By Laurie Maguire
Helen of Troy: From Homer to Hollywood is a accomplished literary biography of Helen of Troy, which explores the ways that her tale has been advised and retold in nearly each century from the traditional international to the trendy day.
- Takes readers on an epic voyage into the literary representations of a lady who has wielded a superb effect on Western cultural cognizance for greater than 3 millennia
- Features a large and numerous number of literary assets, together with epic, drama, novels, poems, movie, comedy, and opera, and works by means of Homer, Euripides, Chaucer, Shakespeare
- Includes an research of a radio play via the prize-winning writer of The Curious Incident of the puppy within the Night-time and a Faust play by means of a latest Scottish playwright
- Explores subject matters equivalent to narrative problems in portraying Helen, how felony heritage pertains to her tale, and the way writers apportion blame or exculpate her
- Considers the cultured and narrative problems that happen whilst literature interprets myth
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Additional resources for Helen of Troy: From Homer to Hollywood
Sample text
And need may necessitate alteration. The individual interprets, applies, and revises the story, (re)making its meaning. ” (2005: 181). To answer this question we need to understand the pressures on Agamemnon as “high king” of Mycenae (the arch-king of all the other kings of mainland Greece). Mycenae was an expensive military fortress. Agamemnon needed to sustain his military following by generosity, that is, by gift-giving, food, hospitality and perhaps by grants of land. He had to feed his court and its officers, equip and reward his army .
In George Peele’s Tale of Troy (1589, rev. ed. 1604) Helen enters the poem as a pronoun not a proper name: “She” (line 137). 234). Helen, the cause of war, is systematically linguistically suppressed from its literature. 1474), his prose account of the Trojan War, lacks a title page (because it is designed to look like a manuscript), it mentions Helen’s “ravishing” in its prologue (1894, vol. 1: 7); by 1597 it has developed a title page but omits to mention Helen. Thomas Heywood’s drama on the same subject, 2 The Iron Age (1632) includes Helen on the title page but omits her from the list of dramatis personae.
22 In practical terms, repetitions, parallels, and pairs are ways of accommodating changes in myth or reapplying myth to new circumstances. 23 Myth provides a common vocabulary for structuring, rearranging, and developing stories. The stories convince because they are familiar; they continue to attract, to appear relevant, and to explain new circumstances because they are different. As the repetitions and parallels above suggest, Helen’s story is no more “her” story than is any other myth of a hero or heroine, pagan or Christian.
