By Arthur Miller
Quentin is a profitable legal professional in manhattan, yet inside of his head he's suffering from his personal feel of guilt and the shadows of his earlier relationships. this type of an ill-fated marriage to the fascinating and gorgeous Maggie, who went from working a switchboard to turn into a self-destructive big name - a singer every person sought after a section of. After the autumn is frequently obvious because the such a lot explicitly autobiographical of Arthur Miller's performs, and Maggie as an unflinching portrait of Miller's ex-wife Marilyn Monroe, merely years after her suicide. yet in its mental acuity and intensity, and its marvelous, dreamlike constitution, it's a literary, and never simply biographical, masterpiece.
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It is one of the most intriguing features of the catalogue of suitors that the heroes who woo Helen have not seen her. Most of them send delegates to Sparta to offer their gifts to Tyndareus. They are suitors by proxy. In fact, we are told that a suitor desires to be Helen’s husband, although he has never seen her: ¬me©rwn ëElnhv p»siv mmenai uk»moio, e²dov15 oÎ ti «dÛn, llì llwn mÓqon koÅwn. fr. 2–3 M–W desiring to be the husband of the lovely-haired Helen, not having seen her beauty, but hearing the story from others.
Although I think it is not always easy (or necessary) to distinguish Ovid’s poetic technique from the world of his characters, Spentzou aptly shows how fruitful it might be to interpret the world of the heroines independently of authorial intention. Similarly, Fulkerson 2005 approaches the writing and reading of the heroines, not that of Ovid. In a major study, Rimell 2006 shifts the focus in Ovidian criticism from intertextuality to intersubjectivity. Kristeva 1969 coined the term intertextuality.
In the Atalanta-ehoie, for instance, the epic formula dära crus v %frod©thv ‘the gifts of golden Aphrodite’, a phrase which usually means marriage or sexual intercourse, refers to the golden apples which Aphrodite gave to Hippomenes to win the race (fr. 40 In the episode of the wooing of Helen, the poet says that the girl is as beautiful as golden Aphrodite (¥ e²]d. ov ce crus v %f[rod©]thvá, fr. 5 M–W) and I suggest that this formula is ironically related to the fact that the wooing of Helen is a competition of wealth.
After the Fall by Arthur Miller