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夭賳丕賳 鬲乇賵丕
"This is a new translation of the classic play. It combines a poet's translation with a scholar's introduction and notes." "Among surviving Greek tragedies only Euripides' Trojan Women shows us the extinction of a whole city, an entire people. Despite its grim theme, or more likely because of the centrality of that theme to the deepest fears of our own age, this is one of the relatively few Greek tragedies that regularly finds its way to the stage. Here the power of Euripides' theatrical and moral imagination speaks clearly across the twenty-five centuries that separate our world from his."
The theme is really a double the suffering of the victims of war, exemplified by the woman who survive the fall of Troy, and the degradation of the victors, shown by the Greeks' reckless and ultimately self-destructive behavior. It offers an enduring picture of human fortitude in the midst of despair. Trojan Women gains special relevance, of course, in times of war.
It presents a particularly intense account of human suffering and uncertainty, but one that is also rooted in considerations of power and policy, morality and expedience. Furthermore, the seductions of power and the dangers both of its exercise and of resistance to it as portrayed in Trojan Women are not simply philosophical or rhetorical gambits but part of the lived experience of Euripides' day.
The theme is really a double the suffering of the victims of war, exemplified by the woman who survive the fall of Troy, and the degradation of the victors, shown by the Greeks' reckless and ultimately self-destructive behavior. It offers an enduring picture of human fortitude in the midst of despair. Trojan Women gains special relevance, of course, in times of war.
It presents a particularly intense account of human suffering and uncertainty, but one that is also rooted in considerations of power and policy, morality and expedience. Furthermore, the seductions of power and the dangers both of its exercise and of resistance to it as portrayed in Trojan Women are not simply philosophical or rhetorical gambits but part of the lived experience of Euripides' day.
First published January 1, 416
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About the author
Euripides
2,773听books1,836听followersEuripides (Greek: 螘蠀蚁喂蟺委未畏蟼) (ca. 480 BC鈥�406 BC) was a tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom any plays have survived in full. Some ancient scholars attributed ninety-five plays to him, but the Suda says it was ninety-two at most. Of these, eighteen or nineteen have survived more or less complete (Rhesus is suspect). There are many fragments (some substantial) of most of his other plays. More of his plays have survived intact than those of Aeschylus and Sophocles together, partly because his popularity grew as theirs declined鈥攈e became, in the Hellenistic Age, a cornerstone of ancient literary education, along with Homer, Demosthenes, and Menander.
Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. He also became "the most tragic of poets", focusing on the inner lives and motives of his characters in a way previously unknown. He was "the creator of ... that cage which is the theatre of William Shakespeare's Othello, Jean Racine's Ph猫dre, of Henrik Ibsen and August Strindberg," in which "imprisoned men and women destroy each other by the intensity of their loves and hates". But he was also the literary ancestor of comic dramatists as diverse as Menander and George Bernard Shaw.
His contemporaries associated him with Socrates as a leader of a decadent intellectualism. Both were frequently lampooned by comic poets such as Aristophanes. Socrates was eventually put on trial and executed as a corrupting influence. Ancient biographies hold that Euripides chose a voluntary exile in old age, dying in Macedonia, but recent scholarship casts doubt on these sources.
Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. He also became "the most tragic of poets", focusing on the inner lives and motives of his characters in a way previously unknown. He was "the creator of ... that cage which is the theatre of William Shakespeare's Othello, Jean Racine's Ph猫dre, of Henrik Ibsen and August Strindberg," in which "imprisoned men and women destroy each other by the intensity of their loves and hates". But he was also the literary ancestor of comic dramatists as diverse as Menander and George Bernard Shaw.
His contemporaries associated him with Socrates as a leader of a decadent intellectualism. Both were frequently lampooned by comic poets such as Aristophanes. Socrates was eventually put on trial and executed as a corrupting influence. Ancient biographies hold that Euripides chose a voluntary exile in old age, dying in Macedonia, but recent scholarship casts doubt on these sources.
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February 10, 2024
According to Greek mythology, Helen was married to Menelaus. However, Helen runs off with Prince Paris of Troy. This sparks the 10-year epic battle of Troy. This story is set at the very end of the 10-year war. Achilles has killed the mighty warrior Hector, and Paris has killed Achilles. Hector leaves behind a wife, Andromache. There is also the Queen of Troy, Hecuba, who is the mother of Hector. Now, what will happen to Andromache, Hecuba, and Helen?
If you read The Song of Achilles, this essentially picks up where that book ended. For the first time, we finally get to meet Helen (who is supposed to be the most beautiful woman in the world). We find out what the women of Troy really think about Helen. Are they awed by her beauty? What will Menelaus think of Helen? Is he still in love with her? Will he restore her as his wife and queen? Did Paris capture Helen by force or did she run off of her own free will? All of these questions will be answered.
No matter what, no one will take any personal responsibility. It is always, always someone else鈥檚 fault in Greek mythology. Also, when you do someone a favor, they are never happy and grateful but are hoping for the favor-granters downfall.
This play was written by Euripides in 415 BC. The language is a bit archaic and even though the play itself is only about an hour read aloud, I spent far longer reviewing the reference materials. For this, I used James Mustich 1,000 Books to Read Before You Die (this book is forever at my side) and litcharts.com. Is this a little tedious? Yes. However, Thomas Paine said, 鈥淲hat we obtain too cheap, we esteem too lightly.鈥�
This is a book from James Mustich鈥檚
2024 Reading Schedule
Jan Middlemarch
Feb The Grapes of Wrath
Mar Oliver Twist
Apr Madame Bovary
May A Clockwork Orange
Jun Possession
Jul The Folk of the Faraway Tree Collection
Aug Crime and Punishment
Sep Heart of Darkness
Oct Moby-Dick
Nov Far From the Madding Crowd
Dec A Tale of Two Cities
Connect With Me!
If you read The Song of Achilles, this essentially picks up where that book ended. For the first time, we finally get to meet Helen (who is supposed to be the most beautiful woman in the world). We find out what the women of Troy really think about Helen. Are they awed by her beauty? What will Menelaus think of Helen? Is he still in love with her? Will he restore her as his wife and queen? Did Paris capture Helen by force or did she run off of her own free will? All of these questions will be answered.
No matter what, no one will take any personal responsibility. It is always, always someone else鈥檚 fault in Greek mythology. Also, when you do someone a favor, they are never happy and grateful but are hoping for the favor-granters downfall.
This play was written by Euripides in 415 BC. The language is a bit archaic and even though the play itself is only about an hour read aloud, I spent far longer reviewing the reference materials. For this, I used James Mustich 1,000 Books to Read Before You Die (this book is forever at my side) and litcharts.com. Is this a little tedious? Yes. However, Thomas Paine said, 鈥淲hat we obtain too cheap, we esteem too lightly.鈥�
This is a book from James Mustich鈥檚
2024 Reading Schedule
Jan Middlemarch
Feb The Grapes of Wrath
Mar Oliver Twist
Apr Madame Bovary
May A Clockwork Orange
Jun Possession
Jul The Folk of the Faraway Tree Collection
Aug Crime and Punishment
Sep Heart of Darkness
Oct Moby-Dick
Nov Far From the Madding Crowd
Dec A Tale of Two Cities
Connect With Me!
March 9, 2016
I found this play to possibly be the Greek tragedy that has evoked the most emotion from me to date. I enjoy Euripides critical, ironic style and how he plays with different versions of Greek myths and this play is no different. It was very hard hitting and dealt with some dark themes (the post-war victims in ancient times). I could really picture the anguish and I would love to see this play performed on stage. It also has some interesting ancient commentary on war in general and the myth of the Trojan war.
January 28, 2025
That shows us a concatenation of several tragedies that happen simultaneously to several women due to war. And not to a specific cause of direct divine origin, this work of Euripides acquires a heartrending force and a tremendous realistic vigor that makes it closer to the current reader than other works of Greek tragedies.
Before the fall of Troy, the god Poseidon, a sympathizer of the Trojans, speaks with the Greek goddess Athena. She is offended because Ajax has raped the priestess, Cassandra, dragging her from her temples without any Greek criticizing him. Between both, they decide each one of them collides and will receive punishment on his return home.
Meanwhile, several notable Trojans wait for the Greek victors to decide their destinies in the captivity that awaits them, and a Greek messenger will inform them of what they will be. First, Hecuba, the widow of King Priam, regrets that at his age, he will have to perform tasks and be at the service of Ulysses. Later, when Menelao considers the punishment he must give to the traitor Helena and talks about killing her when he arrives in Greece, she defends herself, saying that she is not to blame for what happened and that order goddess Aphrodite kidnapped her. But Hecuba reveals that what happened was that he took a fancy to his son Paris and never resisted leaving Greece. Furthermore, he asks that Menelao punish her as he deserves and, above all, does not allow her to travel to Greece in the same boat, fearing that he will seduce her again and be free from punishment.
Kassandra knows that Agamemnon will own it and shows us his diviner capacity to presage the catastrophes that will happen to the Greeks. Polyxena, another of Hecuba's daughters, is destined to be sacrificed before the tomb of Achilles. Andromache, the widow of Hector, is intended as the son of Achilles. However, before his son is ripped out and thrown from a tower, as decided by Ulysses, he thinks it is too dangerous to leave the son of such a prominent Trojan hero.
Before the fall of Troy, the god Poseidon, a sympathizer of the Trojans, speaks with the Greek goddess Athena. She is offended because Ajax has raped the priestess, Cassandra, dragging her from her temples without any Greek criticizing him. Between both, they decide each one of them collides and will receive punishment on his return home.
Meanwhile, several notable Trojans wait for the Greek victors to decide their destinies in the captivity that awaits them, and a Greek messenger will inform them of what they will be. First, Hecuba, the widow of King Priam, regrets that at his age, he will have to perform tasks and be at the service of Ulysses. Later, when Menelao considers the punishment he must give to the traitor Helena and talks about killing her when he arrives in Greece, she defends herself, saying that she is not to blame for what happened and that order goddess Aphrodite kidnapped her. But Hecuba reveals that what happened was that he took a fancy to his son Paris and never resisted leaving Greece. Furthermore, he asks that Menelao punish her as he deserves and, above all, does not allow her to travel to Greece in the same boat, fearing that he will seduce her again and be free from punishment.
Kassandra knows that Agamemnon will own it and shows us his diviner capacity to presage the catastrophes that will happen to the Greeks. Polyxena, another of Hecuba's daughters, is destined to be sacrificed before the tomb of Achilles. Andromache, the widow of Hector, is intended as the son of Achilles. However, before his son is ripped out and thrown from a tower, as decided by Ulysses, he thinks it is too dangerous to leave the son of such a prominent Trojan hero.
January 8, 2016
The Trojan Women: Euripides' Warning on the Futility of War
The only thing necessary for the triumph of evil is for good men to do nothing.-Edmund Burke
What does a play presented in 415 BC possibly have to say to us today? Why read it?
Why would , a Greek dramatist, choose as the subjects of one of his greatest plays? Did he have a reason in presenting this controversial play to an Athenian audience?
Be patient with me, oh, Reader. Each question has an answer. No question presented here is Rhetorical. I do not engage in the ancient art of classical Oratory. Nor do I engage in the art of Sophistry for I believe Deception to be among the most lowest practices among Men or Gods.
Once, in my youth, I was known as a Scholar of the Classical World. For this I was awarded Prizes. I have Trophies and Books proclaiming my knowledge of the ways of an ancient world. In the naivete of my youth I did not realize how closely the age in which I lived mirrored a world I thought had vanished so long ago. I studied the Greek and Roman Epics. The Arts and Theatrical Productions of both great Classical Societies. I knew the histories of each of these Worlds, and what led to their Downfalls.
Now, in my older years, I look at the events of this World in which we now live. I am dismayed. For I see we have learned little.
You think we live in an Age of Wonders. Oh, yes. In many ways we do. Information is available at our fingertips. We communicate with one another at a pace that satisfies our urges for instant gratification. We have little patience, do we not?
I have lived through wars. I have lived through tensions between great nations. I have lived through a time where we stood on the brink of the destruction of this Planet. Some called it a Cold War. But it became dangerously hot. Wisdom seemed to prevail. For generations. And even the Cold war disappeared. The danger of nuclear war faded into obscurity.
But, Oh, Reader, contemplate the current State of the times in which we live now. The Hubris of the Men who Live in this World of Today. Determine whether you find yourself Comfortable.
I will give you a few moments to consider these things. Then we will consider continuing this discourse.
Have you thought about it?
Of course, I am sure you know of the Trojan War. How the Greeks, the Achaeans, banded together to lay siege to the City of Troy to preserve the honor of Menelaus, a King, who lost his wife Helen to Paris, a son of Troy. How they fought for ten years before breaching the walls of Troy through deception. How Troy fell. How the House of Troy was destroyed, the Trojan Women were enslaved and distributed to the leaders of Greece as slaves, as Concubines. And, how the Greeks offended the very Gods who had supported them in their efforts to bring about the downfall of Troy. How those very Gods then turned upon their favored revenants and sought to destroy them because of their faithlessness.
Why then, would Euripides tell this story to an Athenian audience?
Because Athens was at war with Sparta. Had been at war with Sparta in the Peleponessian War for many years. At this time, the Arrogance of the Athenians had led them to sack the City of Melos. They killed every one of the men of Melos. They sold everyone of the women and children of Melos into slavery.
Euripides chose the Trojan Women as his protagonists in this play to show the Athenians the error of their Hubris when a dominant nation conquers a lesser one for its own prideful purposes. And Euripides knew that as he was presenting this play, the same Athenians were planning a war against the Empire of Syracuse. In his wisdom, Euripides, predicted it would be a disaster that would lead to the downfall of Athens and their subjection forever to their long time enemy Sparta.
Euripides in this tragedy attempted to show his fellow Athenians that war only led to tragedy. That the only result of engaging in War was Futility. That those who suffered the most were the Widows, the Orphans of those who died in War.
Euripides was correct. Athens began its war against Syracuse the very year The Trojan Women was presented. The War was a disaster. The entire Athenian Expedition of two hundred ships and thousands of men were wiped out in a single stroke. In 404 BC, Athens fell to Sparta forever. The wailing of Widows and Orphans was great.
Euripides Message to us Today
On January 2, 2016, President Vladimir Putin signed a Security Document stating that the United States and Nato were a threat to Russia.
On January 6, 2016, North Korea exploded another Nuclear device. North Korea claims it was a Hydrogen device.
This week Middle Eastern nations have severed diplomatic nations with Iran.
In the United States, at no time has the country been more divided between liberal and conservative right wings of the government.
The anonymous faces of ISIS continue to commit terrorist acts about the world.
Gun lobbyists in the United States continue to control resistance to reasonable effots to achieve gun control.
The Innocent continue to cry.
Hubris remains alive and well.
Euripides' message is as relevant today as it was in 415 BC.
The only thing necessary for the triumph of evil is for good men to do nothing.-Edmund Burke
What does a play presented in 415 BC possibly have to say to us today? Why read it?
Why would , a Greek dramatist, choose as the subjects of one of his greatest plays? Did he have a reason in presenting this controversial play to an Athenian audience?
Be patient with me, oh, Reader. Each question has an answer. No question presented here is Rhetorical. I do not engage in the ancient art of classical Oratory. Nor do I engage in the art of Sophistry for I believe Deception to be among the most lowest practices among Men or Gods.
Once, in my youth, I was known as a Scholar of the Classical World. For this I was awarded Prizes. I have Trophies and Books proclaiming my knowledge of the ways of an ancient world. In the naivete of my youth I did not realize how closely the age in which I lived mirrored a world I thought had vanished so long ago. I studied the Greek and Roman Epics. The Arts and Theatrical Productions of both great Classical Societies. I knew the histories of each of these Worlds, and what led to their Downfalls.
Now, in my older years, I look at the events of this World in which we now live. I am dismayed. For I see we have learned little.
You think we live in an Age of Wonders. Oh, yes. In many ways we do. Information is available at our fingertips. We communicate with one another at a pace that satisfies our urges for instant gratification. We have little patience, do we not?
I have lived through wars. I have lived through tensions between great nations. I have lived through a time where we stood on the brink of the destruction of this Planet. Some called it a Cold War. But it became dangerously hot. Wisdom seemed to prevail. For generations. And even the Cold war disappeared. The danger of nuclear war faded into obscurity.
But, Oh, Reader, contemplate the current State of the times in which we live now. The Hubris of the Men who Live in this World of Today. Determine whether you find yourself Comfortable.
I will give you a few moments to consider these things. Then we will consider continuing this discourse.
Have you thought about it?
Of course, I am sure you know of the Trojan War. How the Greeks, the Achaeans, banded together to lay siege to the City of Troy to preserve the honor of Menelaus, a King, who lost his wife Helen to Paris, a son of Troy. How they fought for ten years before breaching the walls of Troy through deception. How Troy fell. How the House of Troy was destroyed, the Trojan Women were enslaved and distributed to the leaders of Greece as slaves, as Concubines. And, how the Greeks offended the very Gods who had supported them in their efforts to bring about the downfall of Troy. How those very Gods then turned upon their favored revenants and sought to destroy them because of their faithlessness.
Why then, would Euripides tell this story to an Athenian audience?
Because Athens was at war with Sparta. Had been at war with Sparta in the Peleponessian War for many years. At this time, the Arrogance of the Athenians had led them to sack the City of Melos. They killed every one of the men of Melos. They sold everyone of the women and children of Melos into slavery.
Euripides chose the Trojan Women as his protagonists in this play to show the Athenians the error of their Hubris when a dominant nation conquers a lesser one for its own prideful purposes. And Euripides knew that as he was presenting this play, the same Athenians were planning a war against the Empire of Syracuse. In his wisdom, Euripides, predicted it would be a disaster that would lead to the downfall of Athens and their subjection forever to their long time enemy Sparta.
Euripides in this tragedy attempted to show his fellow Athenians that war only led to tragedy. That the only result of engaging in War was Futility. That those who suffered the most were the Widows, the Orphans of those who died in War.
Euripides was correct. Athens began its war against Syracuse the very year The Trojan Women was presented. The War was a disaster. The entire Athenian Expedition of two hundred ships and thousands of men were wiped out in a single stroke. In 404 BC, Athens fell to Sparta forever. The wailing of Widows and Orphans was great.
Euripides Message to us Today
On January 2, 2016, President Vladimir Putin signed a Security Document stating that the United States and Nato were a threat to Russia.
On January 6, 2016, North Korea exploded another Nuclear device. North Korea claims it was a Hydrogen device.
This week Middle Eastern nations have severed diplomatic nations with Iran.
In the United States, at no time has the country been more divided between liberal and conservative right wings of the government.
The anonymous faces of ISIS continue to commit terrorist acts about the world.
Gun lobbyists in the United States continue to control resistance to reasonable effots to achieve gun control.
The Innocent continue to cry.
Hubris remains alive and well.
Euripides' message is as relevant today as it was in 415 BC.
February 2, 2018
After successfully resisting a ten year siege, Troy has fallen, thanks to the Greeks' final dirty trick. The Trojan men have all been killed. The women and children are being carried off to become prostitutes and slaves. Hecuba, who yesterday was the queen of this beautiful city, looks at the smoking ruins around her and tries to comfort Andromache, her daughter-in-law. One day, she says, Andromache's young son Astyanax will be a grown man, and he will take revenge on the cruel invaders. But Ulysses, the cynical and illusionless Greek general, has already thought of this. He's just sent his flunky, Talthyrios, to tell Andromache that they've changed their minds: Astyanax will not be spared with the other children, but rather will be put to death as a potentially dangerous element. Andromache's anguished reply is still echoing around us three thousand years later, having been passed from Homer, to Euripides, to Sartre:
Hommes de l'Europe,
vous m茅prisez l'Afrique et l'Asie
et vous nous appelez barbares, je crois,
Mais quand la gloriole et la cupidit茅
vous jettent chez nous,
vous pillez, vous torturez, vous massacrez.
O霉 sont les barbares, alors ?
Et vous, les Grecs, si fi猫rs de votre humanit茅,
O霉 锚tes-vous ?
Je vous le dis : pas un de nous
n'aurait os茅 faire 脿 une m猫re
ce que vous me faites 脿 moi,
avec la calme de la bonne conscience
(Men of Europe
You despise Africa and Asia
And I think you call us barbarians
But when your greed and love of glory
Bring you to our shores
You pillage, you torture, you kill.
Who are the barbarians then?
You Greeks, so proud of your civilization,
Who are you?
I tell you this: not one of us
Would have dared to do to a mother
What you are doing to me
Without it even disturbing your conscience)
Read
March 13, 2016
Greek hydria, ca 520鈥�510 BCE; Achilles dragging the body of Hector behind his chariot while Hecuba mourns her son's death and the winged figure of Iris pleads for a ransom of Hector鈥檚 body.
Joint review of Euripides' The Trojan Women and Jean-Paul Sartre's adaptation Les Troyennes
................... What shall the poet say,
what words will he inscribe upon your monument?
Here lies a little child the Argives killed, because
they were afraid of him. That? The epitaph of Greek shame.
In 415 BCE Euripides staged a trilogy of dramas accompanied by the usual satyr play of which only the final play of the trilogy has survived to our time - The Trojan Women. At the time of this first performance the initial stage of the Peloponnesian War was over and Athens' absurd expedition to Sicily was soon to begin, spurred on by Alcibiades' personal ambition. How the Athenians were to rue that mad decision.
Both sides of the Peloponnesian War had committed the most horrendous of massacres, particularly on the citizens of defeated cities, and I think Euripides had gotten well and truly sick of it. The Trojan Women is the story of the immediate aftermath of the Greeks' victory in the Trojan War, and in Euripides' hands it is a story of brutal, limitless murder by the victors and their dividing up and hauling away of the surviving women as spoils of war. Did the audience squirm in its seats as they watched their famous ancestors murder and rape the now hapless Trojans? In any case, they awarded the festival's theater prize to another playwright.
Not unusually for Euripides, the primary characters of the piece are women, particularly Hecuba, Queen of Troy, Cassandra, the mad seer, Andromache, Hector's widow, and Helen, the Face that Launched a Thousand Ships. They must endure the will of the Greek men, but the latter do not cut a dashing figure in this play, on the contrary.
In a poetic language whose stateliness and power recalls that of Aeschylus and which far outstrips any of the other Euripidean plays I've read, we witness the suffering of the women already staggering under the blows of recent losses who must endure yet further ravages during the play and, as is made oh so clear, for the rest of their lives.(*) It is more than a little harrowing.
In 1965 Jean-Paul Sartre staged an adaptation of The Trojan Women, not a translation, despite how Les Troyennes is catalogued here at GR. Sartre removed much less than he added, for, as he explains in the Introduction, he felt it necessary to fill in for a modern audience that which went without saying for the 5th century Greek audience. But he also saw an opportunity to make some points for a then contemporary audience. He chose to view the Trojan War as a "colonial war", and so the Greeks/Trojans shade into the Europeans/Colonized with interesting effect. Not satisfied with that, Sartre took the implicit nihilism of Euripides' piece in which the gods' whims and fancies saw to it that both the Trojans and the Greeks payed dearly despite all the pleas and sacrifices made to the gods by both sides and made it quite explicit.
Though Sartre writes in the Introduction that he "chose a poetic language which retains the ceremonial character of the text, its rhetorical value, - but which modifies its accent", little remains in Les Troyennes of that ceremonial character, of that rhetorical value, of that poetry. And with those went a fair amount of the emotional power of Euripides' play, at least for me. Nonetheless, it was very interesting to read this refracted image of Euripides' text and to wonder what the audience at the National Popular Theater made of it.
(*) In another play (Andromache) Euripides follows Andromache into her sexual servitude for Achilles' son, Neoptolemus; she bears him a son who replaces Astyanax - the son she bore Hector and who is murdered in The Trojan Women upon Odysseus' insistence - but who is, in turn, threatened with murder by Neoptolemus' Spartan wife. Euripides wrote Andromache quite a bit earlier (428-425), spills a great deal of patriotic bile over the Spartans and even gives the play a relatively happy ending.
March 29, 2020
Newer Review here with Older Review below.
When a GR friend said she wanted to read, I took the opportunity to reread. She and I plan to read literary works that inform our understandings of . This time I read posted online by MIT. This time I watched this transitional traditional ritual drama enacted outdoors which was posted on YouTube.
Development of Character. Hecuba is an imperfect yet effective crone. She does not always perceive correctly yet she encourages appropriately, helping her daughter and daughter-in-law to leave Troy with as much dignity as possible. Although Euripides wrote a play that still has strong roots in traditional ritual drama, he wrote lines that tells his audience something of interior landscapes of women, all. The watching of an enactment presented outside makes clear the obstacles Euripides faced in getting his audience to hear anything more than the basic plot to be understood, yet he was successful.
_________
Older Review here.
Many years ago when I was young, I watched the movie version of (1971). All I understood at the time was that Hecuba stayed strong enough to help the other Trojan women and that Helen was alluring enough to send men to war and to send women into despair and to their destruction. I was horrified. I felt as though I had watched the most horrifying movie ever.
Decades later, I have started to re-read and to read ancient works. This time I both read the play and re-watched the 1971 movie on Vimeo. As to be expected, I have a completely different understanding of the play. Instead of horror, I see literary greatness. All the elements I would hope to see in such a situation-- destruction of a city, the re-allocation of women, the wisdom of a crone, the insanity that can follow crisis, the despair that follows, new awareness and decisions, and the presence of the prime mover of the previous, current, and future action--all take place in a compact and coherent form. Everything I would want to know is known/shown in a short time.
When I first looked over the text prior to reading it, it seemed as though there were long speeches, orations, choruses. Once I both started reading and watching the play, I came to a different, better understanding. Sure some of the speeches were long, yet in the movie moves well enough. Crazed Cassandra moves around, almost as through she is trying to get away from the future assigned her. Andromache stands with her child, cuddles her child, has something of an argument with Hecuba. Helen of Troy moves in a dramatic fashion, as she does a dance of sorts around Menelaus as she works him. The chorus seemed as though it might be the challenging part to read, the chorus talking for for a page or two at a time. While the text reads as straight text and could be delivered that way, the 1971 movie version depicts the chorus as Trojan widows who are a asking questions, remembering, fearing, commenting as a group of despairing women might.
Dithyrambic Chorus. I am reading . In the introductory note to Erra and Ishum, I read that this type of chorus was a traditional ritual drama that evolved into the operas and plays we are more familiar with and that Euripides was an innovator in this change. Appreciating the Connections.
Casting Comments. The main actors of US American, French, and English backgrounds made the movie mainstream and accessible to Western audiences. The women of the chorus appeared authentic enough, varying from fair to dark and with voices that that either used or assumed a non-Western, perhaps Mediterrean, cadence. Adding a strong and important bit of authenticity, Irene Papas who is herself Greek herself plays the Greek Helen of Troy, previously the queen of Sparta and a Hellene. By casting as Helen an actor who looks like a stereotypical dark beauty Greek, the movie acquires 1. a more Mediterrean feel and 2. an otherness in comparison to the rest of the cast, particularly the actors of the main characters. This casting provides an authencity that I have yet to find in later movie depictions.
I will be reading more Euripides plays.
I read with GR group: NonFiction Side reads.
I read from
When a GR friend said she wanted to read, I took the opportunity to reread. She and I plan to read literary works that inform our understandings of . This time I read posted online by MIT. This time I watched this transitional traditional ritual drama enacted outdoors which was posted on YouTube.
Development of Character. Hecuba is an imperfect yet effective crone. She does not always perceive correctly yet she encourages appropriately, helping her daughter and daughter-in-law to leave Troy with as much dignity as possible. Although Euripides wrote a play that still has strong roots in traditional ritual drama, he wrote lines that tells his audience something of interior landscapes of women, all. The watching of an enactment presented outside makes clear the obstacles Euripides faced in getting his audience to hear anything more than the basic plot to be understood, yet he was successful.
_________
Older Review here.
Many years ago when I was young, I watched the movie version of (1971). All I understood at the time was that Hecuba stayed strong enough to help the other Trojan women and that Helen was alluring enough to send men to war and to send women into despair and to their destruction. I was horrified. I felt as though I had watched the most horrifying movie ever.
Decades later, I have started to re-read and to read ancient works. This time I both read the play and re-watched the 1971 movie on Vimeo. As to be expected, I have a completely different understanding of the play. Instead of horror, I see literary greatness. All the elements I would hope to see in such a situation-- destruction of a city, the re-allocation of women, the wisdom of a crone, the insanity that can follow crisis, the despair that follows, new awareness and decisions, and the presence of the prime mover of the previous, current, and future action--all take place in a compact and coherent form. Everything I would want to know is known/shown in a short time.
When I first looked over the text prior to reading it, it seemed as though there were long speeches, orations, choruses. Once I both started reading and watching the play, I came to a different, better understanding. Sure some of the speeches were long, yet in the movie moves well enough. Crazed Cassandra moves around, almost as through she is trying to get away from the future assigned her. Andromache stands with her child, cuddles her child, has something of an argument with Hecuba. Helen of Troy moves in a dramatic fashion, as she does a dance of sorts around Menelaus as she works him. The chorus seemed as though it might be the challenging part to read, the chorus talking for for a page or two at a time. While the text reads as straight text and could be delivered that way, the 1971 movie version depicts the chorus as Trojan widows who are a asking questions, remembering, fearing, commenting as a group of despairing women might.
Dithyrambic Chorus. I am reading . In the introductory note to Erra and Ishum, I read that this type of chorus was a traditional ritual drama that evolved into the operas and plays we are more familiar with and that Euripides was an innovator in this change. Appreciating the Connections.
Casting Comments. The main actors of US American, French, and English backgrounds made the movie mainstream and accessible to Western audiences. The women of the chorus appeared authentic enough, varying from fair to dark and with voices that that either used or assumed a non-Western, perhaps Mediterrean, cadence. Adding a strong and important bit of authenticity, Irene Papas who is herself Greek herself plays the Greek Helen of Troy, previously the queen of Sparta and a Hellene. By casting as Helen an actor who looks like a stereotypical dark beauty Greek, the movie acquires 1. a more Mediterrean feel and 2. an otherness in comparison to the rest of the cast, particularly the actors of the main characters. This casting provides an authencity that I have yet to find in later movie depictions.
I will be reading more Euripides plays.
I read with GR group: NonFiction Side reads.
I read from
January 26, 2025
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November 23, 2015
Wow. This play was stunning. I have so many things I would like to say and yet none of my words or even my thoughts feel sufficient.
The Trojan War is over. The women of the city are waiting to hear which of the Greek warriors will be each one's new master, for they are all going into slavery as prizes of war. Even King Priam's wife Hecuba, the mother of Paris, the man who started it all by bringing Helen to Troy. The play revolves around the women's confusion, their pain, their attempts to understand why their lives have been shattered and how they will face their tragic future.
I remember reading The Odyssey in early school years, but I never managed The Iliad, so I was only vaguely familiar with the story of the war itself. Now I want to go back to Homer, because Odysseus is shown as much more of an utter creep than I ever realized. He was the one who suggested that the young son of Hector, the Trojan prince, be taken from his mother Andromache and thrown to his death from a tower of the city. The saddest part of the play was when the child's body is brought to his grandmother Hecuba so that she can prepare his little body for burial on his father's war shield.
I was close to tears many times: this is an intense work, full of raw emotion that any woman with a heart can feel and understand. On one hand I think seeing a performance of The Trojan Women would be amazing, but I think I would be overwhelmed and not be able to see the stage for my tears. So I will simply re-read it someday. I'm also going to read more Euripides. I have a small volume of three other works of his, but I need to wait a bit before starting with them. I want to let this piece settle first.
Ancient Greek myths and legends are something nearly everyone is familiar with, even without in-depth study. I know some names and stories, get mixed up with many others, and remember reading them much more often in my younger days than I have as an adult. I plan to change that. I want to revisit the marvelous confusion of the Greek myths, because this play has reminded me of the fascination they used to have for me. I want to see what I will discover in them at this point in my life.
The Trojan War is over. The women of the city are waiting to hear which of the Greek warriors will be each one's new master, for they are all going into slavery as prizes of war. Even King Priam's wife Hecuba, the mother of Paris, the man who started it all by bringing Helen to Troy. The play revolves around the women's confusion, their pain, their attempts to understand why their lives have been shattered and how they will face their tragic future.
I remember reading The Odyssey in early school years, but I never managed The Iliad, so I was only vaguely familiar with the story of the war itself. Now I want to go back to Homer, because Odysseus is shown as much more of an utter creep than I ever realized. He was the one who suggested that the young son of Hector, the Trojan prince, be taken from his mother Andromache and thrown to his death from a tower of the city. The saddest part of the play was when the child's body is brought to his grandmother Hecuba so that she can prepare his little body for burial on his father's war shield.
I was close to tears many times: this is an intense work, full of raw emotion that any woman with a heart can feel and understand. On one hand I think seeing a performance of The Trojan Women would be amazing, but I think I would be overwhelmed and not be able to see the stage for my tears. So I will simply re-read it someday. I'm also going to read more Euripides. I have a small volume of three other works of his, but I need to wait a bit before starting with them. I want to let this piece settle first.
Ancient Greek myths and legends are something nearly everyone is familiar with, even without in-depth study. I know some names and stories, get mixed up with many others, and remember reading them much more often in my younger days than I have as an adult. I plan to change that. I want to revisit the marvelous confusion of the Greek myths, because this play has reminded me of the fascination they used to have for me. I want to see what I will discover in them at this point in my life.
April 21, 2019
鈥溍� pazzo l'uomo che si rallegra pensando che gli andr脿 sempre bene: la fortuna con i suoi ghiribizzi 猫 come un individuo capriccioso, salta di qua e di l脿 鈥�: e nessuno ne gode in perpetuo i favori鈥� .
Rileggo questo testo di Euripide per prepararmi alle rappresentazioni del teatro di Siracusa di quest鈥檃nno. Insieme ad Elena 猫 una delle tragedie scelte quest鈥檃nno. Leggerle, sentirle nel silenzio della stanza 猫 diverso che vederle su una scena immensa, quale 猫 quella di Siracusa, con gli alberi dietro e in fondo il mare blu che luccica. Ed 猫 lo stesso mare che si porter脿 via le troiane, le donne rimaste vive dopo la caduta di Troia. Qual 猫 il destino di queste donne cadute in mano nemiche e destinate a vedere nuove spiagge? Le donne di Euripide sono fiere, sopportano a testa alta la loro nuova condizione, come Cassandra, pronta a sposare Agamennone, a rinunciare alla sua verginit脿 donata al dio Apollo, per uccidere il suo nemico e vendicare cos矛 se stessa e la sua gente; Ecuba che piange i suoi morti, Priamo ucciso sotto i suoi stessi occhi, suo figlio Ettore, eroe della battaglia e il nipotino Astianatte, sacrificato dall鈥檕dio acheo e sepolto nello scudo del padre; Andromaca, donna senza alcuna speranza ormai.
Che cosa 猫 rimasto alle donne se non piangere i loro morti? Gridare nella sciagura il loro destino crudele? Piangere una citt脿, orgoglio del loro popolo, adesso distrutta dall鈥檕dio?
L鈥檌ncipit 猫 splendido, con l鈥檈ntrata di Poseidone in scena 鈥� Io, Poseidone, ho lasciato le profondit脿 dell'Egeo salmastro, dove i cori delle Nereidi intrecciano, in cerchio, bellissime danze鈥� .
Sono le donne a pagare una guerra per una donna, Elena, che tenta con ogni raggiro di salvarsi la vita.
Quello che colpisce 猫 la fede di queste donne nelle divinit脿, sapere che prima o poi saranno vendicate come 猫 giusto, la loro capacit脿 di sopportazione, il loro sapersi schiave adesso mentre prima erano regine onorate e venerate nel lusso.
E鈥� il dramma delle donne, derise, vilipese, ma che affrontano il loro dolore con dignit脿. Sono le donne di eroi e come tali non possono agire diversamente.
Donne costrette a partire. Penso all鈥檃ttualit脿 di questa tragedia, a quante donne oggi, vivono ancora questa condizione di dolore, di sottomissione, indipendentemente da una guerra e che ancora oggi esiste. La forza di quelle parole dopo 2000 anni mi sconcerta, sempre.
Il coro parla di aurora dalle bianche ali e mi viene in mente quella di Omero 鈥渄alle rosee dita鈥�, un鈥檌mmagine che sempre ho trovato bellissima.
鈥�Stolto il mortale che distrugge citt脿: chi condanna alla desolazione i templi e le tombe, asilo dei morti, 猫 destinato a perire malamente鈥�
Rileggo questo testo di Euripide per prepararmi alle rappresentazioni del teatro di Siracusa di quest鈥檃nno. Insieme ad Elena 猫 una delle tragedie scelte quest鈥檃nno. Leggerle, sentirle nel silenzio della stanza 猫 diverso che vederle su una scena immensa, quale 猫 quella di Siracusa, con gli alberi dietro e in fondo il mare blu che luccica. Ed 猫 lo stesso mare che si porter脿 via le troiane, le donne rimaste vive dopo la caduta di Troia. Qual 猫 il destino di queste donne cadute in mano nemiche e destinate a vedere nuove spiagge? Le donne di Euripide sono fiere, sopportano a testa alta la loro nuova condizione, come Cassandra, pronta a sposare Agamennone, a rinunciare alla sua verginit脿 donata al dio Apollo, per uccidere il suo nemico e vendicare cos矛 se stessa e la sua gente; Ecuba che piange i suoi morti, Priamo ucciso sotto i suoi stessi occhi, suo figlio Ettore, eroe della battaglia e il nipotino Astianatte, sacrificato dall鈥檕dio acheo e sepolto nello scudo del padre; Andromaca, donna senza alcuna speranza ormai.
Che cosa 猫 rimasto alle donne se non piangere i loro morti? Gridare nella sciagura il loro destino crudele? Piangere una citt脿, orgoglio del loro popolo, adesso distrutta dall鈥檕dio?
L鈥檌ncipit 猫 splendido, con l鈥檈ntrata di Poseidone in scena 鈥� Io, Poseidone, ho lasciato le profondit脿 dell'Egeo salmastro, dove i cori delle Nereidi intrecciano, in cerchio, bellissime danze鈥� .
Sono le donne a pagare una guerra per una donna, Elena, che tenta con ogni raggiro di salvarsi la vita.
Quello che colpisce 猫 la fede di queste donne nelle divinit脿, sapere che prima o poi saranno vendicate come 猫 giusto, la loro capacit脿 di sopportazione, il loro sapersi schiave adesso mentre prima erano regine onorate e venerate nel lusso.
E鈥� il dramma delle donne, derise, vilipese, ma che affrontano il loro dolore con dignit脿. Sono le donne di eroi e come tali non possono agire diversamente.
Donne costrette a partire. Penso all鈥檃ttualit脿 di questa tragedia, a quante donne oggi, vivono ancora questa condizione di dolore, di sottomissione, indipendentemente da una guerra e che ancora oggi esiste. La forza di quelle parole dopo 2000 anni mi sconcerta, sempre.
Il coro parla di aurora dalle bianche ali e mi viene in mente quella di Omero 鈥渄alle rosee dita鈥�, un鈥檌mmagine che sempre ho trovato bellissima.
鈥�Stolto il mortale che distrugge citt脿: chi condanna alla desolazione i templi e le tombe, asilo dei morti, 猫 destinato a perire malamente鈥�
June 8, 2017
螆蠂慰蠀渭蔚 伪魏慰蠉蟽蔚喂 蟿畏谓 位苇尉畏 "蟿蟻伪纬蠅未委伪" 魏伪喂 "未蟻维渭伪" 蟿蠈蟽蔚蟼 蟺慰位位苇蟼 蠁慰蟻苇蟼 蟽蟿畏谓 味蠅萎 渭伪蟼, 魏蠀蟻委蠅蟼 蟽蟿慰谓 蟺蟻慰蠁慰蟻喂魏蠈 位蠈纬慰 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 蠀蟺蔚蟻尾维位慰蠀渭蔚 纬喂伪 渭喂伪 魏伪蟿维蟽蟿伪蟽畏, 蟺慰蠀 苇蠂慰蠀渭蔚 蟽蠂蔚未蠈谓 蟺伪蟻蔚蟻渭畏谓蔚蠉蟽蔚喂 魏伪喂 尉蔚蠂维蟽蔚喂 蟿畏谓 尾伪蟻蠉蟿畏蟿伪 蟿畏蟼 位苇尉畏蟼.
韦巍螒螕惟螖螜螒 魏伪喂 螖巍螒螠螒 位慰喂蟺蠈谓 蟿慰 蟺伪蟻蠈谓 尾喂尾位委慰 渭蔚 蟿畏谓 魏伪谓慰谓喂魏萎 蟽畏渭伪蟽委伪 蟿蠅谓 位苇尉蔚蠅谓. 危蔚 渭喂伪 蟺伪蟽委纬谓蠅蟽蟿畏 喂蟽蟿慰蟻委伪 蠈蟺慰锟斤拷 蟽蠀谓未苇蔚蟿伪喂 渭蔚 胃维蟻蟻慰蟼, 伪谓未蟻蔚委伪 魏伪喂 畏蟻蠅喂魏苇蟼 蠁喂纬慰蠉蟻蔚蟼, 慰 螘蠀蚁喂蟺委未畏蟼 苇蟻蠂蔚蟿伪喂 魏伪喂 蟺蟻慰蟽胃苇蟿蔚喂 胃蟻萎谓慰, 未维魏蟻蠀 魏伪喂 渭慰喂蟻慰位蠈喂. 螕蠀蟻谓维蔚喂 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏维 蟿慰 谓蠈渭喂蟽渭伪 魏伪喂 蟽慰蠀 未蔚委蠂谓蔚喂 魏伪喂 蟿畏谓 维位位畏 渭蔚蟻喂维. 韦畏谓 渭蔚蟻喂维 渭蔚 蟿伪 未蔚喂谓维, 蟿慰谓 胃维谓伪蟿慰 魏伪喂 蟿慰谓 蟺蠈谓慰. 螕喂伪蟿委 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 谓蠈渭喂蟽渭伪 蔚委谓伪喂 慰 螤蠈位蔚渭慰蟼 魏伪喂 畏 渭委伪 蟿慰蠀 渭蔚蟻喂维 胃伪 苇蠂蔚喂 蟺维谓蟿伪 畏蟿蟿畏渭苇谓慰蠀蟼.
韦巍螒螕惟螖螜螒 魏伪喂 螖巍螒螠螒 位慰喂蟺蠈谓 蟿慰 蟺伪蟻蠈谓 尾喂尾位委慰 渭蔚 蟿畏谓 魏伪谓慰谓喂魏萎 蟽畏渭伪蟽委伪 蟿蠅谓 位苇尉蔚蠅谓. 危蔚 渭喂伪 蟺伪蟽委纬谓蠅蟽蟿畏 喂蟽蟿慰蟻委伪 蠈蟺慰锟斤拷 蟽蠀谓未苇蔚蟿伪喂 渭蔚 胃维蟻蟻慰蟼, 伪谓未蟻蔚委伪 魏伪喂 畏蟻蠅喂魏苇蟼 蠁喂纬慰蠉蟻蔚蟼, 慰 螘蠀蚁喂蟺委未畏蟼 苇蟻蠂蔚蟿伪喂 魏伪喂 蟺蟻慰蟽胃苇蟿蔚喂 胃蟻萎谓慰, 未维魏蟻蠀 魏伪喂 渭慰喂蟻慰位蠈喂. 螕蠀蟻谓维蔚喂 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏维 蟿慰 谓蠈渭喂蟽渭伪 魏伪喂 蟽慰蠀 未蔚委蠂谓蔚喂 魏伪喂 蟿畏谓 维位位畏 渭蔚蟻喂维. 韦畏谓 渭蔚蟻喂维 渭蔚 蟿伪 未蔚喂谓维, 蟿慰谓 胃维谓伪蟿慰 魏伪喂 蟿慰谓 蟺蠈谓慰. 螕喂伪蟿委 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 谓蠈渭喂蟽渭伪 蔚委谓伪喂 慰 螤蠈位蔚渭慰蟼 魏伪喂 畏 渭委伪 蟿慰蠀 渭蔚蟻喂维 胃伪 苇蠂蔚喂 蟺维谓蟿伪 畏蟿蟿畏渭苇谓慰蠀蟼.
May 11, 2022
賲賳 賳賲蹖鈥屫堎嗁� 鬲賵 蹖賵賳丕賳 亘丕爻鬲丕賳 禺賵丿 賳賵蹖爻賳丿賴鈥屬囏� 賲賵囟賵毓 賳賲丕蹖卮賳丕賲賴 乇賵 丕賳鬲禺丕亘 賲蹖鈥屭┴必嗀� 賵 蹖丕 賴乇 丿賵乇賴 丿乇 賲爻丕亘賯賴鈥屫й� 讴賴 亘乇诏夭丕乇 賲蹖鈥屫簇� 蹖讴 賲賵囟賵毓 禺丕氐 倬蹖卮賳賴丕丿 賲蹖鈥屫簇� 讴賴 亘賯蹖賴 丿乇亘丕乇賴鈥屫ж� 亘賳賵蹖爻賳丿貨 丕賲丕 亘賴 賴乇 丨丕賱 噩丕賱亘賴 讴賴 賴乇 賳賲丕蹖卮賳丕賲賴鈥屫й� 讴賴 丕夭 丕賵乇蹖倬蹖丿 賲賳 賲蹖鈥屫促嗀ж迟呚� 賳賲丕蹖卮賳丕賲賴鈥屫й� 丿乇亘丕乇賴鈥屰� 夭賳鈥屬囏� 賵 禺賱賯 賵 禺賵蹖 丕賵賳賴丕爻鬲... 賵 噩丕賱亘鈥屫必� 丕蹖賳賴 讴賴 賲丕 亘丕 蹖讴 賲乇丿蹖 胤乇賮蹖賲 讴賴 鬲賵 噩丕賲毓賴鈥屰� 2000 爻丕賱 倬蹖卮 蹖賵賳丕賳 丕蹖賳 賳賲丕蹖卮賳丕賲賴鈥屬囏� 乇賵 賳賵卮鬲賴... 鬲賵 丿賵乇賴鈥屫й� 讴賴 賮蹖賱爻賵賮鈥屬囏� 賵 賲乇丿賲 蹖賵賳丕賳蹖 賲毓鬲賯丿 亘賵丿賳丿 亘乇丕蹖 乇爻蹖丿賳 亘賴 讴賲丕賱貙 賲乇丿 (亘賴 毓賳賵丕賳 蹖讴 讴丕賲賱) 亘丕蹖丿 亘丕 蹖讴 賲乇丿 (亘賴 毓賳賵丕賳 蹖讴 讴丕賲賱 丿蹖诏乇) 丕夭丿賵丕噩 讴賳賴 賵 夭賳鈥屬囏� 亘賴 毓賳賵丕賳 蹖讴 賳丕賯氐 丿乇 讴賳丕乇 亘乇丿诏丕賳 丕夭 亘爻蹖丕乇蹖 丕夭 丨賯賵賯 亘乇禺賵乇丿丕乇 賳亘賵丿賳丿.
May 11, 2025
趩蹖夭 禺丕氐蹖 亘乇丕蹖 诏賮鬲賳 賳丿丕乇賲. 賮讴乇 賲蹖讴乇丿賲 禺蹖賱蹖 噩匕丕亘鈥屫� 亘丕卮賴 亘乇丕賲.
丕蹖賳賲 亘诏賲 讴賴 鬲賵 鬲乇噩賲賴 趩賳蹖賳 丌孬丕乇蹖貙 賵賯鬲蹖 丕蹖賳 賴賲賴 丕爻賲 丕卮禺丕氐 丿丕乇蹖賲貙 亘賴 賳馗乇賲 亘賴鬲乇賴 賮賯胤 亘賴 匕讴乇 丕爻賲 丕賳诏賱蹖爻蹖 賵 賱丕鬲蹖賳鈥屫促堎� 丕讴鬲賮丕 賳卮賴 賵 蹖賴 鬲賵囟蹖丨 賴乇趩賳丿 讴賵鬲丕賴蹖 亘乇丕卮 賳賵卮鬲賴 卮賴. 亘丕賱丕禺乇賴 賴乇讴爻蹖 鬲丕 蹖賴 丨丿蹖 亘丕 丕爻丕胤蹖乇 蹖賵賳丕賳 丌卮賳丕蹖蹖鬲 丿丕乇賴 賵 賯胤毓丕 蹖賴 趩蹖夭賴丕蹖蹖 乇賵 賳賲蹖丿賵賳賴 蹖丕 蹖丕丿卮 乇賮鬲賴. 賵 丕蹖賳讴賴 亘乇丕蹖 禺丿丕賴丕 賵... 鬲賱賮馗 賮乇丕賳爻賵蹖 丕爻丕賲蹖 (賲孬賱丕 丌禺蹖賱卅賵爻 亘噩丕蹖 丌卮蹖賱) 丕賳鬲禺丕亘 卮丿賴 亘賵丿 讴賴 亘乇丕蹖 賲賳 噩丕賱亘 賳亘賵丿.
丕蹖賳賲 亘诏賲 讴賴 鬲賵 鬲乇噩賲賴 趩賳蹖賳 丌孬丕乇蹖貙 賵賯鬲蹖 丕蹖賳 賴賲賴 丕爻賲 丕卮禺丕氐 丿丕乇蹖賲貙 亘賴 賳馗乇賲 亘賴鬲乇賴 賮賯胤 亘賴 匕讴乇 丕爻賲 丕賳诏賱蹖爻蹖 賵 賱丕鬲蹖賳鈥屫促堎� 丕讴鬲賮丕 賳卮賴 賵 蹖賴 鬲賵囟蹖丨 賴乇趩賳丿 讴賵鬲丕賴蹖 亘乇丕卮 賳賵卮鬲賴 卮賴. 亘丕賱丕禺乇賴 賴乇讴爻蹖 鬲丕 蹖賴 丨丿蹖 亘丕 丕爻丕胤蹖乇 蹖賵賳丕賳 丌卮賳丕蹖蹖鬲 丿丕乇賴 賵 賯胤毓丕 蹖賴 趩蹖夭賴丕蹖蹖 乇賵 賳賲蹖丿賵賳賴 蹖丕 蹖丕丿卮 乇賮鬲賴. 賵 丕蹖賳讴賴 亘乇丕蹖 禺丿丕賴丕 賵... 鬲賱賮馗 賮乇丕賳爻賵蹖 丕爻丕賲蹖 (賲孬賱丕 丌禺蹖賱卅賵爻 亘噩丕蹖 丌卮蹖賱) 丕賳鬲禺丕亘 卮丿賴 亘賵丿 讴賴 亘乇丕蹖 賲賳 噩丕賱亘 賳亘賵丿.
Read
January 10, 2021The Women of Troy is a play written 2 and a half thousand years ago, but it still has relevance today. This was required reading for me but I'm definitely not mad about it, and ended up pleasantly surprised.
Set between The Iliad and The Odyssey, Euripides grants a voice to the women caught in the crossfires of the trojan war and the subsequent greek victory. It casts war and violence in a negative light, unusual for the time at which it was written.
Considering how long ago this was written, I was expecting it to be inaccessible and honestly a bit dry. So I was really pleasantly surprised by how beautiful the writing was and how many lines I underlined, not just for academic purposes- but just to go back to and read later.
I don't know if I would necessarily recommend this for pure enjoyment purposes, but if you enjoy ancient greek history and mythology this could be worth the read! It is super short and quick to fly through.
Set between The Iliad and The Odyssey, Euripides grants a voice to the women caught in the crossfires of the trojan war and the subsequent greek victory. It casts war and violence in a negative light, unusual for the time at which it was written.
Considering how long ago this was written, I was expecting it to be inaccessible and honestly a bit dry. So I was really pleasantly surprised by how beautiful the writing was and how many lines I underlined, not just for academic purposes- but just to go back to and read later.
I don't know if I would necessarily recommend this for pure enjoyment purposes, but if you enjoy ancient greek history and mythology this could be worth the read! It is super short and quick to fly through.
October 16, 2019
Absolutamente rendida a estas trag茅dias gregas.
March 31, 2020
"O vain is man,
Who glorieth in his joy and has no fears:
While to and fro the chances of the years
Dance like an idiot in the wind! And none
By any strength has his own fortune won."
Who glorieth in his joy and has no fears:
While to and fro the chances of the years
Dance like an idiot in the wind! And none
By any strength has his own fortune won."
January 11, 2025
Troy has been defeated, the Greeks have won, and of the Trojans only some women survive, all else are dead.
Reading this for the second time, was as hard as the first. Through Hecuba鈥檚 agony, Euripides shows the senselessness of war. This is an unsettling read and not a happy play, it鈥檚 full of forlorn agonising grief, which is briefly paused with Cassandra and later Helen.
Injustices and the mistreatments of the surviving women are voiced through Hecuba. These women, in the hands of the enemy, have also lost all autonomy to their lives, the Greeks do not see them as human but pieces of property to be divided between themselves.
TW &
Reading this is not easy but I also found it cathartic. What stands out for me is the women鈥檚 strength. They have been through so much and yet they are not broken.
Reading this for the second time, was as hard as the first. Through Hecuba鈥檚 agony, Euripides shows the senselessness of war. This is an unsettling read and not a happy play, it鈥檚 full of forlorn agonising grief, which is briefly paused with Cassandra and later Helen.
Injustices and the mistreatments of the surviving women are voiced through Hecuba. These women, in the hands of the enemy, have also lost all autonomy to their lives, the Greeks do not see them as human but pieces of property to be divided between themselves.
TW &
Reading this is not easy but I also found it cathartic. What stands out for me is the women鈥檚 strength. They have been through so much and yet they are not broken.
May 1, 2023
賲賵賯毓 賲乇诏賲 丕蹖賳賵 丨鬲賲丕 賲蹖诏賲 亘毓丿 賲蹖賲蹖乇賲:
丕蹖賳 倬蹖讴乇 倬蹖乇賲 亘乇 夭賲蹖賳 賮乇賵 賲蹖鈥屫з佖� 賵 賲賳 亘丕 丕蹖賳 丿爻鬲賲 亘乇 丕蹖賳 禺丕讴 賲蹖鈥屭┵堌ㄙ�.
丕蹖賳 倬蹖讴乇 倬蹖乇賲 亘乇 夭賲蹖賳 賮乇賵 賲蹖鈥屫з佖� 賵 賲賳 亘丕 丕蹖賳 丿爻鬲賲 亘乇 丕蹖賳 禺丕讴 賲蹖鈥屭┵堌ㄙ�.
March 14, 2015
As a theater major, I've spent an enormous chunk of my life reading and analyzing classical drama. There was a time when I could have broken down for you in great detail the stylistic differences between the three great Greek dramatists (Aeschylus, Sophocles & Euripides) and the great Greek comic playwright Aristophanes. But since I no longer have to, I won't.
I will say that I never took to the other two like I did to Euripides. He was the latest of the three, a product of an evolving social concept of the role of theater - instead of making proclamations at the audience, characters had conversations with each other. The language is simpler and less formal, a forerunner to modern drama, and the characters far more human.
I fell in love with this play because of how beautifully it depicts loss and grief. The characters are so vibrant and real, and their suffering so clearly depicted, that you forget you're reading something that's like 2500 years old. Even in the crappiest of translations, you feel like these characters are real people that you know, and your heart aches for the horrific things that have happened to them and the bleak gray future ahead of them.
The best moment of the whole play to me is a very brief exchange between Hecuba (former queen of Troy, whose husband and sons have all been murdered) and Menelaus (husband of Helen and one of the two Greek kings who led the war against Troy). They are bitter, violent enemies who hate each other and each other's people with a passion that will have consequences for generations. But in this one fleeting moment when Menelaus passes Hecuba on his way back to his ship, dragging Helen with her, they have a moment of connection in their anger towards Helen, who started the whole thing and is responsible for setting in motion the events that led to a ten-year siege and thousands of deaths on both sides. In that moment, as they realize that they both hate Helen more than each other, there's just a sliver of a hint at compassion on both sides, a realization that even though they're enemies, they understand the other's pain in a way that no one else does. Then the moment passes and they're enemies again, but that one moment changes the entire play for me. Gorgeous, heartbreaking stuff.
I also recommend "Medea", "The Bacchae" and "Iphegenia at Aulis."
I will say that I never took to the other two like I did to Euripides. He was the latest of the three, a product of an evolving social concept of the role of theater - instead of making proclamations at the audience, characters had conversations with each other. The language is simpler and less formal, a forerunner to modern drama, and the characters far more human.
I fell in love with this play because of how beautifully it depicts loss and grief. The characters are so vibrant and real, and their suffering so clearly depicted, that you forget you're reading something that's like 2500 years old. Even in the crappiest of translations, you feel like these characters are real people that you know, and your heart aches for the horrific things that have happened to them and the bleak gray future ahead of them.
The best moment of the whole play to me is a very brief exchange between Hecuba (former queen of Troy, whose husband and sons have all been murdered) and Menelaus (husband of Helen and one of the two Greek kings who led the war against Troy). They are bitter, violent enemies who hate each other and each other's people with a passion that will have consequences for generations. But in this one fleeting moment when Menelaus passes Hecuba on his way back to his ship, dragging Helen with her, they have a moment of connection in their anger towards Helen, who started the whole thing and is responsible for setting in motion the events that led to a ten-year siege and thousands of deaths on both sides. In that moment, as they realize that they both hate Helen more than each other, there's just a sliver of a hint at compassion on both sides, a realization that even though they're enemies, they understand the other's pain in a way that no one else does. Then the moment passes and they're enemies again, but that one moment changes the entire play for me. Gorgeous, heartbreaking stuff.
I also recommend "Medea", "The Bacchae" and "Iphegenia at Aulis."
April 9, 2024
"趩诏賵賳賴 夭丕乇 賳诏乇蹖賲 丿乇 丕蹖賳 睾賲丕賳 讴賴 賲乇丕爻鬲
讴賴 丕蹖賳讴 賳賴 賲蹖賴賳蹖 亘乇 噩丕蹖 賵 賳賴 爻賻乇賵賻乇蹖貙 賳賴 賮乇夭賳丿蹖
丿乇蹖睾丕貙 卮賵讴鬲 賵 賲讴賳鬲 丌亘丕蹖蹖 讴賴 爻丕賱蹖丕賳 诏乇丿 丌賲丿賴 亘賵丿
倬蹖卮 趩卮賲 賲丕 亘賴 丿賲 夭丿賳蹖 賳丕趩蹖夭 卮丿.
賴蹖賴丕鬲 賴蹖賴丕鬲
诏賮鬲賳蹖鈥屬囏� 讴丿丕賲 賵 賳丕诏賮鬲賳蹖 讴丿丕賲 丕爻鬲責"
丿丕爻鬲丕賳 夭賳丕賳 鬲乇賵丕 亘毓丿 丕夭 倬丕蹖丕賳 噩賳诏 鬲乇賵丕 卮乇賵毓 賲蹖卮賴. 鬲乇賵丕 賵蹖乇丕賳貙 賲乇丿丕賳貙 倬蹖乇丕賳 賵 讴賵丿讴丕賳 讴卮鬲賴 賵 鬲賳賴丕 夭賳丕賳 鬲乇賵丕 亘乇噩丕蹖 賲丕賳賳丿. 夭賳丕賳蹖 讴賴 丿乇 禺蹖賲賴 禺賵丿 亘賴 丕賳鬲馗丕乇 亘乇丿诏蹖 賵 夭亘賵賳蹖 禺賵丿 卮讴賵賴 賲蹖鈥屭┵嗁嗀� 賵 丿乇 睾賲 毓夭蹖夭丕賳 禺賵丿 賲蹖鈥屭臂屬嗀�.
夭賳丕賳 鬲乇賵丕 乇賵 賲蹖卮賴 蹖賴 賲讴賲賱 毓丕賱蹖 亘乇丕蹖 讴鬲丕亘 丕蹖賱蹖丕丿 丿乇 賳馗乇 诏乇賮鬲. 丕诏賴 鬲賵蹖 丕賵賳 讴鬲丕亘 卮乇丨 丿賱丕賵乇蹖鈥屬囏� 賵 噩賳诏鈥屫①堌臂屸€屬囏� 乇賵 賲蹖鈥屫堎嗃屬呚� 丕蹖賳噩丕 亘賴 亘禺卮 丿蹖诏賴 噩賳诏 賲蹖乇蹖賲. 丕蹖賳 鬲乇丕跇蹖 賳丕诏賮鬲賴鈥屬囏й� 噩賳诏 鬲乇賵丕 乇賵 賲蹖诏賴. 賯乇丕乇賴 丕夭 讴卮鬲賴鈥屬囏ж� 亘蹖鈥屫必呟屸€屬囏� 賵 禺賵丕乇卮丿賳鈥屬囏� 亘禺賵賳蹖賲. 丕夭 賳丕亘賵丿蹖 賵 亘賴 丌鬲卮 讴卮蹖丿賳 卮賴乇貙 丕夭 讴卮鬲賳 蹖賴 讴賵丿讴 亘乇丕蹖 丕蹖賳讴賴 倬丿乇卮 鬲乇賵丕蹖蹖 亘賵丿賴 亘禺賵賳蹖賲.
丿乇 讴賱 讴賴 氐丨賳賴鈥屬囏й� 賮賵賯鈥屫з勜关ж� 夭蹖丕丿 丿丕乇賴 賵 亘賴鈥屫簇� 亘丕丕乇夭卮賴. 鬲賵氐蹖賴 賲蹖鈥屭┵嗁� 丨鬲賲丕 亘丕 鬲乇噩賲賴 噩賳丕亘 讴賵孬乇蹖 亘禺賵賳蹖丿. 丿乇禺卮丕賳賴.
讴賴 丕蹖賳讴 賳賴 賲蹖賴賳蹖 亘乇 噩丕蹖 賵 賳賴 爻賻乇賵賻乇蹖貙 賳賴 賮乇夭賳丿蹖
丿乇蹖睾丕貙 卮賵讴鬲 賵 賲讴賳鬲 丌亘丕蹖蹖 讴賴 爻丕賱蹖丕賳 诏乇丿 丌賲丿賴 亘賵丿
倬蹖卮 趩卮賲 賲丕 亘賴 丿賲 夭丿賳蹖 賳丕趩蹖夭 卮丿.
賴蹖賴丕鬲 賴蹖賴丕鬲
诏賮鬲賳蹖鈥屬囏� 讴丿丕賲 賵 賳丕诏賮鬲賳蹖 讴丿丕賲 丕爻鬲責"
丿丕爻鬲丕賳 夭賳丕賳 鬲乇賵丕 亘毓丿 丕夭 倬丕蹖丕賳 噩賳诏 鬲乇賵丕 卮乇賵毓 賲蹖卮賴. 鬲乇賵丕 賵蹖乇丕賳貙 賲乇丿丕賳貙 倬蹖乇丕賳 賵 讴賵丿讴丕賳 讴卮鬲賴 賵 鬲賳賴丕 夭賳丕賳 鬲乇賵丕 亘乇噩丕蹖 賲丕賳賳丿. 夭賳丕賳蹖 讴賴 丿乇 禺蹖賲賴 禺賵丿 亘賴 丕賳鬲馗丕乇 亘乇丿诏蹖 賵 夭亘賵賳蹖 禺賵丿 卮讴賵賴 賲蹖鈥屭┵嗁嗀� 賵 丿乇 睾賲 毓夭蹖夭丕賳 禺賵丿 賲蹖鈥屭臂屬嗀�.
夭賳丕賳 鬲乇賵丕 乇賵 賲蹖卮賴 蹖賴 賲讴賲賱 毓丕賱蹖 亘乇丕蹖 讴鬲丕亘 丕蹖賱蹖丕丿 丿乇 賳馗乇 诏乇賮鬲. 丕诏賴 鬲賵蹖 丕賵賳 讴鬲丕亘 卮乇丨 丿賱丕賵乇蹖鈥屬囏� 賵 噩賳诏鈥屫①堌臂屸€屬囏� 乇賵 賲蹖鈥屫堎嗃屬呚� 丕蹖賳噩丕 亘賴 亘禺卮 丿蹖诏賴 噩賳诏 賲蹖乇蹖賲. 丕蹖賳 鬲乇丕跇蹖 賳丕诏賮鬲賴鈥屬囏й� 噩賳诏 鬲乇賵丕 乇賵 賲蹖诏賴. 賯乇丕乇賴 丕夭 讴卮鬲賴鈥屬囏ж� 亘蹖鈥屫必呟屸€屬囏� 賵 禺賵丕乇卮丿賳鈥屬囏� 亘禺賵賳蹖賲. 丕夭 賳丕亘賵丿蹖 賵 亘賴 丌鬲卮 讴卮蹖丿賳 卮賴乇貙 丕夭 讴卮鬲賳 蹖賴 讴賵丿讴 亘乇丕蹖 丕蹖賳讴賴 倬丿乇卮 鬲乇賵丕蹖蹖 亘賵丿賴 亘禺賵賳蹖賲.
丿乇 讴賱 讴賴 氐丨賳賴鈥屬囏й� 賮賵賯鈥屫з勜关ж� 夭蹖丕丿 丿丕乇賴 賵 亘賴鈥屫簇� 亘丕丕乇夭卮賴. 鬲賵氐蹖賴 賲蹖鈥屭┵嗁� 丨鬲賲丕 亘丕 鬲乇噩賲賴 噩賳丕亘 讴賵孬乇蹖 亘禺賵賳蹖丿. 丿乇禺卮丕賳賴.
July 30, 2019
Medea okumaktan 莽ok 莽ok keyif ald谋臒谋m bir oyundur; ama Medea haricinde hi莽 Euripides okumam谋艧t谋m. 2016 y谋l谋n谋n son ay谋na girmi艧ken bu y谋l ba艧ka Euripidesler de okuyay谋m istedim.
Medea kadar olmasa da Troyal谋 Kad谋nlar谋 da severek okudum.
Oyun, isminden de tahmin edilebilece臒i 眉zere "Truva/Troya Sava艧谋"ndan sonras谋n谋 anlat谋yor. Sava艧tan sonra neredeyse t眉m Troyal谋 erkekler 枚lm眉艧, geriye kalan kad谋nlar ve 莽ocuklar ise birer tutsak olarak al谋n谋yorlar. Bizler kitap boyunca o kad谋nlar谋n aras谋nda bulunan Troya Krali莽esi, Kral Priamos'un kar谋s谋, Hector'un annesi Hekabe'yi, Hekabe'nin k谋z谋 Kassandra'y谋, Hector'un kar谋s谋 Andromakhe'yi ve en sonunda da sava艧谋n m眉sebbibi Helena'y谋 okuyoruz.
Sinemada da edebiyatta da genelde hep Agamemnon'u, Paris'i, Hector'u, onlar谋n kahramanl谋klar谋n谋, ac谋mas谋zl谋klar谋n谋 okuyoruz ya da izliyoruz. Kad谋nlar -belki de Helen d谋艧谋ndaki kad谋nlar demek daha do臒ru- ise birer muamma. Euripides sayesinde o d枚nemin kad谋nlar谋n谋 az da olsa tan谋ma f谋rsat谋 elde ediyoruz. Sava艧谋n bu kad谋nlar眉zeirndeki ac谋mas谋z etkilerini, kad谋n谋n insan de臒il de nas谋l "ganimet" olarak addedilip "mal" haline getirildi臒ini okuyoruz. Ayr谋ca sava艧lar谋n esasen bir galibin olmad谋臒谋n谋 da bir kere daha anl谋yoruz. Poseidon'un da dedi臒i gibi,
"Aptald谋r kentleri ve tap谋naklar谋 yerle bir eden,
Mezarlar谋, kutsal yerleri y谋kan, aptald谋r.
脟眉nk眉 yak谋p y谋kan, kendi y谋k谋m谋n谋 haz谋rlamaktad谋r" (s. 8).
脟别惫颈谤颈 Y谋lmaz Onay'a ait. Bence ba艧ar谋l谋 bir 莽eviri.
Kitab谋n sonunda dipnotlar ve yazar谋n notlar谋 var. S眉rekli arkaya d枚n眉p bunlar谋 okumak oyundan kopmaya sebep olabiliyor ne yaz谋k ki.
Ayr谋ca oyun ile ilgili Joachim Latacz'谋n incelemesine de yer verilmi艧.
Bir de Y谋lmaz Onay, oyunun sonunda oyunun daha kolay, daha anla艧谋l谋r bir 艧ekilde sahnelenebilmesi ad谋na baz谋 sahnelerin yerlerini de臒i艧tirip baz谋 eklemeler ve 莽谋karmalar yaparak oyuna dair bir "dramaturji denemesi"ne yer vermi艧.
Medea kadar olmasa da Troyal谋 Kad谋nlar谋 da severek okudum.
Oyun, isminden de tahmin edilebilece臒i 眉zere "Truva/Troya Sava艧谋"ndan sonras谋n谋 anlat谋yor. Sava艧tan sonra neredeyse t眉m Troyal谋 erkekler 枚lm眉艧, geriye kalan kad谋nlar ve 莽ocuklar ise birer tutsak olarak al谋n谋yorlar. Bizler kitap boyunca o kad谋nlar谋n aras谋nda bulunan Troya Krali莽esi, Kral Priamos'un kar谋s谋, Hector'un annesi Hekabe'yi, Hekabe'nin k谋z谋 Kassandra'y谋, Hector'un kar谋s谋 Andromakhe'yi ve en sonunda da sava艧谋n m眉sebbibi Helena'y谋 okuyoruz.
Sinemada da edebiyatta da genelde hep Agamemnon'u, Paris'i, Hector'u, onlar谋n kahramanl谋klar谋n谋, ac谋mas谋zl谋klar谋n谋 okuyoruz ya da izliyoruz. Kad谋nlar -belki de Helen d谋艧谋ndaki kad谋nlar demek daha do臒ru- ise birer muamma. Euripides sayesinde o d枚nemin kad谋nlar谋n谋 az da olsa tan谋ma f谋rsat谋 elde ediyoruz. Sava艧谋n bu kad谋nlar眉zeirndeki ac谋mas谋z etkilerini, kad谋n谋n insan de臒il de nas谋l "ganimet" olarak addedilip "mal" haline getirildi臒ini okuyoruz. Ayr谋ca sava艧lar谋n esasen bir galibin olmad谋臒谋n谋 da bir kere daha anl谋yoruz. Poseidon'un da dedi臒i gibi,
"Aptald谋r kentleri ve tap谋naklar谋 yerle bir eden,
Mezarlar谋, kutsal yerleri y谋kan, aptald谋r.
脟眉nk眉 yak谋p y谋kan, kendi y谋k谋m谋n谋 haz谋rlamaktad谋r" (s. 8).
脟别惫颈谤颈 Y谋lmaz Onay'a ait. Bence ba艧ar谋l谋 bir 莽eviri.
Kitab谋n sonunda dipnotlar ve yazar谋n notlar谋 var. S眉rekli arkaya d枚n眉p bunlar谋 okumak oyundan kopmaya sebep olabiliyor ne yaz谋k ki.
Ayr谋ca oyun ile ilgili Joachim Latacz'谋n incelemesine de yer verilmi艧.
Bir de Y谋lmaz Onay, oyunun sonunda oyunun daha kolay, daha anla艧谋l谋r bir 艧ekilde sahnelenebilmesi ad谋na baz谋 sahnelerin yerlerini de臒i艧tirip baz谋 eklemeler ve 莽谋karmalar yaparak oyuna dair bir "dramaturji denemesi"ne yer vermi艧.
June 29, 2016
螣 螘蠀蚁喂蟺委未畏蟼 蟺伪蟻慰蠀蟽喂维味蔚喂 蟿畏 蠁蟻喂魏伪位蔚蠈蟿畏蟿伪 蟿慰蠀 蟺慰位苇渭慰蠀 蟽'苇谓伪 苇蟻纬慰 蟺慰蠀,未蠀蟽蟿蠀蠂蠋蟼,未喂伪尾维味蔚蟿伪喂 伪魏蠈渭畏 魏伪喂 蟽萎渭蔚蟻伪 渭蔚 蟿慰谓 委未喂慰 蟺蠈谓慰.螖蔚谓 渭蟺慰蟻蔚委 谓伪 渭畏 蟽魏蔚蠁蟿蔚委 魏伪谓蔚委蟼 蟿慰蠀蟼 蟽蠀谓伪谓胃蟻蠋蟺慰蠀蟼 渭伪蟼 蟺慰蠀 尾蟻委蟽魏慰谓蟿伪喂 蟽蟿畏 胃苇蟽畏 蟿蠅谓 畏蟻蠅委未蠅谓-蠂蠅蟻委蟼 蟽蟺委蟿喂,蠂蠅蟻委蟼 慰喂魏慰纬苇谓蔚喂伪,蠂蠅蟻委蟼 蟺伪蟿蟻委未伪.
螣 蟺蠈谓慰蟼 蟿蠅谓 纬蠀谓伪喂魏蠋谓 纬委谓蔚蟿伪喂 未喂魏蠈蟼 渭伪蟼,蟿蟻伪纬喂魏苇蟼 蠁喂纬慰蠉蟻蔚蟼 蟽蔚 苇谓伪谓 蟺蠈位蔚渭慰 蟺慰蠀 慰蠉蟿蔚 蟺蟻慰魏维位蔚蟽伪谓,慰蠉蟿蔚 蔚蟺苇位蔚尉伪谓.螣 渭慰谓蠈位慰纬慰蟼 蟿畏蟼 螒谓未蟻慰渭维蠂畏蟼 位委纬慰 蟺蟻喂谓 蟺维蟻慰蠀谓 伪蟺蠈 蟿畏谓 伪纬魏伪位喂维 蟿畏蟼 蟿慰 纬喂慰 蟿畏蟼 纬喂伪 谓伪 蟿慰谓 蟽魏慰蟿蠋蟽慰蠀谓 蟽慰蠀 蟽蟺伪蟻维味蔚喂 蟿畏谓 魏伪蟻未喂维,蟿慰 委未喂慰 魏喂 慰 渭慰谓蠈位慰纬慰蟼 蟿畏蟼 螘魏维尾畏蟼 蠈蟿伪谓 蟿慰谓 胃维尾蔚喂.
螖喂伪蠂蟻慰谓喂魏蠈,蠈蟽慰 魏伪喂 畏 蠁蠉蟽畏 蟿慰蠀 伪谓胃蟻蠋蟺慰蠀.螣 螘蠀蚁喂蟺委未畏蟼 伪蟺慰未蔚喂魏谓蠉蔚蟿伪喂 纬喂伪 维位位畏 渭喂伪 蠁慰蟻维 蟿蟻伪谓蠈蟼 蟺伪蟻伪蟿畏蟻畏蟿萎蟼 魏伪喂 渭蔚纬维位慰蟼 未维蟽魏伪位慰蟼-伪位位维 魏伪喂 蔚尉伪喂蟻蔚蟿喂魏维 胃伪蟻蟻伪位苇慰蟼,纬喂伪 谓伪 纬蟻维蠄蔚喂 魏伪喂 谓伪 伪谓蔚尾维蟽蔚喂 蟿喂蟼 "韦蟻蠅维未蔚蟼" 蟿畏 蠂蟻慰谓喂魏萎 蟽蟿喂纬渭萎 蟺慰蠀 蟿慰 苇魏伪谓蔚.违蟺慰魏位委谓慰渭伪喂 尉伪谓维 魏伪喂 尉伪谓维 蟽蟿慰 渭蔚纬伪位蔚委慰 蟿慰蠀.
螣 蟺蠈谓慰蟼 蟿蠅谓 纬蠀谓伪喂魏蠋谓 纬委谓蔚蟿伪喂 未喂魏蠈蟼 渭伪蟼,蟿蟻伪纬喂魏苇蟼 蠁喂纬慰蠉蟻蔚蟼 蟽蔚 苇谓伪谓 蟺蠈位蔚渭慰 蟺慰蠀 慰蠉蟿蔚 蟺蟻慰魏维位蔚蟽伪谓,慰蠉蟿蔚 蔚蟺苇位蔚尉伪谓.螣 渭慰谓蠈位慰纬慰蟼 蟿畏蟼 螒谓未蟻慰渭维蠂畏蟼 位委纬慰 蟺蟻喂谓 蟺维蟻慰蠀谓 伪蟺蠈 蟿畏谓 伪纬魏伪位喂维 蟿畏蟼 蟿慰 纬喂慰 蟿畏蟼 纬喂伪 谓伪 蟿慰谓 蟽魏慰蟿蠋蟽慰蠀谓 蟽慰蠀 蟽蟺伪蟻维味蔚喂 蟿畏谓 魏伪蟻未喂维,蟿慰 委未喂慰 魏喂 慰 渭慰谓蠈位慰纬慰蟼 蟿畏蟼 螘魏维尾畏蟼 蠈蟿伪谓 蟿慰谓 胃维尾蔚喂.
螖喂伪蠂蟻慰谓喂魏蠈,蠈蟽慰 魏伪喂 畏 蠁蠉蟽畏 蟿慰蠀 伪谓胃蟻蠋蟺慰蠀.螣 螘蠀蚁喂蟺委未畏蟼 伪蟺慰未蔚喂魏谓蠉蔚蟿伪喂 纬喂伪 维位位畏 渭喂伪 蠁慰蟻维 蟿蟻伪谓蠈蟼 蟺伪蟻伪蟿畏蟻畏蟿萎蟼 魏伪喂 渭蔚纬维位慰蟼 未维蟽魏伪位慰蟼-伪位位维 魏伪喂 蔚尉伪喂蟻蔚蟿喂魏维 胃伪蟻蟻伪位苇慰蟼,纬喂伪 谓伪 纬蟻维蠄蔚喂 魏伪喂 谓伪 伪谓蔚尾维蟽蔚喂 蟿喂蟼 "韦蟻蠅维未蔚蟼" 蟿畏 蠂蟻慰谓喂魏萎 蟽蟿喂纬渭萎 蟺慰蠀 蟿慰 苇魏伪谓蔚.违蟺慰魏位委谓慰渭伪喂 尉伪谓维 魏伪喂 尉伪谓维 蟽蟿慰 渭蔚纬伪位蔚委慰 蟿慰蠀.
January 12, 2025
The Trojan Women is a play quite personal to me. With the fall of Troy and all their men and boys killed by the rampaging Greeks, the women of that doomed city wail their grief and shout into the darkness their anger and limitless pain. Soon to be made slaves by the Greek conquerors, each woman must face the utter desolation with whatever spark of strength their spirit can muster so that they can survive the holocaust. Like all the great Greek playwrights, Euripides' words are unflinching in the searing glare of such suffering and such madness. In the ancient world, the killing of one human by another was face-to-face, intimate, brutal, agonizing. War. Terrible war that feeds upon the innocent without distinguishing them in their thousands and millions from the guilty few.
Why is it personal to me? I witnessed that same fall of Troy repeated in many villages during the Vietnam war, where families who had lived for generations in those villages and hamlets saw their hopes and dreams go up in flames; in napalm and rockets that spewed heat much hotter than Troy experienced. I saw the women go mad with grief. Already having lost their husbands and sons, they now lost their homes and fields and the only means they had to keep the old ones and the children alive. But somehow the women survived and gave what little they had to keep the family going. With what did they have to do that? Nothing. Who are the heroes? At Troy, who were the heroes?
Why is it personal to me? I witnessed that same fall of Troy repeated in many villages during the Vietnam war, where families who had lived for generations in those villages and hamlets saw their hopes and dreams go up in flames; in napalm and rockets that spewed heat much hotter than Troy experienced. I saw the women go mad with grief. Already having lost their husbands and sons, they now lost their homes and fields and the only means they had to keep the old ones and the children alive. But somehow the women survived and gave what little they had to keep the family going. With what did they have to do that? Nothing. Who are the heroes? At Troy, who were the heroes?
April 23, 2021
夭賳丕賳 丿乇 噩賳诏 賴丕蹖蹖 讴賴 賲乇丿丕賳 亘賴 乇丕賴 賲蹖 丕賳丿丕夭賳丿 趩賴 賳賯卮蹖 丕蹖賮丕 賲蹖 讴賳賳丿責
鈥溫ㄙ嗂� 讴噩丕蹖蹖貙 亘乇 爻乇鬲 趩賴 丌賲丿賴 卮賴乇鬲 賵蹖乇丕賳 卮丿賴貙
卮賵蹖 丕鬲 賲乇丿賴. 鬲賵 卮讴爻鬲 禺賵乇丿賴 丕蹖. 鬲賵 鬲賳賴丕 蹖讴 夭賳蹖貙 賲丕 賴乇讴丕乇 讴賴 亘禺賵丕賴蹖賲 賲蹖 鬲賵丕賳蹖賲 亘丕 鬲賵 亘讴賳蹖賲. 丿蹖诏乇 丿爻鬲 丕夭 噩賳诏
亘乇丿丕乇貙 賲丕 乇丕 亘乇賳蹖賳诏蹖夭貙 賲丕 乇丕 賳賮乇蹖賳 賲讴賳 讴賴 讴丕乇 亘丿鬲乇 賲蹖 卮賵丿貙
夭蹖乇丕 丕诏乇 賲丕 乇丕 亘賴 禺卮賲 丌賵乇蹖貙 卮丕蹖丿 爻倬丕賴蹖丕賳 亘乇 丌賳 卮賵賳丿 讴賴 亘丕
倬爻乇鬲 爻賳诏 丿賱蹖 讴賳賳丿 賵 讴丕賱亘丿卮 乇丕 亘賴 禺丕讴 賳爻倬丕乇賳丿.
丕讴賳賵賳 禺丕賲賵卮 亘丕卮貙 賲氐丕卅亘鬲 乇丕 丌賳 诏賵賳賴 讴賴 亘丕蹖丿 鬲丕亘 亘蹖丕賵乇
鬲丕 丌蹖蹖賳 禺丕讴爻倬丕乇蹖 乇丕 丕夭 賮乇夭賳丿 賲乇丿賴丕鬲 丿乇蹖睾 賳讴賳蹖貙 賵
蹖賵賳丕賳蹖丕賳 讴賲鬲乇 爻禺鬲 丿賱 亘丕卮賳丿.鈥�
鈥溫ㄙ嗂� 讴噩丕蹖蹖貙 亘乇 爻乇鬲 趩賴 丌賲丿賴 卮賴乇鬲 賵蹖乇丕賳 卮丿賴貙
卮賵蹖 丕鬲 賲乇丿賴. 鬲賵 卮讴爻鬲 禺賵乇丿賴 丕蹖. 鬲賵 鬲賳賴丕 蹖讴 夭賳蹖貙 賲丕 賴乇讴丕乇 讴賴 亘禺賵丕賴蹖賲 賲蹖 鬲賵丕賳蹖賲 亘丕 鬲賵 亘讴賳蹖賲. 丿蹖诏乇 丿爻鬲 丕夭 噩賳诏
亘乇丿丕乇貙 賲丕 乇丕 亘乇賳蹖賳诏蹖夭貙 賲丕 乇丕 賳賮乇蹖賳 賲讴賳 讴賴 讴丕乇 亘丿鬲乇 賲蹖 卮賵丿貙
夭蹖乇丕 丕诏乇 賲丕 乇丕 亘賴 禺卮賲 丌賵乇蹖貙 卮丕蹖丿 爻倬丕賴蹖丕賳 亘乇 丌賳 卮賵賳丿 讴賴 亘丕
倬爻乇鬲 爻賳诏 丿賱蹖 讴賳賳丿 賵 讴丕賱亘丿卮 乇丕 亘賴 禺丕讴 賳爻倬丕乇賳丿.
丕讴賳賵賳 禺丕賲賵卮 亘丕卮貙 賲氐丕卅亘鬲 乇丕 丌賳 诏賵賳賴 讴賴 亘丕蹖丿 鬲丕亘 亘蹖丕賵乇
鬲丕 丌蹖蹖賳 禺丕讴爻倬丕乇蹖 乇丕 丕夭 賮乇夭賳丿 賲乇丿賴丕鬲 丿乇蹖睾 賳讴賳蹖貙 賵
蹖賵賳丕賳蹖丕賳 讴賲鬲乇 爻禺鬲 丿賱 亘丕卮賳丿.鈥�
December 14, 2023
鈥滸et up there
You Trojan widows, Trojan virgins, all mated
to the dead.
Have the guts to look down upon these
smoldering ruins
For the last time
And articulate your grief.
~Hecuba
鈥滾ift up your heads: be proud,
Leave your revenge to me;
He who embraces me will be destroyed by me.鈥�
~Cassandra
鈥漀othing is more deceptive than happiness.
Joy is a cheat which covers up for the misery
stalking behind the grin.鈥�
~Leader of the Chorus
鈥滻诲颈辞迟蝉!
Can鈥檛 you see
War
Will kill you:
All of you?
~Poseidon
The nihilism of this play is so stark that it鈥檚 little wonder that Sartre was attracted to adapt it. Euripides wrote it as an anti war play, and Sartre鈥檚 adaptation remains just that for another age and another audience.
The just ended war in the The Trojan Women brings doom to all. The Trojan men all lie dead, the Trojan Women bewail their fate as they wait to be carried away. The victorious Greeks will soon face destruction on the seas and murderous intrigue at home. Even the fickle gods are unhappy - Poseidon to see the ruins of his city, and Pallas piqued for the defilement and destruction of her temple by her Greek champions. The great conflict that was the Trojan War was the doom of all who participated.
Cassandra is the greatest horror of this play. Hecuba and the Trojan women believe her mad, yet she still sees clearly with the god鈥檚 prophetic gift. She is to be carried off to be Agamemnon鈥檚 concubine, and goes rejoicing to his bed, even asks Hecuba her mother to celebrate and be glad for her. Cassandra, with her prophetic site, sees that she will be the cause, not only of Agamemnon鈥檚 brutal murder, but of the destruction of his entire house. The smile on her lips as she goes to her fate that will end in vengeance is stone cold chilling.
This adaptation of the play by Sartre has been adjusted to speak to a modern audience. It contains an introduction where Sartre explains his purpose and methods. Also, in a note from Ronald Duncan who translated Sartre鈥檚 French to English, he explains that it is a free adaptation rather than a direct translation, and why. So Euripides had quite a bit of help in this rendition of his ancient play.
Let鈥檚 give the final words to song writer Edwin Starr:
War, huh, yeah
What is it good for?
Absolutely nothing!
You Trojan widows, Trojan virgins, all mated
to the dead.
Have the guts to look down upon these
smoldering ruins
For the last time
And articulate your grief.
~Hecuba
鈥滾ift up your heads: be proud,
Leave your revenge to me;
He who embraces me will be destroyed by me.鈥�
~Cassandra
鈥漀othing is more deceptive than happiness.
Joy is a cheat which covers up for the misery
stalking behind the grin.鈥�
~Leader of the Chorus
鈥滻诲颈辞迟蝉!
Can鈥檛 you see
War
Will kill you:
All of you?
~Poseidon
The nihilism of this play is so stark that it鈥檚 little wonder that Sartre was attracted to adapt it. Euripides wrote it as an anti war play, and Sartre鈥檚 adaptation remains just that for another age and another audience.
The just ended war in the The Trojan Women brings doom to all. The Trojan men all lie dead, the Trojan Women bewail their fate as they wait to be carried away. The victorious Greeks will soon face destruction on the seas and murderous intrigue at home. Even the fickle gods are unhappy - Poseidon to see the ruins of his city, and Pallas piqued for the defilement and destruction of her temple by her Greek champions. The great conflict that was the Trojan War was the doom of all who participated.
Cassandra is the greatest horror of this play. Hecuba and the Trojan women believe her mad, yet she still sees clearly with the god鈥檚 prophetic gift. She is to be carried off to be Agamemnon鈥檚 concubine, and goes rejoicing to his bed, even asks Hecuba her mother to celebrate and be glad for her. Cassandra, with her prophetic site, sees that she will be the cause, not only of Agamemnon鈥檚 brutal murder, but of the destruction of his entire house. The smile on her lips as she goes to her fate that will end in vengeance is stone cold chilling.
This adaptation of the play by Sartre has been adjusted to speak to a modern audience. It contains an introduction where Sartre explains his purpose and methods. Also, in a note from Ronald Duncan who translated Sartre鈥檚 French to English, he explains that it is a free adaptation rather than a direct translation, and why. So Euripides had quite a bit of help in this rendition of his ancient play.
Let鈥檚 give the final words to song writer Edwin Starr:
War, huh, yeah
What is it good for?
Absolutely nothing!
January 22, 2018
"Aguenta a mudan莽a de fortuna!
Ruma por onde puderes passar, ruma de acordo com a sorte,
n茫o voltes a proa do barco da vida
contra as vagas, quando navegas ao sopro do destino."
Depois de 罢谤贸颈补 tomada pelos Aqueus, os homens s茫o mortos; as crian莽as atiradas das muralhas; as mulheres levadas cativas nos barcos gregos.
Cassandra - a enlouquecida princesa de 罢谤贸颈补, vidente e sacerdotisa de Apolo - 茅 destinada a Agam茅mnon;
Policena, a filha mais nova dos reis de 罢谤贸颈补, 茅 sacrificada junto ao t煤mulo de Aquiles;
础苍诲谤贸尘补肠补, a mulher de Heitor, vai ser entregue ao filho de Aquiles, depois de se despedir do seu filho, Astianacte, que ser谩 atirado do alto das muralhas, por decis茫o de Ulisses;
贬茅肠耻产补 - rainha de 罢谤贸颈补. Todos os seus dezanove filhos morreram e tem de fazer os ritos f煤nebres ao neto. As suas esperan莽as de um dia 罢谤贸颈补 ser vingada, morrem com o menino. 脡 levada como escrava de Ulisses;
Helena vai com Menelau. Talvez seja a 煤nica que n茫o sofrer谩. O seu poder de sedu莽茫o e de argumenta莽茫o 茅 desarmante. Defende-se culpando os outros de todos os males: primeiro 贬茅肠耻产补 por ter dado 脿 luz P谩ris; depois Pr铆amo por n茫o ter morto o filho 脿 nascen莽a; finalmente, culpa os deuses.
罢谤贸颈补... as suas muralhas desabam submergindo toda a cidade.
Quase gritei de ang煤stia ao ler esta pe莽a. N茫o ser谩 muito racional pois trata-se de fic莽茫o (ser谩?), mas 茅 uma realidade que nas guerras - nas de h谩 tr锚s mil anos ou nas de agora - as mulheres s茫o as que mais sofrem: com a perda dos que amam e com a viol锚ncia a que os vencedores as sujeitam. E n茫o recebem "medalhas" de hero铆smo... Como diz, a certa altura, 础苍诲谤贸尘补肠补: por vezes, o destino de quem morre 茅 melhor do que o de quem fica vivo. E ainda n茫o sabia que lhe iam matar o filho...
(Georges Rochegrosse - Andromaque)
Ruma por onde puderes passar, ruma de acordo com a sorte,
n茫o voltes a proa do barco da vida
contra as vagas, quando navegas ao sopro do destino."
Depois de 罢谤贸颈补 tomada pelos Aqueus, os homens s茫o mortos; as crian莽as atiradas das muralhas; as mulheres levadas cativas nos barcos gregos.
Cassandra - a enlouquecida princesa de 罢谤贸颈补, vidente e sacerdotisa de Apolo - 茅 destinada a Agam茅mnon;
Policena, a filha mais nova dos reis de 罢谤贸颈补, 茅 sacrificada junto ao t煤mulo de Aquiles;
础苍诲谤贸尘补肠补, a mulher de Heitor, vai ser entregue ao filho de Aquiles, depois de se despedir do seu filho, Astianacte, que ser谩 atirado do alto das muralhas, por decis茫o de Ulisses;
贬茅肠耻产补 - rainha de 罢谤贸颈补. Todos os seus dezanove filhos morreram e tem de fazer os ritos f煤nebres ao neto. As suas esperan莽as de um dia 罢谤贸颈补 ser vingada, morrem com o menino. 脡 levada como escrava de Ulisses;
Helena vai com Menelau. Talvez seja a 煤nica que n茫o sofrer谩. O seu poder de sedu莽茫o e de argumenta莽茫o 茅 desarmante. Defende-se culpando os outros de todos os males: primeiro 贬茅肠耻产补 por ter dado 脿 luz P谩ris; depois Pr铆amo por n茫o ter morto o filho 脿 nascen莽a; finalmente, culpa os deuses.
罢谤贸颈补... as suas muralhas desabam submergindo toda a cidade.
Quase gritei de ang煤stia ao ler esta pe莽a. N茫o ser谩 muito racional pois trata-se de fic莽茫o (ser谩?), mas 茅 uma realidade que nas guerras - nas de h谩 tr锚s mil anos ou nas de agora - as mulheres s茫o as que mais sofrem: com a perda dos que amam e com a viol锚ncia a que os vencedores as sujeitam. E n茫o recebem "medalhas" de hero铆smo... Como diz, a certa altura, 础苍诲谤贸尘补肠补: por vezes, o destino de quem morre 茅 melhor do que o de quem fica vivo. E ainda n茫o sabia que lhe iam matar o filho...
(Georges Rochegrosse - Andromaque)
September 5, 2024
禺蹖賱蹖 丿賱禺乇丕卮 亘賵丿 馃ゲ
丕賲丕 鬲賵 賴讴鬲賵乇 賲賳 賴讴鬲賵乇 賲丨亘賵亘賲 鬲賵 賴賲賴 丌賳 趩蹖夭賴丕蹖蹖 乇丕 讴賴 賲賳 丕夭 蹖讴 卮賵賴乇 賲蹖禺賵丕爻鬲賲 丿丕卮鬲蹖. 禺乇丿賲賳丿 亘賵丿蹖 賵 丿乇 丿丕乇丕蹖蹖 亘夭乇诏蹖 賵 丿賱丕賵乇蹖 亘蹖 賴賲鬲丕. 鬲賵 賳禺爻鬲蹖賳 賲乇丿 賵 鬲賳賴丕 讴爻蹖 亘賵丿蹖 讴賴 亘賴 丕賵 丿賱 亘丕禺鬲賲. 賴賳賵夭 丿爻鬲蹖 亘賴 賲賳 賳禺賵乇丿賴 亘賵丿 讴賴 賲乇丕 丕夭 禺丕賳賴 倬丿乇賲 亘乇丿蹖 賵 丕讴賳賵賳 鬲賵 噩丕賳 爻倬乇丿賴 丕蹖 賵 賲乇丕 亘賴 蹖賵賳丕賳 賲蹖 亘乇賳丿. 蹖讴 夭賳丿丕賳蹖 丿乇 丕賳亘丕乇 讴卮鬲蹖. 鬲賳賴丕 蹖讴蹖 亘乇丿賴.
丕賲丕 鬲賵 賴讴鬲賵乇 賲賳 賴讴鬲賵乇 賲丨亘賵亘賲 鬲賵 賴賲賴 丌賳 趩蹖夭賴丕蹖蹖 乇丕 讴賴 賲賳 丕夭 蹖讴 卮賵賴乇 賲蹖禺賵丕爻鬲賲 丿丕卮鬲蹖. 禺乇丿賲賳丿 亘賵丿蹖 賵 丿乇 丿丕乇丕蹖蹖 亘夭乇诏蹖 賵 丿賱丕賵乇蹖 亘蹖 賴賲鬲丕. 鬲賵 賳禺爻鬲蹖賳 賲乇丿 賵 鬲賳賴丕 讴爻蹖 亘賵丿蹖 讴賴 亘賴 丕賵 丿賱 亘丕禺鬲賲. 賴賳賵夭 丿爻鬲蹖 亘賴 賲賳 賳禺賵乇丿賴 亘賵丿 讴賴 賲乇丕 丕夭 禺丕賳賴 倬丿乇賲 亘乇丿蹖 賵 丕讴賳賵賳 鬲賵 噩丕賳 爻倬乇丿賴 丕蹖 賵 賲乇丕 亘賴 蹖賵賳丕賳 賲蹖 亘乇賳丿. 蹖讴 夭賳丿丕賳蹖 丿乇 丕賳亘丕乇 讴卮鬲蹖. 鬲賳賴丕 蹖讴蹖 亘乇丿賴.
May 17, 2019
A volte ritornano
Niente di nuovo: l鈥檕pera d鈥檃rte lo 猫 in quanto non puoi buttare l脿 due opinioni epidermiche sulle emozioni del momento. Toccarla, guardala, ascoltarla o leggerla e poi parlarne non 猫 come descrivere l鈥檃rricciamento del pelo al venticello primaverile, fresco ma piacevole.
Con 鈥淟e Troiane鈥� il detto e ridetto ti sorge in mente spontaneo: con i mezzi della vita moderna si pu貌 verificare in tempo reale le intuizioni rafforzandole e tanticchia esaltandoti nella condivisione.
Sulla scena quattro donne e un bambino mentre alle loro spalle Troia brucia:
Ecuba la vecchia che con i figli ha perso qualsiasi fede;
Cassandra la folle, che inneggia alle sue nozze con Agamennone anzich茅 dolersene perch茅 l鈥檌meneo sar脿 la rovina del comandante in capo e della sua famiglia;
Andromaca la vedova che annega nel nichilismo: la vita, privata dell鈥檈sistenza, non vale la pena di essere vissuta;
Elena la colpevole che gioca con la seduzione e i sofismi per salvare la pelle;
Astianatte la vittima imberbe, sacrificato per impedire a qualsiasi erede di vendicare i morti e rivendicare il potere.
La prima domanda 猫: Euripide 猫 anche moderno, contemporaneo o addirittura attuale?
Il senso comune (quasi mai sinonimo di buon senso), sciorinato come bucato mal lavato un giorno s矛 e l鈥檃ltro pure, ci ammonisce che quel che fu non ritorna, per carit脿.
[ Il 鈥渟enso comune鈥� deve essere una conquista del progresso e della civilt脿 se era sconosciuto al grande tragico che, nel V掳 secolo a.C. , scriveva di una guerra combattuta sei secoli prima mentre, e appena due stagioni avanti della scrittura della tragedia, avrebbe avuto materiale fresco di prima mano, visto il servizietto fatto alla comunit脿 di Melo dal celodurismo ateniese. Mica bruscolini: un bell鈥檈ccidio pulito pulito, con le solite vittime collaterali, donne e bambini pi霉 un immaginabile esodo di profughi sbandati].
Solo la paura di incorrere nell'inevitabile censura lo fa ricorrere al mito? o la censura, dice il senso comune, 猫 un concetto di progresso e civilt脿 (?) e non poteva esistere al tempo del drammaturgo? Probabilmente la modernit脿 ha trasformato in 鈥渁ssolvibile censura鈥� l鈥檕stracismo, negando l鈥檈sistenza dell鈥檜na e dell鈥檃ltro quando vi procede esibendo a sua discolpa commi raffazzonati e emendamenti di leggi nate per altri scopi.
Diamo per scontato che il ripiego dell鈥檕mbroso Euripide fu per scampare all'ostracismo, se non al peggio ancora; ma perch茅 scegliere proprio la distruzione di Troia, rivolgersi al mito? Forse perch茅 il mito era allora il grimaldello per aprire la porta alla conoscenza del senso del presente? Forse perch茅 era il linguaggio da tutti conosciuto e quindi comprensibile senza la riserva mentale che il passato non ritorna? Forse perch茅 non era solo una favola?
Diamo anche questo per reale: Euripide (e i tragici, conosciuti o meno) usava quel linguaggio universale per coinvolgere gli spettatori e sottoporre al loro giudizio critico la versione aggiornata del vecchio mito (le rappresentazioni, come tutti sanno, avvenivano in veri e propri festival in cui al posto di 鈥淔in che la barca va鈥� gareggiava 鈥淟e Troiane鈥�. O tempora o mores).
Euripide (e i tragici, conosciuti o meno) non era pertanto un masturbatore mentale, un viaggiatore periombelicale, ma uomo che riconosce la valenza dell鈥� esistere nell'essere agente nel reale con la sua opera ( suppongo che non sarebbe andato al salone di Torino alle condizioni date dagli organizzatori). Non gli interessa lo zoismo, il vivere per vivere. Dice Andromaca: Morire e non esistere la stessa cosa, dico io, sono .
E soprattutto: perch茅 ancora oggi se ne fanno rappresentazioni? Solo per sfogliare l鈥檃lbum di ci貌 che fu? Solo per vedere come erano 鈥淚 Flintstones鈥� del V secolo e compiacerci dei cotanti progressi della nostra contemporaneit脿?
Se ci guardiamo attorno, siamo ancora circondati da celoduristi achei o ateniesi. Citt脿 e intere nazioni in fiamme; donne e bambini, scampati alla morte nelle guerre, che vanno incontro a una esistenza da schiavi e deportati, sempre che sopravvivano alla traversata del deserto, ai campi, al mare e ai capetti di turno.
A scriverlo sembra retorica buonista, tante volte si deve reiterare il concetto a coloro che parlano di invasione, pericolo, minaccia di sostituzione etnica. Sembra un mantra banale e banalizzante, un aggrapparsi all鈥檈mozione 鈥渓etteraria鈥� per cercare un senso reale al mero passatempo della lettura. Ma come ho dimostrato, Le Troiane鈥� 猫 arte e non ammette pretesti di non avere nulla a che vedere con la realt脿.
Niente di nuovo: l鈥檕pera d鈥檃rte lo 猫 in quanto non puoi buttare l脿 due opinioni epidermiche sulle emozioni del momento. Toccarla, guardala, ascoltarla o leggerla e poi parlarne non 猫 come descrivere l鈥檃rricciamento del pelo al venticello primaverile, fresco ma piacevole.
Con 鈥淟e Troiane鈥� il detto e ridetto ti sorge in mente spontaneo: con i mezzi della vita moderna si pu貌 verificare in tempo reale le intuizioni rafforzandole e tanticchia esaltandoti nella condivisione.
Sulla scena quattro donne e un bambino mentre alle loro spalle Troia brucia:
Ecuba la vecchia che con i figli ha perso qualsiasi fede;
Cassandra la folle, che inneggia alle sue nozze con Agamennone anzich茅 dolersene perch茅 l鈥檌meneo sar脿 la rovina del comandante in capo e della sua famiglia;
Andromaca la vedova che annega nel nichilismo: la vita, privata dell鈥檈sistenza, non vale la pena di essere vissuta;
Elena la colpevole che gioca con la seduzione e i sofismi per salvare la pelle;
Astianatte la vittima imberbe, sacrificato per impedire a qualsiasi erede di vendicare i morti e rivendicare il potere.
La prima domanda 猫: Euripide 猫 anche moderno, contemporaneo o addirittura attuale?
Il senso comune (quasi mai sinonimo di buon senso), sciorinato come bucato mal lavato un giorno s矛 e l鈥檃ltro pure, ci ammonisce che quel che fu non ritorna, per carit脿.
[ Il 鈥渟enso comune鈥� deve essere una conquista del progresso e della civilt脿 se era sconosciuto al grande tragico che, nel V掳 secolo a.C. , scriveva di una guerra combattuta sei secoli prima mentre, e appena due stagioni avanti della scrittura della tragedia, avrebbe avuto materiale fresco di prima mano, visto il servizietto fatto alla comunit脿 di Melo dal celodurismo ateniese. Mica bruscolini: un bell鈥檈ccidio pulito pulito, con le solite vittime collaterali, donne e bambini pi霉 un immaginabile esodo di profughi sbandati].
Solo la paura di incorrere nell'inevitabile censura lo fa ricorrere al mito? o la censura, dice il senso comune, 猫 un concetto di progresso e civilt脿 (?) e non poteva esistere al tempo del drammaturgo? Probabilmente la modernit脿 ha trasformato in 鈥渁ssolvibile censura鈥� l鈥檕stracismo, negando l鈥檈sistenza dell鈥檜na e dell鈥檃ltro quando vi procede esibendo a sua discolpa commi raffazzonati e emendamenti di leggi nate per altri scopi.
Diamo per scontato che il ripiego dell鈥檕mbroso Euripide fu per scampare all'ostracismo, se non al peggio ancora; ma perch茅 scegliere proprio la distruzione di Troia, rivolgersi al mito? Forse perch茅 il mito era allora il grimaldello per aprire la porta alla conoscenza del senso del presente? Forse perch茅 era il linguaggio da tutti conosciuto e quindi comprensibile senza la riserva mentale che il passato non ritorna? Forse perch茅 non era solo una favola?
Diamo anche questo per reale: Euripide (e i tragici, conosciuti o meno) usava quel linguaggio universale per coinvolgere gli spettatori e sottoporre al loro giudizio critico la versione aggiornata del vecchio mito (le rappresentazioni, come tutti sanno, avvenivano in veri e propri festival in cui al posto di 鈥淔in che la barca va鈥� gareggiava 鈥淟e Troiane鈥�. O tempora o mores).
Euripide (e i tragici, conosciuti o meno) non era pertanto un masturbatore mentale, un viaggiatore periombelicale, ma uomo che riconosce la valenza dell鈥� esistere nell'essere agente nel reale con la sua opera ( suppongo che non sarebbe andato al salone di Torino alle condizioni date dagli organizzatori). Non gli interessa lo zoismo, il vivere per vivere. Dice Andromaca: Morire e non esistere la stessa cosa, dico io, sono .
E soprattutto: perch茅 ancora oggi se ne fanno rappresentazioni? Solo per sfogliare l鈥檃lbum di ci貌 che fu? Solo per vedere come erano 鈥淚 Flintstones鈥� del V secolo e compiacerci dei cotanti progressi della nostra contemporaneit脿?
Se ci guardiamo attorno, siamo ancora circondati da celoduristi achei o ateniesi. Citt脿 e intere nazioni in fiamme; donne e bambini, scampati alla morte nelle guerre, che vanno incontro a una esistenza da schiavi e deportati, sempre che sopravvivano alla traversata del deserto, ai campi, al mare e ai capetti di turno.
A scriverlo sembra retorica buonista, tante volte si deve reiterare il concetto a coloro che parlano di invasione, pericolo, minaccia di sostituzione etnica. Sembra un mantra banale e banalizzante, un aggrapparsi all鈥檈mozione 鈥渓etteraria鈥� per cercare un senso reale al mero passatempo della lettura. Ma come ho dimostrato, Le Troiane鈥� 猫 arte e non ammette pretesti di non avere nulla a che vedere con la realt脿.
September 19, 2021
Extremely tragic. But inspite of this terrible tragedy the courage of Trojan Women is unparalleled.
Their valour is not in mercilessly killing and attributing the strength of arms as the only glorifying courage, but in the very fact of standing tall and spirited even after losing everything in the war, a war which was never theirs.
Though aware of the story beforehand, I found the play extremely well written, invoking the necessary emotions which definitely overwhelms and tears through one's heart while reading.
The songs, the reactions, the quotes, everything is well weaved for a play of such intensity, also never overdoing the tragedy.
To quote one of my favorite parts,
as Hecuba, the once Queen of Troy, in her lamentations calls out to Gods, but then she quickly checks herself and says 'Alas, why call on things so weak for aid?'
And if there's one thing that can be inferred correctly from this tragic war of Troy, is how humans, brave courageous humans, are nothing but playthings in the hand of the mighty Gods. Power seduces and defies both the divine and kings alike. Yet, the tragedy befalls to these women who are neither Gods/Goddesses, playing through as their own likings, nor the mighty terrible kings who in their arrogance of power can win over everything but kindness and humaneness.
My first Euripides play, this was definitely a perfect start.
Their valour is not in mercilessly killing and attributing the strength of arms as the only glorifying courage, but in the very fact of standing tall and spirited even after losing everything in the war, a war which was never theirs.
Though aware of the story beforehand, I found the play extremely well written, invoking the necessary emotions which definitely overwhelms and tears through one's heart while reading.
The songs, the reactions, the quotes, everything is well weaved for a play of such intensity, also never overdoing the tragedy.
To quote one of my favorite parts,
as Hecuba, the once Queen of Troy, in her lamentations calls out to Gods, but then she quickly checks herself and says 'Alas, why call on things so weak for aid?'
And if there's one thing that can be inferred correctly from this tragic war of Troy, is how humans, brave courageous humans, are nothing but playthings in the hand of the mighty Gods. Power seduces and defies both the divine and kings alike. Yet, the tragedy befalls to these women who are neither Gods/Goddesses, playing through as their own likings, nor the mighty terrible kings who in their arrogance of power can win over everything but kindness and humaneness.
My first Euripides play, this was definitely a perfect start.
January 8, 2025
Las guerras se han tomado como punto de partida para establecer los l铆mites del ser de occidente. Nuestra cultura ha utilizado innumerables veces las oposiciones para lograr identidad: noche-d铆a, aire-fuego, vencedores-vencidos, hombres-mujeres.
Es as铆 que el conflicto griegos-troyanos es tomado por Eur铆pides para su tragedia m谩s importante. La obra parte de la ca铆da de Troya a mano de los griegos y nos ofrece una mirada espeluznante de la guerra. 脡sta no es gloriosa ni 茅pica; es el mal, el horror, es despojar a las mujeres de su humanidad y afectos, esclavizarlas y someterlas.
Siguiendo los destinos de 贬茅肠耻产补, 础苍诲谤贸尘补肠补, Casandra y Hera estamos ante una obra antibelicista donde predominan las pasiones, los actos de locura, el descreimiento de los dioses.
Si bien no es considerada una pieza excelente dado su escaso desarrollo, la poca acci贸n y la ausencia de variedad de tonos, el entierro del escudo de H茅ctor env铆a un mensaje de reconciliaci贸n, de reclamar la superioridad de la paz.
Es as铆 que el conflicto griegos-troyanos es tomado por Eur铆pides para su tragedia m谩s importante. La obra parte de la ca铆da de Troya a mano de los griegos y nos ofrece una mirada espeluznante de la guerra. 脡sta no es gloriosa ni 茅pica; es el mal, el horror, es despojar a las mujeres de su humanidad y afectos, esclavizarlas y someterlas.
Siguiendo los destinos de 贬茅肠耻产补, 础苍诲谤贸尘补肠补, Casandra y Hera estamos ante una obra antibelicista donde predominan las pasiones, los actos de locura, el descreimiento de los dioses.
Si bien no es considerada una pieza excelente dado su escaso desarrollo, la poca acci贸n y la ausencia de variedad de tonos, el entierro del escudo de H茅ctor env铆a un mensaje de reconciliaci贸n, de reclamar la superioridad de la paz.
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