"İphigenia Aulis’te / Iphigenia in Aulis" oyunu Truva Savaşı’na başlamadan önce Tanrı’lar tarafından istenildi diye Agammemnon’un kızı İphigenia’yı kurban etmesini konu alıyor. Oyunun sonu "deus ex machina" özelliği taşısa da ben sonunun kurban edilmesiyle bittiğini düşünüyorum. Euripides’in diğer oyunlarına nazaran özellikle konusuyla oldukça geride bir oyun; fakat olay örgüsü sürükleyici ve Truva Savaşı’nın bilinmeyen bir tarafını anlattığı için ilgi çekici. Vatan sevgisi temasının öne çıktığı oyunda İphigenia’nın kaderini vatanı için bu denli kolay kabul etmesini ben çok inandırıcı bulmadım. Yine de günümüze gelen nadir Euripides eserlerinden biri olması sebebiyle mutlaka okunması gerektiğini düşünüyorum. Tam notum 3.5 / 5.

18.07.2017
Zorlu-İstanbul, Türkiye

Alp Turgut

http://www.filmdoktoru.com/kitap-labo...

ანტიგონესეულად მამაცი იფიგენია პატარა (წინარე)ილიადაში.

კარგა ხანია ასე პერსონაჟი არ მომწონებია, როგორც ახლა მომეწონა იფიგენია.

ბევრი საინტერესო თემაა გახსნილი ნაწარმოებში და ყველას ვურჩევდი, ილიადის წაკითხვამდე წაეკითხათ - უკეთესად გაიგებთ სიუჟეტს, რადგან აქა-იქ მოთხრობილია ჰელენეს დაბადების, სამი ქალღმერთის განხეთქილების და ტროის ომის მიზეზის შესახებ. ძალიან მეცოდებოდა აგამემნონი, ორად გაყოფილი კარგ მამასა და კარგ მმართველს (და მენელაოსის ძმას) შორის, მაგრამ იფიგენიას უსუსურობამ (თავიდან) და შემდგომ სიძლიერემ განსაკუთრებულად მომნუსხა. ვერც კლიტემნესტრას ტრაგიკული წარსული და აწმყო დატოვებს მკითხველს გულგრილად.

არც ილიადის წაკითხვის შემდეგ იქნება ურიგო, თვალი გადაავლოთ ტრაგედიას, თუნდაც მეორედ, რადგან ბევრ პარალელს გაავლებთ ჰომეროსთან: ქალის გამო აგამემნონის მიერ შეურაცხყოფილი აქილევსი, გრძნობასა და მოვალეობას შორის გაორებული აგამემნონი, ხომალდთა კატალოგი, სიყვარულისა და ვნების დამღუპველი ბუნება, მარადიულსა და წარმავალს შორის არჩევანი, სიცოცხლის სიყვარულისა და სიკვდილის შიშის დაძლევა და ღმერთების ნება...

4.5 stars
You could call this play Agamemnon vs Achilles: Origins

This play sets up so many relations for the stories that were written before it, I really liked it!

En esta obra Eurípides muestra perfectamente la dramatización de los personajes de este mito. Una hija que acepta su destino, una madre que está rota de dolor y un padre que hace todo por su patria. ¡Poesía dramática en todo su esplendor!

Uma tragédia que se foca num dos episódios mais negros da Ilíada, o sacrifício da filha de Agamemnon para aplacar os deuses e garantir o triunfo grego na guerra troiana. Um episódio que costuma ser apresentado sob o prisma da ambição desmedida de um rei que não hesita em sacrificar a filha mais querida para conseguir o que quer, mas que nesta tragédia de Eurípides ganha outra dimensão. Aqui, Agamemnon é um pai atormentado, que tenta evitar o sacrifício da filha, e é Ifigénia, a vítima sacrificial, que se oferece à morte, assumindo que a guerra contra Tróia é muito mais do que o vingar do rapto de Helena, e sim uma afirmação da necessidade de independência grega face às ameaças vindas a oriente. E assim deixa-se sacrificar, para pesar do pai, despertando o ódio de Clitmenestra, sua mãe (que Ésquilo explorará de forma magistral na Oresteia), morrendo em nome da liberdade do povo grego.

Mozaik knjiga
Zagreb, 2005.
Preveli Koloman Rac i Zdeslav Dukat.
Izuzetno kvalitetan Dukatov predgovor.
Svevremenski književni klasik.
Najkvalitetniji su tekstovi zborovođe i kora, u estetskom smislu vrve metaforama i vrckavom aktualizacijom jezika.

Between this and The Children of Herakles, I'm getting a little concerned about how many young girls are sacrificing themselves on the altars of ancient Greece. Really we need to call Child Protective Services on their fams.

In the latter play, the Heracleidae seek shelter in Athens, so their pursuer Eurystheus declares war on the state in order to get them back. The Athenians are willing to fight for the refugees, and the goddess Persephone agrees to help them win the war, but she wants a sacrifice in return. So Macaria, daughter of Herakles, volunteers to die in order to save her brothers (but not before apologizing for stepping outside, thus offending everyone for having to see and hear her. Girls and women are so obtrusive, amiright?) As part of her reasoning, she even says that, were she to survive:

who would marry me,
Or want this friendless girl as mother of
His sons? To end things now is much to be
Preferred to that shame

Her speech is praised, she is sacrificed, and Athens wins the war. Hurrah?

Moving on to the play at hand, in which King Agamemnon is about to sacrifice his daughter, Iphigenia. See, Agamemnon wants to invade Troy in order to recoup his sister-in-law, Helen, but the winds aren't blowing so his ships can't set sail. Turns out the goddess Artemis is angry with him for killing one of her sacred deer and wants a sacrifice in return, or else no wind. Naturally, instead of canceling the stupid war (especially since he's pretty sure that Helen was not abducted by the Trojans, but ran off with her lover), or taking responsibility for his actions (how about you sacrifice yourself, sir? You're the one who killed that damn deer), he throws his own daughter under the bus.

When Iphigenia learns her fate, she decides to go to the altar willingly (Euripides prefers these girls not make a scene). Except while our other sacrificial maiden Macaria of the Heracleidae is implicated in the aforementioned war (after all, her family is the cause), Iphigenia has fuck all to do with the Trojan war! Nothing to do with Helen, nothing to do with Trojans, and nothing to do with Artemis. And when Achilles makes a half-hearted attempt to save her, she says:

n  We are asking this good friend of ours here to fight with the whole Greek army and be killed –for what? For a mere woman? [...] No, I’d rather see the death of a thousand women than that of a single man!n

The irony is as deep as it is nonsensical. Where is the number for CPS?

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: A graphic-novel adaptation of the basic story of the Iliad and the Odyssey.

n  n    n  n dramatis personae from age-of-bronze.com

I don't really know what else to say; if you haven't read those stories, or haven't seen the innumerable retellings in such media as exist then you've got one helluva learning curve ahead. This graphic version will, I suppose, do nicely to get you into the story. The idea that Agamemnon was required to kill his own child for a war against his sister-in-law's little bit on the side. It's a stupid reason to go to war, and the cost of it was staggering.
n  n    n  nn  n    n  n
The art is, as you'd expect from Eric Shanower, convincing and technically accomplished. The story is adapted from Euripides by playwright Edward Einhorn. His success or failure is a matter of personal taste; I liked it fine.
n  n    n  n
Familiar or unfamiliar as you may be with the source material, it's a fantastic and worthy project, executed well, and solidly entertaining.

Translator: John Davie

"Ένα λόγο μονάχα θα πω και θα νικήσω·
γλυκιά η ζωή κι ο θάνατος μαυρίλα·
είναι τρελός όποιος ποθεί το θάνατο.
Κάλλιο πικρή ζωή,παρά καλή θανή."

I hate you Agamemnon

some things about this play that make me feel fucking insane:

-> that achilles is so naive here. this isn't the achilles of the iliad. we can see how he gets there (and we'd better be able to see it, because euripides was writing after homer), but we can also tell he's far younger and far more naive, a man trained as a weapon who has yet to see innocent blood start spilling. (he is also such a little freak lmfao. "keep in mind one simple fact: i never lie" okay you weird little demigod murder machine)

-> clytemnestra begging agamemnon not to kill their daughter and alluding to the murder everyone knows is coming after this play. and BEGGING him not to do it, because then she'll have to do it. "for the gods' sakes, don't force me to take this hard line against you, or force yourself to do the same to me," she says, and she's saying: don't make me do this. don't make me do this to you. because if you sacrifice my daughter, i know how i am going to answer, and i don't want you to make me do it.

n  AGAMEMNON: A dangerous glory, and ambition however sweet lies close to grief.n

-> the fact that agamemnon KNOWS IT'S COMING. he knows that if he does this he's doomed. he knows. and he can't bear the idea of killing his own daughter. but he also doesn't have a CHOICE!!! the agamemnon lines in this play made me CRAZY like this man's entire deal is not having a choice because the gods have backed him into a corner but then he somehow still makes the worst choice despite not having one

n  AGAMEMNON: I am clamped to a doom I cannot shake off.n

-> that iphigenia doesn't speak for herself for the first half of the play. which is probably partially an actor constraint thing, but still, ouch. she's at the center of everything, she's the titular character, and her silence drives home how much she's just a pawn in the war effort, passed between her mother and her father and achilles and the army alike.

-> and then when she DOES speak, she draws on a heroic code worthy of any greek warrior. in aeschylus's description of her death, the men have to drag her kicking and screaming and gagged to the altar. but here she decides to die for the glory of greece. yeah, she's making an Uwu Womanly Sacrifice For The Men, but she's also choosing to start the trojan war. she's dying knowing full damn well she's the reason it's happening at all, and they're going to remember her name forever.

n  IPHIGENIA: So sacrifice me and sack Troy. That will be my memorial through the ages. That will be my marriage, my children, and my fame. ... Conduct me as a sacker of cities.n

anyway. bites wires (translations read: paul roche)