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Euripides' Electra (Ancient Greek: Ἠλέκτρα, Ēlektra) is a tragedy probably written in the mid 410s BC, likely before 413 BC.A version of the myth of the house of Atreus, Euripides' play reworks important aspects of the story found in Aeschylus' Oresteia trilogy (especially the second play, Libation Bearers) and also in Sophocles' Electra, although the relative dating of Euripides' and ...
Electra, play by Euripides; Orestes, play by Euripides; Electra, a lost play by Quintus Tullius Cicero of which nothing is known but the name and that it was "a tragedy in the Greek style" Electra (1901) a play by Benito Pérez Galdós; Elektra, a 1903 play by Hugo von Hofmannsthal, based on the Sophocles play
Electra (Euripides play), a play by Euripides, probably in the mid 410s BC, likely before 413 BC, that tells a very different version of this same basic story from Sophocles. Electra (Sophocles play) The story was also told at the end of the lost epic Nostoi (also known as Returns or Returns of the Greeks) The events are also brought up in ...
Plutarch also provides the story that the victorious Spartan generals, having planned the demolition of Athens and the enslavement of its people, grew merciful after being entertained at a banquet by lyrics from Euripides' play Electra: "they felt that it would be a barbarous act to annihilate a city which produced such men" (Life of Lysander ...
The story of Orestes was the subject of the Oresteia of Aeschylus (Agamemnon, Choephori, Eumenides), of the Electra of Sophocles, and of the Electra, Iphigeneia in Tauris, Iphigenia at Aulis and Orestes, all of Euripides. [7] He also appears in Euripides’ Andromache.
Her famous plane was a Lockheed Model 10E Electra, modified for the long flight. Outfitted with two 600-horsepower engines, the plane also contained extra fuel tanks so it could carry 1,150 ...
Aeschylus Sophocles Euripides Ancient Greek tragedies were most often based upon myths from the oral traditions, exploring human nature, fate, and the intervention of the gods. They evoke catharsis in the audience, a process through which the audience experiences pity and fear, and through that emotional engagement, purges these emotions.
From ancient history to the modern day, the clitoris has been discredited, dismissed and deleted -- and women's pleasure has often been left out of the conversation entirely. Now, an underground art movement led by artist Sophia Wallace is emerging across the globe to challenge the lies, question the myths and rewrite the rules around sex and the female body.
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