Queen Margot: A Play In Five Acts by Alexandre Dumas père
By Alexandre Dumas père
Written in 1847, whilst Dumas was once on the peak of his powers, this play recounts the occasions prime as much as the Saint Bartholomew's Day bloodbath of the French Huguenots, and the following demise of King Charles IX. The playwright specializes in the folk inadvertently stuck up within the slaughter, which, as soon as began, can't be suppressed.
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Discovery of such an approach, in turn, may uncover other contiguous modes of thought that may help to explicate corners of the text not sufficiently illuminated by the first. 6 In addition, essays such as this one are inevitably a mirror of the reading habits and fallible memory of their authors, and there is no doubt that I miss—or have not fully digested—much that is both relevant and worthy. Nevertheless, readers who follow what I have included will also be led to additional important bibliography.
11 Foley (1982) 7. 12 For a contextualization of the position of Foley and others, see Richlin (1993). See now Foley (2014). 13 Zeitlin (1981); and Zeitlin (1985), a book primarily about tragedy, but nevertheless important for thinking about the feminine in Aristophanes. Zeitlin (1996) collects both essays and includes a retrospective introduction. 14 Taaffe offers one approach via film criticism, which she maintains can help to uncover aspects of Aristophanic women that are not otherwise foregrounded: While the spectator’s gaze in a theatrical performance cannot be manipulated as forcefully is it is in film, it is still grounded in cultural assumptions about gender, sexuality, and power.
34 See the remarks of Plutarch in the early second century on how “each reader needs his own scholar to explain things one by one” (οὕτω δεήσει γραμματικὸν ἑκάστῳ τὸ καθ᾿ ἕκαστον ἐξηγεῖσθαι, Symposiaca 712a). More learned readers may have enjoyed showing off their more recherché knowledge: Bowie points out that three orators of the Second Sophistic (Dio of Prusa, Aelius Aristides, and Maximus of Tyre) quoted Old Comedy more than Menander, and Eupolis and Cratinus just as much as Aristophanes (Bowie (2007) 33–4).