoima, josl^sar v]qy, 5mh’ oute poilµm !nio? v]qbeim bot± 75 26 out’ Gkh] py s_dgqor, !kk’ !j^qatom 27 l]kissa keil_m’ Aqimµ di]qwetai, 28 aQd½rd³ potal_aisi jgpe}ei dq|soir, 29 fsoir didajt¹m lgd³m !kk’ 1mt/i v}sei ¹ ? U 1 ± ! 30 t syvqome mekgwem rt p\mt’ e_,80 to}toir dq]peshai, to?r jajo?si d’ oq h]lir.
    [Show full text]
  • Euripides : Suppliant to the Divine Feminine
    Montclair State University Montclair State University Digital Commons Theses, Dissertations and Culminating Projects 1-2020 Euripides : Suppliant to the Divine Feminine Liz Amato Montclair State University Follow this and additional works at: https://digitalcommons.montclair.edu/etd Part of the Arts and Humanities Commons Recommended Citation Amato, Liz, "Euripides : Suppliant to the Divine Feminine" (2020). Theses, Dissertations and Culminating Projects. 333. https://digitalcommons.montclair.edu/etd/333 This Thesis is brought to you for free and open access by Montclair State University Digital Commons. It has been accepted for inclusion in Theses, Dissertations and Culminating Projects by an authorized administrator of Montclair State University Digital Commons. For more information, please contact [email protected]. Abstract The Euripidean tragedies Hippolytus., The Bacchae and The Medea present us with female characters who have sacred and profcrund interactionrs with the gods. These women havr: powerful ritualistic abilities that move the tragic a,ction. Sirrrilarly, Euripides' versions of Hecuba ancl Electra present us v,rith dynamio female characters who derive their agency from tlhe religio-judiroial need for cosmic ;,rtonement. .tt is up to these heroines to uphold the sacred laws decreed by the gods. Why does l:uripides errLpower these fernales with such direct means of divination? Arguably, Euripides felt it necessary to use these,deistic feminine connections to destroy the titular male characters. The tragedian's implicaticn is clear: divine feminine power supersedes patriarchal power. This divine power is inherent in all women and it compels them act on behalf of cosmic necessity'. The importance of Medea's, Phaedra's and Agave's respective spiritual connections shows us the crucial role that women ptayed in ancient religious worship.
    [Show full text]
  • ABSTRACT a Director's Approach to Euripides' Hecuba Christopher F. Peck, M.F.A. Mentor: Deanna Toten Beard, Ph.D. This Thesi
    ABSTRACT A Director’s Approach to Euripides’ Hecuba Christopher F. Peck, M.F.A. Mentor: DeAnna Toten Beard, Ph.D. This thesis explores a production of Euripides’ Hecuba as it was directed by Christopher Peck. Chapter One articulates a unique Euripidean dramatic structure to demonstrate the contemporary viability of Euripides’ play. Chapter Two utilizes this dramatic structure as the basis for an aggressive analysis of themes inherent in the production. Chapter Three is devoted to the conceptualization of this particular production and the relationship between the director and the designers in pursuit of this concept. Chapter Four catalogs the rehearsal process and how the director and actors worked together to realize the dramatic needs of the production. Finally Chapter Five is a postmortem of the production emphasizing the strengths and weaknesses of the final product of Baylor University’s Hecuba. A Director's Approach to Euripides' Hecuba by Christopher F. Peck, B.F.A A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee DeAnna Toten Beard, Ph.D., Chairperson David J. Jortner, Ph.D. Marion D. Castleberry, Ph.D. Steven C. Pounders, M.F.A. Christopher J. Hansen, M.F.A. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Christopher F. Peck
    [Show full text]
  • Second Thoughts in Greek Tragedy Knox, Bernard M W Greek, Roman and Byzantine Studies; Fall 1966; 7, 3; Proquest Pg
    Second Thoughts in Greek Tragedy Knox, Bernard M W Greek, Roman and Byzantine Studies; Fall 1966; 7, 3; ProQuest pg. 215 Second Thoughts in Greek Tragedy Bernard M. W. Knox "IN HUMAN LIFE," says the Nurse in Euripides' Hippolytus (435-6), "second thoughts are somehow wiser." Like many another character in Euripidean tragedy, she has just changed her mind, and, in true Euripidean style, she justifies her action with a generaliza­ tion. It is not a generalization which would have recommended itself to Aeschylus and Sophocles; before Euripides, change of mind is a rare phenomenon on the tragic stage.! Aeschylus, as Bruno Snell has demonstrated, broke new ground in Greek poetry with his explicit presentation of a conscious human choice between alternatives, a free human decision which commits its taker to a tragic course.2 The responsibility the hero thus assumes, and the complex relation of his choice to the will of the gods and his own heredity, allow little scope for a change of mind. Aeschylean drama is linear; its principal figures, their decision once made, pursue their chosen course to the bitter end.3 In the Persians, which is the tragedy of a whole people rather than an individual, and which furthermore works through retrospect and prophecy rather than through present action, a change of mind is excluded by the nature of the dramatic organization. In the Seven against Thebes, Eteocles, at the end of a slow, almost static, preparation, makes his swift decision to fight against his brother; it is a decision, but not a change of mind-he had already decided to fight in person at one of the gates (282) and the gate where Polynices awaits him is the last remaining assignment.
    [Show full text]
  • Euripides and Gender: the Difference the Fragments Make
    Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines.
    [Show full text]
  • Euripides Scenes in Byzantine Art
    EURIPIDES SCENES IN BYZANTINE ART (PLATES 25-36) N EXT to Homer's Odyssey and Iliad no classical text has stimulated the imagina- tion in the representational arts of classical antiquity more than the dramas of Euripides. A few decades after they were written vase painters of the fourth century B.C. depicted significant moments of Euripidean plays, the two Iphigenias, the Medea, the Oenomauas,the HypsipylCe,the Andromeda and many others in complex compositions.1 Hardly a century later, at the beginning of Hellenism, the desire of the artists to represent the content of a single drama more fully than was possible in even the most complex vase paintings led to the invention of narrative picture cycles in which scene follows scene as the narration proceeds with constant repetition of the chief actors. It is significant that even in the earliest group of monuments on which this new principle of pictorial narration can most clearly be studied, the so-called Megarian bowls, illustrations of Euripidean dramas already rival those of Homeric poems for numerical superiority.2 In both methods, the monoscenic and the cyclic, illustrations from Euripides enjoy a rare popularity throughout the Hellenistic and Roman periods. Numerous Pompeian frescoes which seem to copy earlier panel paintings of great masters depict moments of highly dramatic tension such as the sudden recognition of Jason by Pelias, the brooding of Medea before the killing of her children, or Iphigenia's encounter with Orestes and Pylades,' scenes which undoubtedly are dependent on the Peliades, the Medea, and the Iphigenia Among the Taurians of Euripides.
    [Show full text]
  • The Reception of Euripides in Ovid's Metamorphoses
    Tragic palimpsests: The reception of Euripides in Ovid's Metamorphoses The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Paschalis, Sergios. 2015. Tragic palimpsests: The reception of Euripides in Ovid's Metamorphoses. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467245 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Tragic palimpsestsμ The reception of Euripides in Ovid’s Metamorphoses A dissertation presented by Sergios Paschalis to The Department of the Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Classical Philology Harvard University Cambridge, Massachusetts May 2015 © 2015 Sergios Paschalis All rights reserved. Dissertation Advisor: Albert Henrichs Sergios Paschalis Tragic palimpsestsμ The reception of Euripides in Ovid’s Metamorphoses Abstract ἦhἷΝὅuἴjἷἵtΝὁἸΝthiὅΝἶiὅὅἷὄtἳtiὁὀΝiὅΝthἷΝὄἷἵἷptiὁὀΝὁἸΝἓuὄipiἶἷἳὀΝtὄἳἹἷἶyΝiὀΝἡviἶ’ὅΝMetamorphoses. In Chapter 1 I offer a general survey of the afterlife of Euripidean drama in the major mediating intertexts between Euripides and Ovid, namely Hellenistic poetry, Roman Republican tragedy, ἳὀἶΝViὄἹil’ὅΝAeneid, as well as a review of the pervasive presence of the Greek tragedian in the ἡviἶiἳὀΝ ἵὁὄpuὅέΝ ἑhἳptἷὄΝ ἀΝ ἸὁἵuὅἷὅΝ ὁὀΝ thἷΝ ὄἷἵἷptiὁὀΝ ὁἸΝ ἓuὄipiἶἷὅ’Ν Bacchae in the Metamorphoses. The starting point of my analysiὅΝiὅΝἡviἶ’ὅΝἷpiἵΝὄἷwὄitiὀἹΝὁἸΝthἷΝἓuὄipiἶἷἳὀΝplἳyΝ in the Pentheus episode. Next, I argue that Ovid makes use of the allusive technique of “ἸὄἳἹmἷὀtἳtiὁὀ”,Ν iὀΝ thἷΝ ὅἷὀὅἷΝ thἳtΝ hἷΝ ἹὄἳἸtὅΝ ἷlἷmἷὀtὅΝ ὁἸΝ thἷΝ Bacchae in the narratives of the Minyads and Orpheus.
    [Show full text]
  • Chapter 7.3: Classical Greek Tragedy (Euripides)
    Chapter 7.3: Euripides Life and Career • wrote something around 90 plays – i.e. 20+ entries at the Dionysia • younger than Sophocles by ca. 10 years – and died a few months before him – thus, they must have competed against each other on several occasions – but the specific years when they produced at the same time are not known Chapter 7.3: Euripides Life and Career • won his first victory in 441 BCE but went on to claim only three more victories during his lifetime – and one more posthumously (Bacchae) • but 19 of Euripides’ plays have survived – vs. 7 for Sophocles/Aeschylus each (14 total) • why so many more for Euripides? – his drama was far more popular in later ages! Chapter 7.3: Euripides Life and Career • select vs. alphabetic plays – 10 select plays: Alcestis, Andromache, Bacchae, Hecuba, Hippolytus, Medea, Orestes, Phoenician Women, Rhesus and Trojan Women – 9 alphabetic plays: Electra, Helen, Heracles, Heracles’ Children, Hiketes (Suppliants), Ion, Iphigenia in Aulis, Iphigenia among the Taurians and Kyklops (Cyclops) • from Volume 2(?) of a complete Euripides Chapter 7.3: Euripides Life and Career • the alphabetic plays show a wider range of drama than the rest of classical tragedies – especially melodramas and rescue plays – with happy endings and comic scenes • and many “red herrings” – cf. Helen • Helen never went to Troy, but Egypt instead • was rescued by her husband Menelaus • n.b. comic scene with Menelaus and old woman • fantastical “rescue” vs. the disaster in Sicily Chapter 7.3: Euripides Life and Career • what do we know about Euripides himself? – reasonably well-off • but his mother was a “green-grocer” –was “surly and unconvivial”? – deeply involved and interested in the new philosophical thinking of the day (sophists) – brilliant at agons •cf.
    [Show full text]
  • |||GET||| the Trojan Women and Hippolytus 1St Edition
    THE TROJAN WOMEN AND HIPPOLYTUS 1ST EDITION DOWNLOAD FREE Euripides | 9780486113111 | | | | | The Trojan Women and Hippolytus Item in good condition. View basket. Sara Alegria rated it liked it Mar 15, Good plus condition with light usage showing. Ellen rated it liked it Nov 13, The Israeli playwright Hanoch Levin also wrote his own version of the play, adding more disturbing scenes and scatological details. Susan Plake rated it it was amazing Sep 07, About this Item: Dover Publications, Synopsis — Trojan Women Summary. Woe is me! About this Item: Dover Pubns. More information about this seller Contact this seller 9. An engraving of the death of Astyanax. About this Item: Condition: good. Escape the Present with These 24 Historical Romances. More information about this seller Contact this seller 2. Condition: New. Pictures of this item not The Trojan Women and Hippolytus 1st edition displayed here available upon request. What custom, what ordinance is this amongst Hellenes, good sir? Refresh and try again. More filters. May 15, Talisha rated it really liked it Shelves: at-home-bookshelf. Published by Dover Publications, Incorporated Chorus: Like smoke blown to heaven on the wings of the wind, our country, our conquered country, perishes. At the end of the play it is revealed that she is still alive; moreover, the audience knows from Telemachus' visit to Sparta in Homer's Odyssey that Menelaus continued to live with Helen as his wife after the Trojan War. The Trojan Women and Hippolytus. In his typical style, Euripedes shows the gods to be unreliable and the Greeks to be suspect in their motives for conducting the war.
    [Show full text]
  • This Is Not an Exit: a Reexamination of Euripides' Hippolytus in 2012
    This is Not an Exit: A Reexamination of Euripides’ Hippolytus In 2012 possible implications of the ending of Euripides’ Hippolytus require a reexamination. After Artemis has departed Hippolytus informs his father (... σε τοῦδ’ ἐλευθερῶ φόνου) “... I release you from this blood-guilt” (1449). Bernard Knox, in his 1952, The Hippolytus of Euripides, contends that Hippolytus forgives Theseus with this closing stichomythia (228). This alleged absolution of wrongdoing does not appear quite clear to Theseus and he asks, (τί φῄς; ἀφίης αἵματός μ’ ἐλεύθερον;) “What are you saying? Do you set me free from this blood-guilt?” (1450). Hippolytus does not simply affirm his father’s question but rather he asserts that he cannot execute this forgiveness without referencing Artemis: (τὴν τοξόδαμνον Ἄρτεμιν μαρτύρομαι) “I call Artemis, subduing with the bow, as witness” (1451). I argue that Hippolytus’ moment of forgiveness is, in fact, a bleak instance of human dependence on the gods. In light of recent scholarship, David Konstan’s 2010, Before Forgiveness, the influential line of analysis begun with Knox appears problematic because it culminates with a profound expression of humanity in the form of Hippolytus’ forgiveness of Theseus. Although Konstan does not treat this instance, I believe that his recent assessment of the absence of an ancient Greek equivalent for forgiveness is relevant to this scene which Knox viewed as a “a human act which is at last a free and meaningful choice, a choice made for the first time in full knowledge of the nature of human life and divine government. ... It is an act of forgiveness.” (1952: 228).
    [Show full text]
  • HD's Rewritings of Euripides
    At War with the Classics: H.D.’s Rewritings of Euripides Bertrand Rouby To cite this version: Bertrand Rouby. At War with the Classics: H.D.’s Rewritings of Euripides. Rewriting in the 20th - 21st Centuries: Aesthetic Choice or Political Act?, pp.93-104, 2015. hal-02962537 HAL Id: hal-02962537 https://hal.archives-ouvertes.fr/hal-02962537 Submitted on 9 Oct 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. At War with the Classics: H.D.’s Rewritings of Euripides Bertrand ROUBY Université de Limoges H.D., born Hilda Doolittle, was one of the most European of American poets. After moving to London at 25, she helped define European modernism when she launched Imagism with her former fiancé Ezra Pound, and also made friends with Sigmund Freud in the 1930s, which infused her work with a new outlook on Greek mythology. Her personal research in Greek thought serves two purposes, prominently as a reservoir of images and metaphors, and simultaneously as a thinly veiled disguise for autobiographical concerns, a direction which this paper will not examine, having largely been covered by critics of H.D.’s work.
    [Show full text]