The Trojan Women
-
-
4.3 • 3 Ratings
-
-
- $2.99
-
- $2.99
Publisher Description
"In his clear preface, Gilbert Murray says with truth that The Trojan Women, valued by the usage of the stage, is not a perfect play. "It is only the crying of one of the great wrongs of the world wrought into music." Yet it is one of the greater dramas of the elder world. In one situation, with little movement, with few figures, it flashes out a great dramatic lesson, the infinite pathos of a successful wrong. It has in it the very soul of the tragic. It even goes beyond the limited tragic, and hints that beyond the defeat may come a greater glory than will be the fortune of the victors. And thus through its pity and terror it purifies our souls to thoughts of peace." So begins the introduction to "The Trojan Women" by Euripides as translated by Gilbert Murray.
PUBLISHERS WEEKLY
Set in post-war Troy, this wrenching comics-poetry update of Euripides' tragic play by MacArthur fellow poet Carson (Float) and artist Bruno (The Slanted Life of Emily Dickinson) embodies feminine narratives with wry lyricism. Bruno's black-and-white illustrations literalize poetic metaphors—Troy is "just a big old hotel/ luxurious, damp and full of spies"; Athene is a "pair of overalls, carrying an owl mask in one hand"—to whimsical effect. Yet the cleverness and agility of this graphic work amplify its tragedies: the exiting Greek army takes Trojan women as slaves, and Hekabe is anthropomorphized as an abject sled dog "of filth and wrath" who has witnessed the deaths of most of her children. Even the infamous Helen, a shape-shifter who appears as a silver fox and a mirror, must defend her life to her husband, the king Menelaos, after Hekabe wants her "sentenced to death out of her own mouth" for her apparent complicity in the downfall of Troy. Herald Talthybius, a hulking raven, outlines the prize for perfect feminine obedience: "Be nice, keep quiet, resign yourself/ you'll still be able to bury the corpse of your child." Accompanied by a chorus of cows and dogs, Hekabe mourns the death of a final heir (drawn as a sapling) and says, "We can't go on/ we go on." Such is the story of war and genocide throughout history, and in Carson and Bruno's expert hands, it strikes as powerfully contemporary.
