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Medeya. Ippolit. Vakhanki | [Evripid]

Medeya. Ippolit. Vakhanki

Odnim iz pervyih v drevnegrecheskoy dramaturgii, Evripid obratilsya k vnutrennemu miru geroya, k ego dushe i myislyam. Pri sohranenii prezhney formyi tragedii, s mifologicheskimi i legendarnyimi syuzhetami i imenami, s horom i maskami, Evripid podnyalsya do izobrazheniya obschechelovecheskih strastey i stradaniy. V ego tragediyah zatronutyi vazhneyshie filosofskie i nravstvennyie problemyi - priroda bogov i lyudey, krizis afinskoy demokratii, prava rabov, sudba zhenschinyi, otnosheniya v seme.
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Publisher's Summary

Odnim iz pervyih v drevnegrecheskoy dramaturgii, Evripid obratilsya k vnutrennemu miru geroya, k ego dushe i myislyam. Pri sohranenii prezhney formyi tragedii, s mifologicheskimi i legendarnyimi syuzhetami i imenami, s horom i maskami, Evripid podnyalsya do izobrazheniya obschechelovecheskih strastey i stradaniy. V ego tragediyah zatronutyi vazhneyshie filosofskie i nravstvennyie problemyi - priroda bogov i lyudey, krizis afinskoy demokratii, prava rabov, sudba zhenschinyi, otnosheniya v seme. V etom i novatorstvo ego dramaturgii, i istochnik dvoyakogo otnosheniya k Evripidu ego sovremennikov: ili zhestokie napadki i poritsaniya, ili vostorzhennoe pochitanie i uvazhenie. Tem ne menee, ego nasledie stalo obraztsom dlya pozdneyshih dramaturgov – pesyi Kornelya, Rasina, Voltera «vyirosli» iz syuzhetov Evripida.

Please note: This audiobook is in Russian.

Public Domain (P)2006 ARDIS

What the Critics Say

Odnim iz pervyih v drevnegrecheskoy dramaturgii, Evripid obratilsya k vnutrennemu miru geroya, k ego dushe i myislyam. Pri sohranenii prezhney formyi tragedii, s mifologicheskimi i legendarnyimi syuzhetami i imenami, s horom i maskami, Evripid podnyalsya do izobrazheniya obschechelovecheskih strastey i stradaniy. V ego tragediyah zatronutyi vazhneyshie filosofskie i nravstvennyie problemyi - priroda bogov i lyudey, krizis afinskoy demokratii, prava rabov, sudba zhenschinyi, otnosheniya v seme. V etom i novatorstvo ego dramaturgii, i istochnik dvoyakogo otnosheniya k Evripidu ego sovremennikov: ili zhestokie napadki i poritsaniya, ili vostorzhennoe pochitanie i uvazhenie. Tem ne menee, ego nasledie stalo obraztsom dlya pozdneyshih dramaturgov – pesyi Kornelya, Rasina, Voltera «vyirosli» iz syuzhetov Evripida.

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