By Karoline Gritzner
Exploring a number of subject matters, together with Greek tragedy, Shakespearean theater, modern British performs, opera, and the theatricality of Parisian tradition, this compilation presents new views at the dating among Eros and loss of life in a chain of dramatic texts, theatrical practices, and cultural performances. distinctive and analytical, those informative essays display how altering attitudes in the direction of sexuality and death—opposed yet entangled passions—were mirrored in theater through the process heritage. Psychoanalytical and philosophical versions also are referenced during this paintings that includes essays from dramatists Dic Edwards, David Ian Rabey, and David Rudkin.
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78f. , 385. The jury will be out for ever as to what exactly Euripides means Phaedra to be saying here. One possible reading is that she is using aido¯s as a euphemism for sex itself, to her a guilty or shameful activity or desire. The common Classical Greek word for sexual organs is formed from the same mysterious noun. , 771–2: kat-aid-estheîsa, ‘brought down by aido¯s’. : the ship is leukópteros, ‘white-winged’; the swell of the sea ‘striking [the ship] with its salt’ is (a noisy word) halí-ktypon.
321–2). Duncan Harris argues that the effect of this brilliantly contrived spectacle on a theatre audience goes beyond the confirmation of her ultimate loyalty to love and to Antony: 42 dying for love: the tragicomedy of shakespeare’s cleopatra Cleopatra’s death scene finally shows us what we have been asked to envision, but it does more than show us the Cleopatra of Enobarbus’ famous lines. 348–50). 357–9). But if that supplies the ‘fitting’ conclusion for a history play, the exhilarating climax of the tragicomedy of Cleopatra has provided its audiences with an experience of transcending the world that is dominated by power relations and subject to accident and change – an experience engineered by a different kind of power, that of the human faculty that can devise an aesthetic consummation in which experiences of death and love unite in a single erotic fantasy.
And he has of course no way of knowing, if he refuses Artemis her sacrifice, how catastrophic her response might be. By comparison, Yahweh made it simple for Abraham. For Agamemnon, much more is unknown; as he sees it, he has only a choice of evils: to ‘murder his own child, the glory of his house’,4 or to be a lipónaus, a deserter, and betray his allies. In practice, he sees that he has no choice: he takes on, in a famous Aeschylean phrase, the anánkēs lépadnon – the ‘yoke of what he must’5 – and agrees to the sacrifice.