.../I don't know why men tell 69 such rumors and lies") but to instill a like an impassive chess player over his Bond's Apollo - but the personification of critical awareness...

... or deed of mine may yet deliver the town. Creon Good news: for pain turns to pleasure when we have set the crooked straight. Our lord Apollo bids us purify the state by driving...

... situations. The parallels are obvious: Orestes is ordered by Apollo to avenge the death of his father; Hamlet is ordered by the ghost to do likewise. The usurpers in Sophocles’ play, Clytemnestra and Menalaus, are paralleled almost exactly by Claudius and Gertrude in Shake- speare’s play...

... of singing dancing words confusion of a beautiful woman~ boudoir, arebottles of perfume, vialsofoil, by your beauty weave him here: and assorted articles offeminine dress. Bright Apollo Golden Bow As he enters, he is utterly intent on theactualmusicaland poetical composi...

... to the horses which caused Oedipus to slay hold," and Polyneices' entrance, fright• his father, the lion and boar of Apollo's ened, with sword drawn, takes on a new prophecy which are Tydeus and Poly• and sinister connotation. neices, the "lions wild" to which Antig...

... all this sters, between gods and gods. Here, too, into the service of art is something we Greek drama can help. One function of have yet to do in the modern theatre. theatre art has always been to act as a Perhaps, in a way that could be repeated saving force. Apollo, who inspires, also...

..., between gods and gods. Here, too, into the service of art is something we Greek drama can help. One function of have yet to do in the modern theatre. theatre art has always been to act as a Perhaps, in a way that could be repeated saving force. Apollo, who inspires, also performance...

... only Secondly: the violin falls from his hands. The circumstances good things written about him and afterwards was not men- of life, evil fate, or another person’s will create situations in tioned at all, then was this too a way of making a point? which the maestro loses Apollo’s patronage...

... 29 had never been quite so harsh after the songs of Apollo. In speare had been made a Polish existentialist. This was not Our retrospect, one can trace a straight path from here to Brook’s Shakespeare, symbol of Humanism, poet royal, flash pass of later stage images, such as that in La ltugedie...

... of the end of war and as a har- binger of destruction. Similarly, in The Eurnenides, Apollo was no mere mortal but a god who at Delphi seemed to appear from nowhere. Willowy slender, all dressed in white, his long sensuous curly hair flowing behind him, he glided, danced, and moved...

... historical Daste's costumes. Agamemnon and Clytemnestra were dressed "a vision of the Oresteia, we have to ask ourselves, "What did history la barbare," Orestes, Electra and Apollo were draped in robes like mean to the Greeks?" Barthes believes that we can confront this fifth-century Athenians...

... of their choked young. We were too old for the army. My King left me here to hobble on my stick, Some idle god, Apollo or Zeus...

... Wife, in Grove Press (Evergreen Playscripts). ("1 NAP 2. ~, Dutchman and The Slave, Apollo Edi- tions. ("1 O'HARA, Frank. The General Returns from ~, Four Black Revolutionary Plays, One...

..., VI, 490-92. various locales, the fact remains that in the 6th and 5th cen- APOLLO: She who is called the child’s mother is not its turies B.C. the specific form of drama and the practice of parent, but only the nume of the newly implanted seed...

... erentiate. The transition can be as simple as Igor Shyshko’s shouting “I am Apollo!” after Apollo’s name has been men- tioned—and through the magic of self-defi nition, suddenly he is. He then fi nds a mor- tal maid to seduce (in the fi rst instance, Sibyl of Cumae; in a later one, Cassandra—the gods...

... erentiate. The transition can be as simple as Igor Shyshko’s shouting “I am Apollo!” after Apollo’s name has been men- tioned—and through the magic of self-defi nition, suddenly he is. He then fi nds a mor- tal maid to seduce (in the fi rst instance, Sibyl of Cumae; in a later one, Cassandra—the gods...

... erentiate. The transition can be as simple as Igor Shyshko’s shouting “I am Apollo!” after Apollo’s name has been men- tioned—and through the magic of self-defi nition, suddenly he is. He then fi nds a mor- tal maid to seduce (in the fi rst instance, Sibyl of Cumae; in a later one, Cassandra—the gods...

... erentiate. The transition can be as simple as Igor Shyshko’s shouting “I am Apollo!” after Apollo’s name has been men- tioned—and through the magic of self-defi nition, suddenly he is. He then fi nds a mor- tal maid to seduce (in the fi rst instance, Sibyl of Cumae; in a later one, Cassandra—the gods...

.... translated by Jack Zipes in Sfeppcnwolf and Everyman (Apollo Nestroy often drew parallels between sexual repression and Editions‘, 1971), pp. 118-127. political oppression in his plays. In The Talisman, there are three widows...

... to decide no sense of "divine madness" or in• that anyway. And then, some of us, in spiration by Apollo, asthere is in the our shame, feel that we do not deserve Greek, so the oracular quality gives way masterpieces. The war does not stop for to mere exposition. Cassandra's entrance art...