차례:
(English.sub) Greece part 2 - Culture , The Greek philosopher (할 수있다 2024)
Euripides (기원전 484 년경, 아테네 [그리스] — 마케도니아 406 세 사망)는 마지막으로 아테네의 3 대 비극적 인 극작가들 중 마지막으로 Aeschylus와 Sophocles에 이어 진행되었습니다.
삶과 경력
Euripides의 스케치 전기 만 재구성 할 수 있습니다. 그의 어머니의 이름은 클리 토였다. 그의 아버지의 이름은 Mnesarchus 또는 Mnesarchides입니다. 한 전통에 따르면 그의 어머니는 시장에서 약초를 파는 청과물 전문가라고합니다. 아리스토파네스는 코미디 이후 코미디에서 이에 대해 농담했다. 그러나 Euripides가 부유 한 가정에서 왔다는 간접적 인 증거가 더 있습니다. Euripides는 455 년 극적인 축제에서 경쟁하기로 선정 된 영광을 처음으로 받았으며, 441 년에 첫 승리를 거두었습니다. Euripides는 408 년 아테네에서 출발하여 마케도니아의 왕 아르 켈 라오스의 초대를 수락했습니다. 그는 406 년에 마케도니아에서 사망했습니다.
Euripides의 유일하게 알려진 공개 활동은 시칠리아 시라쿠사에 대한 외교적 임무에 대한 그의 봉사였습니다. 그러나 그는 아이디어에 열정적으로 관심을 갖고 큰 도서관을 소유했습니다. 그는 Protagoras, Anaxagoras 및 기타 Sophists 및 철학자 과학자들과 관련이 있다고합니다. 새로운 아이디어에 대한 그의 친분은 그를 신념이 아닌 불안에 빠뜨 렸지만, 전통적인 그리스 종교에 대한 그의 의문 태도는 그의 연극에 반영되어있다. Euripides의 사생활에 대해서는 거의 말할 수 없습니다. 나중에 전통은 그에게 대단한 재앙적인 결혼 생활을 발명했습니다. 그는 Melito라는 아내가 있었고 세 아들을 낳은 것으로 알려져 있습니다. 이 중 하나는 시인의 것이었고 그의 아버지가 죽은 후에 Bacchants를 제작했습니다. 그는 또한 Aulis에서 그의 아버지의 미완성 연극 Iphigenia를 완료했을 수도 있습니다.
The ancients knew of 92 plays composed by Euripides. Nineteen plays are extant, if one of disputed authorship is included. At only four festivals was Euripides awarded the first prize—the fourth posthumously, for the tetralogy that included Bacchants and Iphigenia at Aulis. As Sophocles won perhaps as many as 24 victories, it is clear that Euripides was comparatively unsuccessful. More to the point is that on more than 20 occasions Euripides was chosen, out of all contestants, to be one of the three laureates of the year. Furthermore, the regularity with which Aristophanes parodied him is proof enough that Euripides’ work commanded attention. It is often said that disappointment at his plays’ reception in Athens was one of the reasons for his leaving his native city in his old age; but there are other reasons why an old poet might have left Athens in the 23rd year of the Peloponnesian War.
Dramatic and literary achievements
Euripides’ plays exhibit his iconoclastic, rationalizing attitude toward both religious belief and the ancient legends and myths that formed the traditional subject matter for Greek drama. These legends seem to have been for him a mere collection of stories without any particular authority. He also apparently rejected the gods of Homeric theology, whom he frequently depicts as irrational, petulant, and singularly uninterested in meting out “divine justice.” That the gods are so often presented on the stage by Euripides is partly due to their convenience as a source of information that could not otherwise be made available to the audience.
Given this attitude of sophisticated doubt on his part, Euripides invents protagonists who are quite different from the larger-than-life characters drawn with such conviction by Aeschylus and Sophocles. They are, for the most part, commonplace, down-to-earth men and women who have all the flaws and vulnerabilities ordinarily associated with human beings. Furthermore, Euripides makes his characters express the doubts, the problems and controversies, and in general the ideas and feelings of his own time. They sometimes even take time off from the dramatic action to debate each other on matters of current philosophical or social interest.
Euripides differed from Aeschylus and Sophocles in making his characters’ tragic fates stem almost entirely from their own flawed natures and uncontrolled passions. Chance, disorder, and human irrationality and immorality frequently result not in an eventual reconciliation or moral resolution but in apparently meaningless suffering that is looked upon with indifference by the gods. The power of this type of drama lies in the frightening and ghastly situations it creates and in the melodramatic, even sensational, emotional effects of its characters’ tragic crises.
Given this strong strain of psychological realism, Euripides shows moments of brilliant insight into his characters, especially in scenes of love and madness. His depictions of women deserve particular attention; it is easy to extract from his plays a long list of heroines who are fierce, treacherous, or adulterous, or all three at once. Misogyny is altogether too simple an explanation here, although Euripides’ reputation in his own day was that of a woman hater, and a play by Aristophanes, Women at the Thesmophoria, comically depicts the indignation of the Athenian women at their portrayal by Euripides.
The chief structural peculiarities of Euripides’ plays are his use of prologues and of the providential appearance of a god (deus ex machina) at the play’s end. Almost all of the plays start with a monologue that is in effect a bare chronicle explaining the situation and characters with which the action begins. Similarly, the god’s epilogue at the end of the play serves to reveal the future fortunes of the characters. This latter device has been criticized as clumsy or artificial by modern authorities, but it was presumably more palatable to the audiences of Euripides’ own time. Another striking feature of his plays is that over time Euripides found less and less use for the chorus; in his successive works it tends to grow detached from the dramatic action.
The word habitually used in antiquity to describe Euripides’ ordinary style of dramatic speech is lalia (“chatter”), alluding probably both to its comparatively light weight and to the volubility of his characters of all classes. Notwithstanding this, Euripides’ lyrics at times have considerable charm and sweetness. In the works written after 415 bc his lyrics underwent a change, becoming more emotional and luxuriant. At its worst this style is hardly distinguishable from Aristophanes’ parody of it in his comedy Frogs, but where frenzied emotion is appropriate, as in the tragedy Bacchants, Euripides’ songs are unsurpassed in their power and beauty.
During the last decade of his career Euripides began to write “tragedies” that might actually be called romantic dramas, or tragicomedies with happy endings. These plays have a highly organized structure leading to a recognition scene in which the discovery of a character’s true identity produces a complete change in the situation, and in general a happy one. Extant plays in this style include Ion, Iphigenia Among the Taurians, and Helen. Plays of the tragicomedy type seem to anticipate the New Comedy of the 4th century bc.
The fame and popularity of Euripides eclipsed that of Aeschylus and Sophocles in the cosmopolitan Hellenistic period. The austere, lofty, essentially political and “religious” tragedy of Aeschylus and Sophocles had less appeal than that of Euripides, with its more accessible realism and its obviously emotional, even sensational, effects. Euripides thus became the most popular of the three for revivals of his plays in later antiquity; this is probably why at least 18 of his plays have survived compared to seven each for Aeschylus and Sophocles, and why the extant fragmentary quotations from his works are more numerous than those of Aeschylus and Sophocles put together.
