In Desire Under the Elms, Eugene O＇Neill not only adopts some elements from Greek tragedies, but brings more different ideas for readers, such as supernaturalism, and the degeneration of the tragic heroes or the peas...In Desire Under the Elms, Eugene O＇Neill not only adopts some elements from Greek tragedies, but brings more different ideas for readers, such as supernaturalism, and the degeneration of the tragic heroes or the peasant like language and sets more comic elements. Under his powerful pen, a marvelous drama is displayed before the audience, which combines the traditional elements and modem creations perfectly. This paper aims to explore the important elements in the play and compare those with what are used in Desire Under the Elms so as to draw the conclusion that Eugene O＇Neill not only uses the traditional written skills but also improves the development and inheritance of Greek tragedies.展开更多
Greek and Shakespearean tragic truth emerges from pollution, moral brokenness, and pain. This also applies to the tragic truth of the Indian epics, except that this karmic kind of truth is not considered decisive. Cru...Greek and Shakespearean tragic truth emerges from pollution, moral brokenness, and pain. This also applies to the tragic truth of the Indian epics, except that this karmic kind of truth is not considered decisive. Crucial in the Indian case is cosmic truth, and Hindu cosmic truth is never produced out of pollution or pain. In Arjuna＇s case, Krishna＇s revelatory knowledge is religiously saving knowledge, whereas in Oedipus＇ case, Apollo＇s and Teiresias＇ revelatory knowledge is religiously dooming knowledge. In Hamlet＇s case, religiously saving knowledge is an object of theological speculation and of philosophical doubt. In the Hindu case, self-knowledge means absolute knowledge and ultimate liberation; in the Greek case, self-knowledge means self-discovery and the recognition of human fragility; in the Shakespearean case, self-knowledge means self-exploration and doubting oneself.展开更多
The aim of this essay is to provide an analysis of the Euripides＇ ＂Phoenician Women＂ in terms of mourning. The author intends to set a parallel between the ancient tragedy and its modern adaptation staged by one of...The aim of this essay is to provide an analysis of the Euripides＇ ＂Phoenician Women＂ in terms of mourning. The author intends to set a parallel between the ancient tragedy and its modern adaptation staged by one of the most prominent Polish directors Krzysztof Warlikowski. In the essay, the author will discuss how suffering is depicted in the ancient drama and what changes of mourning motif are introduced into its modern performance. The author will examine the literary as well as the （modern） theatrical topos of grief by analyzing the poetics of tragedy （dramatic structure, metaphors of death, dramatis personae, funeral vocabularium, function of laments） and the poetics of performance （stage design, costumes and props, funerary symbolism, acting, directing solutions）. The purpose of the paper is to argue against the insignificance of Euripides＇ drama and the marginalization of Warlikowski＇s ＂Phoenician Women.＂ Finally, the author will attempt to indicate the mourning motif as one of the essential and attractive for the ancient tragic plot and the modern performance as well展开更多
文摘In Desire Under the Elms, Eugene O＇Neill not only adopts some elements from Greek tragedies, but brings more different ideas for readers, such as supernaturalism, and the degeneration of the tragic heroes or the peasant like language and sets more comic elements. Under his powerful pen, a marvelous drama is displayed before the audience, which combines the traditional elements and modem creations perfectly. This paper aims to explore the important elements in the play and compare those with what are used in Desire Under the Elms so as to draw the conclusion that Eugene O＇Neill not only uses the traditional written skills but also improves the development and inheritance of Greek tragedies.
文摘Greek and Shakespearean tragic truth emerges from pollution, moral brokenness, and pain. This also applies to the tragic truth of the Indian epics, except that this karmic kind of truth is not considered decisive. Crucial in the Indian case is cosmic truth, and Hindu cosmic truth is never produced out of pollution or pain. In Arjuna＇s case, Krishna＇s revelatory knowledge is religiously saving knowledge, whereas in Oedipus＇ case, Apollo＇s and Teiresias＇ revelatory knowledge is religiously dooming knowledge. In Hamlet＇s case, religiously saving knowledge is an object of theological speculation and of philosophical doubt. In the Hindu case, self-knowledge means absolute knowledge and ultimate liberation; in the Greek case, self-knowledge means self-discovery and the recognition of human fragility; in the Shakespearean case, self-knowledge means self-exploration and doubting oneself.
文摘The aim of this essay is to provide an analysis of the Euripides＇ ＂Phoenician Women＂ in terms of mourning. The author intends to set a parallel between the ancient tragedy and its modern adaptation staged by one of the most prominent Polish directors Krzysztof Warlikowski. In the essay, the author will discuss how suffering is depicted in the ancient drama and what changes of mourning motif are introduced into its modern performance. The author will examine the literary as well as the （modern） theatrical topos of grief by analyzing the poetics of tragedy （dramatic structure, metaphors of death, dramatis personae, funeral vocabularium, function of laments） and the poetics of performance （stage design, costumes and props, funerary symbolism, acting, directing solutions）. The purpose of the paper is to argue against the insignificance of Euripides＇ drama and the marginalization of Warlikowski＇s ＂Phoenician Women.＂ Finally, the author will attempt to indicate the mourning motif as one of the essential and attractive for the ancient tragic plot and the modern performance as well
