Iphigenia, Phaedra and Athaliah (Penguin Classics) by Jean Racine

By Jean Racine

Publish yr note: First released in 1963
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Strongly inspired by means of Classical drama, Jean Racine (1639-99) broke clear of the grandiose theatricality of baroque drama to create works of extreme mental realism, with characters manipulated through merciless and vengeful gods. "Iphigenia" depicts a princess' absolute submission to her father's will, regardless of his choice to sacrifice her to achieve divine favour ahead of going to battle.

Described through Voltaire as 'the masterpiece of the human mind', "Phaedra" indicates a woman's fight to beat her overwhelming ardour for her stepson - an obsession that brings destruction to a noble relations. And "Athaliah" portrays a ruthless pagan queen, who defies Jehovah in her determined try and hold the throne of Jerusalem from its valid inheritor.

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This was accomplished in the face of formidable anti-Jewish barriers. ” He bought a carriage to further impress, or perhaps intimidate, the bigots; it was a “stupendous vehicle,” and the “fairy coach wrought its magic. ” In their eye-catching carriage, Lawson and his family would travel from their huge apartment. “The whole ground floor, running through from Seventy-second to Seventy-first Street, was a big foyer, with Oriental rugs and massive furniture, never used by anyone and empty except for the uniformed attendants.

The conclusion reached by those assembled? ”49 Scott had taken an option on a book about the “racially” charged subject of “restricted covenants” in housing. “I have tried a number of times to secure a release on this picture but none of the companies will touch it,” he wailed. 50 Robert Rossen, the former Communist, faced another kind of dilemma. ”51 The actor 12 / Introduction Edward G. 53 Scripts were “subject to the closest sort of scrutiny”; thus, “the most subversive pictures which have been made are the Gene Autry .

A few minutes before the curtain rose,” a bemused Lawson recounted, “[the director] asked me for a percentage of my royalties, as payment for his help on the script. We argued as if millions were involved. ” Beginnings / 19 On another occasion a director of one of his early plays “gave me a tumbler of whiskey and said he would give me any amount of money if I would withdraw and sign over all my rights in the play to him. . I told him he could have it for one hundred thousand dollars. ”18 Getting this play off the ground also led Lawson into intriguing places.

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