Medea.
Beautiful Letters| N° d'inventaire | 16192 |
| Format | 11 x 18 |
| Détails | 182 p., paperback. |
| Publication | Paris, 2012 |
| Etat | Nine |
| ISBN | 9782251800240 |
Classic bilingual collection. As usual, Euripides innovated greatly when he composed his Medea in 431 BC, the first tragedy of his that we have preserved. The mythical Medea was a sorceress with formidable powers, several times a criminal. Here, she imposes catastrophe on herself. To make Jason pay for his infidelity, she becomes the murderer of their children. Euripia undoubtedly invented this crime. She does not content herself with revenge, but annihilates the world for which her husband leaves her: she disintegrates the young rival at the same time as her father, the king of Corinth, and, with her children, she destroys the past. Nothing of it must remain, since it has been denied. In this tragedy, she is the divine. Granddaughter of the Sun, she had freely given herself to a mortal man; she recovers, but in a disaster that also affects her. Euripides chose not to depict magic, but the virtuosity with which the foreigner speaks the words of the Greeks, in order to kill. Contrary to what Nietzsche said, dialectics does not distort tragedy; it strengthens it.
Classic bilingual collection. As usual, Euripides innovated greatly when he composed his Medea in 431 BC, the first tragedy of his that we have preserved. The mythical Medea was a sorceress with formidable powers, several times a criminal. Here, she imposes catastrophe on herself. To make Jason pay for his infidelity, she becomes the murderer of their children. Euripia undoubtedly invented this crime. She does not content herself with revenge, but annihilates the world for which her husband leaves her: she disintegrates the young rival at the same time as her father, the king of Corinth, and, with her children, she destroys the past. Nothing of it must remain, since it has been denied. In this tragedy, she is the divine. Granddaughter of the Sun, she had freely given herself to a mortal man; she recovers, but in a disaster that also affects her. Euripides chose not to depict magic, but the virtuosity with which the foreigner speaks the words of the Greeks, in order to kill. Contrary to what Nietzsche said, dialectics does not distort tragedy; it strengthens it.