Grief Lessons: Four Plays: Four Plays By Euripi (New York Review Books (Paperback))

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Grief Lessons: Four Plays: Four Plays By Euripi (New York Review Books (Paperback))

Grief Lessons: Four Plays: Four Plays By Euripi (New York Review Books (Paperback))

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So I-left in the house here to care for the children, along with their mother, when my son went underground- I've set us up at the altar of Zeus Savior, built by my son to mark his victory over the Minyans. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Almost everyone believed that the gods made Herakles kill his family, but exactly when he did so was the subject of some disagreement. For we have lost our greatest friend” becomes, on an otherwise blank page, as if the entire myth had vanished, “We go in grief. Although in Ancient Greece Dionysos was a complex god with a long history—he was one of the earliest gods to be mentioned by name in writing as far back as the Bronze Age—Euripides’s play is the only extant tragedy that confronts the dynamic and frightening nature of this deity. But let's say you're determined to take over this country- then allow us to go into exile, 210 You should beware of violence you know, the wind may change. This is the radicalism of “Herakles” and, ultimately, why it is so fascinating to Carson: a play ostensibly about the gods is really about the causes and the consequences of our own deeply troubling behavior.

Not sure but they are a nicely representative sampling of Euripides’ corpus of 19 plays (17 if you eliminate Cyclops and Rhesus, the authenticity of which many scholars have long doubted). Catharsis, by his definition, is a type of cleaning: "we experience, then expurgate these emotions". I enjoy books in various genres, but especially literary fiction, literature in translation, historical fiction, history, short stories and travel writing and poetry. The lines are spoken by a man sitting beside an altar, surrounded by a younger woman and her children: “Who does not know the man who shared his marriage bed / with Zeus?

For a play like “Herakles,” a large chorus would sing and dance in a circular orchestra space near the audience, at the edge of the stage. Such is the story of war and genocide throughout history, and in Carson and Bruno’s expert hands, it strikes as powerfully contemporary. the recurring themes here are not just grief, not just mourning and misery and death, but the help that comes after it. Carson’s translation adds another interesting dimension and interpretation to the long history of this play; the colloquial language and humor, I suspect, work well in a dramatic performance of the play. Only a few dozen of the Greek tragedies remain, among them works by Aeschylus, Sophocles, and Euripides.The rest of his lines spill across a few pages, tiny scraps of pasted text that seem to slow down, as if the words were pacing the way the actor might onstage. The brevity of the language and very curt lines, combined with her loose translation of the Ancient Greek, gives us a text that is both expanded and compressed at the same time. Greek tragedy is not difficult to translate literally, although literal translations are often laughable.



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