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

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Such is the story of war and genocide throughout history, and in Carson and Bruno’s expert hands, it strikes as powerfully contemporary.

And while Hippolytos himself is flawed given his obsessive abstinence, it would be hard not to see Phaidra as the heroine, who struggles between what she knows is best for everyone, and what she wants most of all. Broke the mares of Diomedes, bridling their bloody jaws, their murder meals, their man-eating joy- their tables of evil.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. Meanwhile, on the stage itself, a troupe of three actors performed all the roles: the hero, his wife, his father, his friend, and the usurper of his throne. 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.

Instead, they tend to be a place for the translator to discuss the theme of grief, among other things. Carson does not alter her style to reflect the very different texts of Aeschylus, Sophocles or Euripides. But you-you know how to sneak into other men's beds, how to get whatever sex you want, but not how to save your own kin. Those murders take place offstage, too, in a confusion of violence that the chorus can hardly describe.

S. Eliot Prize for Poetry (the first woman to do so), the Griffin Poetry Prize, and the Los Angeles Times Book Prize. He is bored with his reputation and annoyed at having to recount all twelve of his labors, breezing through most of them before jumping to the end: “Kind of an embarrassment now but oh, at the time they were grand.

Phaidra, who cannot help her attraction; Phaidra, who cannot help but feel shame; Phaidra, who cannot help but be who she is and try as she may, loses the most in this play.Immediately after committing this carnage, he snaps back to sanity, forced to come to terms with what he has wrought, which is an entirely new kind of hell. If only I had the power of youth to shake my spear and join my comrades, I'd stand and save these children-force on force! the recurring themes here are not just grief, not just mourning and misery and death, but the help that comes after it. I've always liked Herakles because it inverts the normal chronology of the labors and makes an interesting point out of it. is nothing less than brilliant--unfalteringly sharp in diction, audacious and judicious in taking liberties.

They are Herakles, in which the hero swaggers home to destroy his own family; Hekabe, set after the Trojan War, in which Hektor’s widow takes vengeance on her Greek captors; Hippolytos, about love and the horror of love; and the strange tragic-comedy fable Alkestis, which tells of a husband who arranges for his wife to die in his place. As given by Aristotle, the definition of a tragedy is not actually in its sad ending: it is in experiencing human suffering. For we have lost our greatest friend” becomes, on an otherwise blank page, as if the entire myth had vanished, “We go in grief. Laid low the wild mountain centaurs 360 with arrows of blood, arrows like wings-those monsters known to the long barren fields, to the river, to the farms, to the grasslands where they filled their hands with pine branches and rode Thessaly down.I think the primary theme between these two plays is that clarity in grief exists for everyone, be it through friends, or through drastic changes brought on by oneself. The gods, theoi, are many-shaped and beyond number, but the term theos alone is insufficient to comprehend the Stronger Ones. i began with silence and secrecy - there’s no trusting the tongue, it loved to punish others and draw disaster in itself. Shot the deer with golden horns 370 that used to ravage men, and offered it to Artemis who kills wild things.