Circe - Circe - Wikipedia

Boshqa maqsadlar uchun qarang Circe (ajralish).
Circe
Circe Odysseus.jpg-ga kubokni taklif qiladi
Yashash joyiAeaea
Shaxsiy ma'lumot
Ota-onalarHelios
Pers yoki Hecate
BirodarlarAetes, Pasifeya, Perslar
KonsortOdissey
BolalarLatinus, Telegonus

Circe (/ˈs.rsiː/; Qadimgi yunoncha: Κηrκη, talaffuz qilingan[kírkɛː]) an sehrgar yilda Yunon mifologiyasi.[1] U xudoning qizi Helios va ham Okeanid nimfa Pers yoki ma'buda Hecate. Circe iksir va o'tlarni juda yaxshi bilishi bilan mashhur edi. Bulardan va sehrdan foydalanish orqali tayoq yoki xodimlar, u buni xohlaydi o'zgartirish uning dushmanlari yoki uni xafa qilganlar, hayvonlarga.

Uning afsonalaridan eng yaxshi tanilgani haqida hikoya qilinadi Gomer "s Odisseya qachon Odissey uning oroliga tashrif buyuradi Aeaea dan qaytishda Troyan urushi va u ekipajining ko'p qismini o'zgartiradi cho'chqa. U ularni odam qiyofasiga qaytarishga ishontirishga muvaffaq bo'ldi, u bilan bir yil yashaydi va uning o'g'illari, shu jumladan Latinus va Telegonus. Uning boshqalarni hayvonlarga aylantirish qobiliyati haqidagi hikoya yana bir bor ta'kidlangan Picus, Italiya qiroli, u o'zining yutuqlariga qarshilik ko'rsatganligi uchun daraxtzorga aylanadi. Boshqa bir hikoya uning dengiz xudosiga oshiq bo'lganligi haqida hikoya qiladi Glaukus, kim nimani afzal ko'radi Ssilla unga. Qasos olish uchun Circe raqibi cho'milayotgan suvni zaharlab, uni dahshatli hayvonga aylantirdi.

Tasvirlar, hatto Klassik marta, Gomerning hikoyasidagi tafsilotlardan uzoqlashdi, keyinchalik bu mastlikdan ogohlantiruvchi hikoya sifatida axloqiy jihatdan qayta talqin qilinishi kerak edi. Dastlabki falsafiy savollar, shuningdek, aql-idrokdan hayvonga o'tish afzal emasmi yoki yo'qmi, va bu paradoks kuchli ta'sir ko'rsatishi kerak edi Uyg'onish davri. Circe, shuningdek, yirtqich ayolning arxetipi sifatida qabul qilingan. Keyingi yoshdagilar nazarida bu xatti-harakatlar uni sehrgar sifatida ham, jinsiy aloqada bo'lmagan ayolning turi sifatida ham tanitdi. Shunday qilib, u Uyg'onish davridan to hozirgi zamongacha bo'lgan barcha san'atlarda tez-tez tasvirlangan.

G'arbiy rasmlar bu raqam uchun vizual ikonografiyani yaratdi, shuningdek, Circe bilan bog'liq boshqa hikoyalarga ilhom berdi. Ovid "s Metamorfozalar. Skilla va Pikus epizodlari uning yomon fazilatlariga zo'ravonlik hasadining illatini qo'shdi va uni qo'rquv hamda istakka aylantirdi.

Klassik adabiyot

Ko'pgina ma'lumotlarga ko'ra, u qizi edi Helios, Titan quyosh xudosi va Pers, uch mingdan biri Okeanid nimfalar. Uning akalari edi Aetes, posbon Oltin jun va otasi Midiya va Perslar. Uning singlisi edi Pasifeya, xotini Qirol Minos va onasi Minotavr.[2] Boshqa hisoblar uni qizi qiladi Hecate, ma'buda sehrgarlik.[3] U ko'pincha chalkashib ketgan Kalipso, uning xulq-atvori va shaxsiyati o'zgarishi va ikkalasi ham birlashishi tufayli Odissey.[4]

Ba'zilarning aytishicha, Circe yakka orolga surgun qilingan Aeaea uning fuqarolari va uning otasi Helios tomonidan erini, shahzodani o'ldirgani uchun Kolxida. Keyinchalik urf-odatlar uning orolni tark etgani yoki hatto vayron qilgani va Italiyaga ko'chib o'tganligi haqida hikoya qiladi Cape-Cape.

Gomer Odisseya

Frederik S. cherkovi "s Circe (1910)

Yilda Gomer "s Odisseya, miloddan avvalgi 8-asrning davomi Troyan urushi doston Iliada, Circe dastlab uning Aeya orolidagi zich o'rmon o'rtasida ajratilgan saroyda yashovchi go'zal sehrgar sifatida tasvirlangan. Uning uyi atrofida g'alati itoatkor sherlar va bo'rilar shov-shuv qilmoqda. U ulkan dastgohda to'qish paytida yoqimli qo'shiqlari bilan orolga tushganlarni o'z uyiga jalb qiladi, ammo keyinchalik ularni shakli o'zgarishi uchun ularni giyohvand qiladi.[5] Uning Gomerik epitetlaridan biri polifarmakos, "ko'plab giyohvand moddalarni yoki jozibalarni bilish".[6]

Annibale Karracchi "s Uliss va Sirs (v. 1590) da Farnes saroyi

Circe qahramon Odisseyning ekipajini taniqli ovqat, asal bilan shirinlangan va sharob bilan bog'langan, lekin uni cho'chqaga aylantiradigan sehrli iksirlaridan biri bilan aralashtirilgan pishloq va ovqat ziyofatiga taklif qiladi. Faqat Evrilok, xoinlikda gumon qilgan kishi, ichkariga kirmaydi. U Odisseyni va kemada qolganlarni ogohlantirish uchun qochib ketadi. Odissey Sirkning saroyiga yetguncha, Germes, xabarchi xudo yubordi Afina, uni ushlab oladi va ekipajini sehridan xalos qilish uchun qanday qilib Tsirsni mag'lub qilishi mumkinligini ochib beradi. Germes Odisseyni o't bilan ta'minlaydi moly uni Circe sehridan himoya qilish uchun. Shuningdek, u Odisseyga qilichini tortib, unga hujum qilganday harakat qilishi kerakligini aytadi. U erdan, Germes bashorat qilganidek, Circe Odisseyni yotishini so'ragan bo'lardi, lekin Germes ehtiyot bo'lishni maslahat beradi, chunki xoin ma'buda unga qarshi boshqa choralar ko'rmasligiga xudolarning nomlari bilan qasam ichmasa, uni hanuzgacha "ochib" qo'yishi mumkin. . Ushbu maslahatga amal qilgan Odissey o'z odamlarini ozod qilishga qodir.

Ularning hammasi orolda bir yil turgandan so'ng, Sirs Odisseyga avvaliga tashrif buyurishi kerakligini maslahat beradi Dunyo olami, o'lim hali hech qachon qilmagan narsa,[7] xudolarni qanday qilib tinchlantirish, uyga eson-omon qaytib, uning shohligini tiklash haqida bilimga ega bo'lish uchun. Circe unga bunga qanday erishish mumkinligi haqida maslahat beradi va kerakli himoya vositalarini va o'liklar bilan aloqa qilish vositalarini taqdim etadi. Qaytib kelgach, u unga uyga borishi mumkin bo'lgan ikkita yo'l haqida maslahat beradi, ammo ikkalasi ham katta xavf tug'dirishi haqida ogohlantiradi.

Boshqa matnlar

Anjelika Kauffman Circe-ning jozibali rasmidir Odissey (1786)

Oxiriga yaqin Hesiod "s Teogoniya (miloddan avvalgi 700 y.), Kirs Odisseyning uchta o'g'il ko'rganligi aytilgan: Agrius (boshqacha noma'lum); Latinus; va Telegonus, Tyrsenoi ustidan hukmronlik qilgan, ya'ni Etrusklar. The Telegoniya, hozir yo'qolgan bir epik, bularning oxirgisining keyingi tarixi bilan bog'liq. Oxir-oqibat Circe unga yo'q bo'lgan otasi kimligini ma'lum qildi va Odisseyni topmoqchi bo'lganida, unga zaharlangan nayza berdi. Ushbu qurol bilan u otasini bilmagan holda o'ldirgan. Keyin Telegonus otasining jasadini Aeaega birga olib keldi Penelopa va Odisseyning boshqa o'g'li Telemaxus. Odisseyni dafn qilgandan so'ng, Circe boshqalarni o'lmas qildi. Tasvirlangan muqobil versiyasiga ko'ra Likofron Miloddan avvalgi 3-asr she'ri Aleksandra (va Jon Tzetzes ' skolya Circe Odisseyni Telegonus tomonidan o'ldirilganidan keyin hayotga qaytarish uchun sehrli o'tlardan foydalangan. Shundan keyin Odissey Telemakni Kirening qizi Kassifonga turmushga berdi. Biroz vaqt o'tgach, Telemaxus qaynonasi bilan janjallashib, uni o'ldirdi; Keyin Kassifon onasining o'limi uchun qasos olish uchun Telemaxni o'ldirdi. Buni eshitgan Odissey qayg'udan vafot etdi.

Galikarnasning Dionisius (1.72.5) keltiradi Ksenagoralar Miloddan avvalgi 2-asr tarixchisi, Odissey va Kirtsning uch xil o'g'illari borligini da'vo qilib: Rhomos, Anteias va Ardeias o'z nomlari bilan nomlangan uchta shaharni asos solgan: Rim, Antium va Ardea. Milodiy 5-asr eposida Dionisiyaka, muallif Notus dengiz xudosining yonida Sirsning o'g'li Phaunosni eslatib o'tadi Poseidon.[8]

Uning miloddan avvalgi 3-asr eposida, Argonautika, Apollonius Rodiy Circe bu narsalarni tozalaganligi bilan bog'liq Argonavtlar o'limi uchun Absyrtus,[9] ehtimol, dastlabki an'analarni aks ettiradi.[10] Ushbu she'rda, uni o'rab turgan hayvonlar, avvalgi sevgililar emas, balki o'zgartirilgan, ammo yovvoyi hayvonlarga o'xshamaydigan, ammo tanadagi odamlarga o'xshamaydigan, lekin oyoq-qo'llari bilan "ibtidoiy" hayvonlardir.[11]

Circe haqidagi uchta qadimiy pyesalar yo'qolgan: fojiali asar Esxil va miloddan avvalgi 4-asr komik dramaturglari Afina shahridagi Efippus va Anaxilas. Birinchisi Odisseyning Sirs bilan uchrashganligi haqida hikoya qiladi. O'sha davrdagi vaza rasmlari shuni ko'rsatadiki, Odisseyning yarim o'zgargan hayvonlar odamlari odatdagi o'rniga xor tashkil qilishgan. Satirlar. Anaxilasning parchalarida transformatsiya haqida ham eslatib o'tilgan va qahramonlardan biri endi cho'chqa bo'lganligi sababli yuzini chizish mumkin emasligidan shikoyat qiladi.[12]

Erkaklarni turli xil hayvonlarga aylantirish mavzusi keyingi yozuvchilar tomonidan ishlab chiqilgan, ayniqsa Lotin. Yilda Virgil "s Eneyid, Aeneas, Circe hozirda yashaydigan Italiya orolini etaklaydi va uning ko'plab qurbon bo'lgan erkaklarning faryodlarini eshitadi, hozirda ular oldingi hisobotlarning cho'chqalaridan ko'proq:

Zanjirni rad etuvchi sherlarning nolalari, / Qip-cho'tiqli kabanlarning g'ichirlashi va ayiqlarning nolalari / / Dengizchilarning quloqlarini hayratga solgan bo'rilarning suruvlari.[13]

Circe va Ssilla yilda John William Waterhouse "s Circe Invidiosa (1892)

Ovid 1-asr Metamorfozalar 14-kitobida ko'proq o'zgarish haqidagi hikoyalarni to'playdi. To'rtinchi qism Sirtsning Uliss bilan (Odisseyning rim nomlari) to'qnashuvini o'z ichiga oladi. Ushbu kitobning birinchi epizodi haqida hikoya qilinadi Glaukus va Scylla, unda sehrlangan dengiz xudosi Ssillaning sevgisini qozonish uchun sevgi iksirini qidiradi, faqat sehrgar unga yoqib qoladi. Muvaffaqiyatsiz bo'lganida, u raqibidan qasos oladi va Ssillani hayvonga aylantiradi (1-74 qatorlar). Ning hikoyasi Lotincha shoh Picus Beshinchi epizodda aytilgan (shuningdek, Eneyid). Circe ham uni sevib qoldi; Ammo u xotini Kanensga sodiq qolishni afzal ko'rganda, u uni qarag'ayga aylantirdi (308-440 qatorlar).[14]

Plutarx keyinchalik bir nechta taqlidchilarga ega bo'lgan jonli muloqotda mavzuni oldi. Uning 1-asrida mavjud Moraliya Sirli Odisseyga cho'chqaga aylangan yunon do'sti bilan suhbatlashishga imkon beradigan Gryllus epizodi. Suhbatdoshi Odisseyga uning hozirgi borligi inson uchun afzalroq ekanligi to'g'risida xabar berganidan so'ng, ular falsafiy muloqotga kirishadilar, unda har bir insoniy qadriyat shubha ostiga olinadi va hayvonlarning ustun donolik va fazilat ekanligi isbotlanadi.[15]

Keyinchalik adabiyot

"Circea" Bokkachio "s v. 1365 De Klaris Myuleribus, taniqli ayollar katalogi, 1474 yilda nashr etilgan

Jovanni Bokkachyo davomida Circe haqida ma'lum bo'lgan narsalarni hazm qilishni ta'minladi O'rta yosh uning ichida De mulieribus klaris (Mashhur ayollar, 1361-1362). U Italiyada yashagan urf-odatlarga rioya qilgan holda, u odamlarni yo'ldan ozdirish uchun unga o'xshagan boshqa ko'plab vasvasalarga soluvchilar borligini alamli tarzda izohlaydi.[16]

Circe bilan uchrashuvning juda boshqacha talqini mavjud Jon Gower uzoq didaktik she'r Konfessio Amantis (1380). Uliss Sehrga qaraganda sehrgarlikda va tilga sodiqroqlikda tasvirlangan va shu orqali u Telegonus bilan homilador bo'lib qoladi. Hisobning aksariyat qismida o'g'lining keyinchalik otasini qidirib topishi va tasodifan o'ldirilishi, sehrgarlikdan faqat yomonlik kelishi mumkin degan ma'noni anglatadi.[17]

Uliss va Tsirs haqidagi voqea Georg Rollenhagenning nemis she'riyat eposidagi epizod sifatida takrorlandi, Frochmeuseler (Qurbaqalar va sichqonlar, Magdeburg, 1595). Gomerik psevdo-ning 600 sahifali kengayishida Batraxomiyomiya, bu sichqonlar sudida bog'liq va birinchi qismning 5-8 bo'limlarini oladi.[18]

Yilda Lope de Vega turli xil La Circe - con otras rimas y prosas (1624), uning Uliss bilan uchrashganligi haqidagi voqea uch kantoda she'r dostoni sifatida namoyon bo'ladi.[19] Bu Gomerning hisobidan boshlanadi, ammo keyinchalik u naqshlanadi; xususan, Kirtsning Ulissga bo'lgan muhabbati javobsiz qolmoqda.

"Circe's Palace" sifatida, Nataniel Hawthorne yunon mifologiyasidagi hikoyalar to'plamining uchinchi bo'limi sifatida Gomerik voqeani aytib berdi, Tanglewood ertaklari (1853). O'zgargan Pikus bunda doimiy ravishda paydo bo'lib, Ulissni, so'ngra Evrilokni saroydan topish xavfi to'g'risida ogohlantiradi va oxir-oqibat inson qiyofasini qaytarib berish bilan mukofotlanadi. Ko'pgina hisobotlarda Uliss buni faqat o'z odamlari uchun talab qiladi.[20]

Uning so'rovida Circe-ning o'zgarishlari, Judit Yarnall kelib chiqishi noma'lum bo'lgan kichik ma'budasi sifatida boshlangan bu raqamga quyidagicha izoh berdi: "Biz aniq biladigan narsa - G'arb adabiyoti nimani tasdiqlaydi - bu uning doimiy qudratidir ... Kirs afsonasining bu turli xil versiyalari quyidagicha ko'rib chiqilishi mumkin: ularni hosil qilgan madaniyatlarning xayollari va taxminlaridan ba'zida bulutli va ba'zan aniq ko'zgular. " Odissey o'zining sarson-sargardonligi bilan uchrashadigan qahramonlarning faqat bittasi sifatida paydo bo'lgandan so'ng, "Tsirs o'zini asrlar davomida o'z hikoyasining burilishlarida, Odisseyning sheriklariga etkazganiga qaraganda ancha metamorfozlarni bosib o'tgan".[21]

Aqlli hayvonlar

Jovanni Battista Trotti Kirsning Ulissning izdoshlarini inson qiyofasiga qaytarganligi (1610 y.)

Circe figurasi bilan bog'liq bo'lgan eng doimiy adabiy mavzulardan biri uning odamlarni hayvonlarga almashtirish qobiliyatidir. Bu qanday bo'lishi mumkinligi, inson ongi bir vaqtning o'zida o'zgaradimi yoki hatto bu ijobiy tomonga o'zgarganmi, degan ko'plab taxminlar mavjud edi. Gryllus suhbati boshqa italiyalik yozuvchi tomonidan qabul qilingan, Jovan Battista Gelli, uning ichida La Circe (1549). Bu Uliss va odamlar o'rtasidagi turli xil hayvonlarga aylantirilgan o'nlab falsafiy va axloqiy suhbatlar seriyasidir, ular istiridyadan filgacha bo'lib, unga ba'zan Circe qo'shiladi. Ko'pchilik orqaga qaytishga qarshi bahs yuritadi; faqat oxirgi hayvon, avvalgi mavjudotidagi faylasuf istaydi.[22] Ingliz shoiri Edmund Spenser bo'limida Plutarxning dialogiga ham murojaat qiladi Feri Kuin (1590) II kitob oxirida paydo bo'lgan Circe epizodi asosida. Ser Guyon Braziya Boweridagi Akrasiyaning erotik g'azablanish qurbonlarini qaytaradi, ularning aksariyati ritsarlik inoyati tufayli qulab tushganlarida, Ammo boshqalardan yuqori qismida maxsus ravishda, / Bu cho'chqa kechikkan edi, baland bo'yli Gril ismli, / Repinatsiya qilingan va unga noto'g'ri qo'ng'iroq qilgan, / uni hoggistlar tomonidan uni tabiatga olib kelishgan.[23]

Dosso Dossi "s Circe va uning sevgililari (taxminan 1525)

Yana ikki italiyalik odam ichida hayvonni markazlashtiradigan juda xilma-xil asarlar yozgan. Bittasi edi Niccolò Machiavelli tugallanmagan uzun she'rida, L'asino d'oro (Oltin eshak, 1516). Muallif Sirtsing hayvonlar podasi bilan o'ralgan go'zal podachi ayol bilan uchrashadi. U bilan bir kecha muhabbat o'tkazgandan so'ng, u o'z zimmasidagi hayvonlarning xususiyatlarini tushuntiradi: sherlar jasur, ayiqlar zo'ravon, bo'rilar abadiy norozi bo'lganlar va boshqalar (Kanto 6). Canto 7-da u umidsizlikni boshdan kechirayotganlarga tanishtiradi: o'ljasining qochishiga yo'l qo'ygan mushuk; hayajonlangan ajdaho; tulki doimo tuzoqlarni qidirmoqda; oyni chetga suradigan it; Ezopnikidir oshiq sher bu o'zini tish va tirnoqlardan mahrum qilishga imkon berdi. Shuningdek, turli florensiyalik shaxslarning emblematik satirik portretlari mavjud. Sakkizinchi va oxirgi kantoda u cho'chqa bilan suhbatlashdi, u Plutarx Gryllus singari, o'zgarishni istamaydi va inson ochko'zligini, shafqatsizligi va takabburligini qoralaydi.[24]

Boshqa italiyalik muallif ezoterik faylasuf edi Jiordano Bruno, kim lotin yozuvida yozgan. Uning Kantus sirkasi (Tsirning afsonasi) 1582 yilda nashr etilgan xotira va uning g'oyalari uyushmasi bo'yicha to'rtinchi asar edi. Unda bir qator she'riy muloqotlar mavjud bo'lib, ularning birinchisida, uzoq sayralar ketidan, etti sayyora Hermetik an'ana, aksariyat odamlar qichqiriq kosasida turli xil jonzotlarga o'zgargan ko'rinadi. So'ngra sehrgar Circe o'zining cho'ri Moeris tomonidan har biri bog'liq bo'lgan xatti-harakat turini so'raydi. Circe ko'ra, masalan, o't pashshalari - ahmoqlar, eshaklar va qorong'i odamlar orasida bilimdon, dono va taniqli odamlar (Savol 32). Keyingi bo'limlarda turli xil belgilar tasvirlardan foydalanishni osonlashtirish uchun tasavvurdagi tasvirlarni muhokama qiladi xotira san'ati, bu ishning asl maqsadi.[25]

Frantsuz yozuvchilari kelgusi asrda o'zlarining etakchiliklarini Gelliydan olishlari kerak edi.[26] Antuan Yoqub qofiyada bitta aktli ijtimoiy komediya yozgan, Les Bestes raisonnables (Aqlli hayvonlar, 1661) bu unga zamonaviy odob-axloqni satirik qilishga imkon berdi. Sirs orolida Uliss bir paytlar vrach bo'lgan eshakni, valet, urg'ochi urg'ochi va ot bo'lgan, ularning hammasi zamonning tanazzulini qoralaganlarni uchratadi. Eshak hamma joyda odamlarning eshaklarini ko'radi, Shahar maydonidagi eshaklar, shahar atrofidagi eshaklar, / viloyatlardagi eshaklar, sudda mag'rur eshaklar, / o'tloqlarda sayr qilayotgan eshaklar, harbiy eshaklar to'planib yurganlar, / eshaklar uni to'plarda uchirayotgan, eshaklar teatr do'konlarida. Nuqtani uyga haydash uchun, oxir-oqibat, avvalgi holatiga qaytishni istagan faqat ot, ilgari xushmuomala.

Vilgelm Shubert van Erenberg "s Sirs saroyidagi Uliss (1667)

Xuddi shu mavzu ham egallaydi La Fonteynniki kech afsona, "Ulissning sahobalari" (XII.1, 1690), u ham Plutarx va Gellini takrorlaydi. O'zgartirilgandan so'ng, har bir hayvon (sher, ayiq, bo'ri va molni o'z ichiga oladi) ularning taqdiri yaxshiroq ekanligiga e'tiroz bildiradi va inson qiyofasini tiklashdan bosh tortadi.[27] Charlz Dennis ushbu afsonani "La Fontaine" tarjimasi boshida turish uchun o'zgartirgan, Masallarni tanlang (1754), lekin o'z xulosasini beradi Faxriy yo'ldan o'ladiganlar adashganda, / Va aqlga bo'lgan kuchli ehtiroslar chayqalganda, / Ular Brute-dan boshqa nima? / "O'chiruvchi tayoq va sehrli piyola" ni tashkil etuvchi yagona narsa, ular kiyadigan Insonning tashqi qiyofasi, lekin aslida ikkalasi ham bo'ri va ayiqdir, / o'zgarish ruhda.[28]

Louis Fuzelier va Mark-Antuan Legrand ularning 1718 yildagi hajviy operasi deb nomlangan Les animaux raisonnables. Unda ozmi-ko'pmi bir xil stsenariy boshqa vositaga ko'chirilib, musiqa ostida o'rnatilgandi Jak Obert. Sirs Uliss kompaniyasidan xalos bo'lishni istab, sheriklarini almashtirishga rozi, ammo faqat delfin bunga tayyor. Ilgari buzuq sudya (hozirgi bo'ri), moliyachi (cho'chqa), xo'rlangan xotin (tovuq), aldangan er (buqa) va flibbertigibbet (linnet) bo'lganlar, hozirgi mavjudotlarini ko'proq topishmoqda ma'qul.

Circe tomonidan John Collier (19-asr)

Venetsiyalik Gasparo Gozzi 14 nasrida ilhom uchun Gelliga qaytib kelgan yana bir italiyalik edi Dialoghi dell'isola di Circe (Circe orolidan suhbatlar) 1760 yildan 1764 yilgacha jurnalistik nashrlar sifatida nashr etilgan. Ushbu axloqiy ishda Ulissning hayvonlar bilan suhbatlashishdan maqsadi inson holati to'g'risida ko'proq ma'lumot olishdir. Bunga ertakdagi raqamlar kiritilgan (Tulki va qarg'a, XIII) va mifdan uning xilma-xillikdagi jamiyat haqidagi tasavvurini ko'rsatish uchun. Circe aralashuviga muhtoj bo'lishdan uzoq, qurbonlar orolga qadam qo'yishi bilanoq o'zlarining tabiiy holatlarini topadilar. Bu erda faylasuf Gelli fil emas, balki Brunoning o't pashshalari singari odamlar bilan aloqadan zulmatga chekinadigan yarasadir (VI). Gozzi ijodida o'zgarishni xohlaydigan yagona ayiq, Tsirceni tanqid qilishga jur'at etgan va jazo sifatida o'zgartirilgan (IX) satirik.

Keyingi asrlarda yana ikkita satirik dramalar bo'lgan. Plutarxdagi Gryllus epizodida modellashtirilgan qism bob sifatida uchraydi Tomas Tovusni yaxshi ko'radi kech roman, Gril Granj (1861), "Londonda Aristofan" nomi bilan. Yarim yunon komediyasi, yarmi Elizabethan maskasi, "Grange" da roman qahramonlari tomonidan Rojdestvo o'yin-kulgisi sifatida ijro etilgan. Unda Ruhparast vositalar Sirk va Gryllusni ko'taring va ikkinchisini zamonaviy zamonning ustunligiga ishontirishga harakat qiling, u buni intellektual va moddiy jihatdan regressiv deb rad etadi.[29] O'zgarish mavzusidagi italiyalik asar Ettore Romagnolining komediyasi edi, La figlia del Sole (Quyosh qizi, 1919). Gerkules Tsirsop oroliga xizmatkori Cercopo bilan keladi va uni ham cho'chqaga aylantirganda ikkinchisi qutqarishi kerak. Tabiiyki, begunoh boshqa hayvonlar odamlarning illatlariga taqlid qilib buzilganligi sababli, o'zgartirilgan qolganlari qutulishni iltimos qilishganda rad etildilar.

Bundan tashqari, Angliyada Ostin Dobson Gomerning Odissey sheriklarining o'zgarishi haqidagi voqealari bilan jiddiyroq shug'ullangan. Bosh, yuz va a'zolar cho'chqalarga tuklar, Hali ham aql bilan la'natlanadilar, ularning aqli yolg'iz qoladi.[30] Dobsonning "Cho'chqalarning Sirga ibodati "[31] (1640) hayvon tanasida qamalish dahshatini shu tarzda inson ongi o'zgarmasdan tasvirlaydi. Yengillik yo'q ko'rinadi, chunki faqat oxirgi satrda Odissey ularni ozod qilish uchun kelgani aniqlandi. Ammo ichida Metyu Arnold dramatik she'ri "Adashgan sayohatchi" (1849),[32] unda Circe personajlardan biri bo'lib, uning iksir kuchi turlicha talqin etiladi. U tomonidan ochilmagan ichki tendentsiyalar - bu hayvonot tabiati va aql o'rtasidagi tanlov emas, balki shaxssizlikning ikki turi, ilohiy ravshanlik va shoirning hayot haqidagi ishtiroki va fojiali qarashlari o'rtasidagi tanlovdir. She'rda Circe o'zining ibodatxonasi bilan o'ralgan kosasining loyihasi bilan ma'badining portikasida uxlab yotgan yoshlikni topadi. Bu she'riy g'azabga sabab bo'lganidan uyg'onganida, u buni davom ettirishni xohlaydi.[33]

Jinsiy siyosat

Bilan Uyg'onish davri agar bu shunchaki sehr bo'lmasa, erkaklarni o'zgartirgan narsaning qayta talqini boshlandi. Uchun Suqrot, Klassik davrlarda ularning o'zini o'zi boshqarish qobiliyatini engib o'tish juda yoqimli edi.[34] Ammo ta'sirchan emblematist uchun Andrea Alciato, bu beadablik edi. Uning ikkinchi nashrida Timsollar (1546), shuning uchun Circe fohisha. Uning emblemasi 76 deb nomlangan Cavendum meretricibus; Lotin oyatlarida Picus, Scylla va Ulissning sheriklari haqida so'z boradi va "Circe o'zining mashhur ismi bilan fohishani anglatadi va bunday kishini sevadigan kishi aqlini yo'qotadi" degan xulosaga keladi.[35] Uning ingliz taqlidchisi Jefri Uitni Alciato-ning illyustratsiyasining o'zgarishini o'ziga xos tarzda ishlatgan Timsollar tanlovi (1586), ammo unga yangi nom berdi Homines voluptatibus transformantur, erkaklar o'z ehtiroslari bilan o'zgaradi.[36] Bu uning ismini bergan Nighttown bo'limida uning ko'rinishini tushuntiradi Jeyms Joys roman Uliss. Sahnaviy ssenariy shaklida yozilgan bo'lib, u Circe-da fohishaxona xonimi Bella Koenni yaratadi. Kitobning qahramoni Blom janob Bello ismli shafqatsiz odam tameriga aylanib ketishini xayol qiladi, u uni to'rt oyoqqa turishga majbur qiladi va uni otga o'xshatib minadi.[37]

XIX asrga kelib, Circe afsonaviy shaxs bo'lishni to'xtatdi. Shoirlar unga yoki individual sifatida yoki hech bo'lmaganda ma'lum bir turdagi ayol turi sifatida qarashgan. Frantsuz shoiri Albert Glatigny uning "Circé" manzillari Les vignes folles (1857) va uni shahvoniy afyun orzusi, masochistik xayollarning magniti.[38] Lui-Nikolas Menard sonnet in Rêveries d'un païen mystique (1876) uni bokira qiyofasi bilan barchani sehrlab turuvchi deb ta'riflaydi, ammo tashqi ko'rinish la'natlangan haqiqatni inkor etadi.[39] Ingliz tilidagi shoirlar ushbu noaniq tasvirda orqada qolishmadi. Lord de Tabley "Circe" (1895) - lola bilan taqqoslanadigan dekadent buzuqlik, Yalang'och va o'ziga xos bo'lmagan ajoyib gullar ... / Yonoqlari sepkilli va yonbosh serpantin bilan, / Gullar orasida lo'li.[40]

Sehrgar Circe Shohligi tomonidan Anjelo Karoselli (taxminan 1630)

Ushbu markaziy tasvirni qonga bo'yalgan gullar aks ettiradi T.S.Eliot talabaning "Kirs saroyi" (1909) she'ri Garvard advokati. Circe o'zi ko'rinmaydi, uning fe'l-atvori atrofdagi narsalar va o'rmondagi hayvonlar tomonidan taklif qilinadi: panteralar, pitonlar va tovuslar bizga qadimdan tanish bo'lgan odamlarning ko'zlari bilan boq.[41] Vasvasaga soluvchidan ko'ra, u aylandi emulyatsion tahdid.[42]

Bir nechta ayol shoirlar Circe-ni ayolning mavqeini ifodalash uchun yakkama-yakka shakldan foydalanib, o'zini o'zi himoya qiladi. 19-asr ingliz shoiri Augusta Vebster Yozuvlarining aksariyati ayollarning ahvolini o'rgangan, uning jildida "Circe" nomli bo'sh oyatda dramatik monolog mavjud. Portretlar (1870).[43] U erda sehrgar Uliss va uning odamlari bilan uchrashishini kutmoqda va u odamlarni cho'chqaga aylantirmasligini talab qilmoqda - u shunchaki ularni odamga o'xshatadigan niqobni olib tashlaydi. Ammo har qanday chashka, toza suv, tabiiy sharob, mening kosamdan ularni o'zlariga va bir-birlariga ochib berdi. O'zgarasizmi? hech qanday o'zgarish bo'lmadi; / faqat niqoblanib, ulardan bexabar ketgan. Ma'ruzachining mifologik xarakteri xavfsizlikni yo'q qilishga yordam beradi Viktoriya davri ayollarning xohish-istaklarini bildirish va heteroseksual siyosatda ayollarga beriladigan bo'ysunuvchi rolni tanqid qilish orqali ayollarning jinsiy hayoti to'g'risida suhbat.[44]

Ikki amerikalik shoir, shuningdek, sehrgar haqida she'rlarida ayol psixologiyasini o'rgangan. Ley Gordon Giltnerning "Circe" asari uning to'plamiga kiritilgan Orzular yo'li (1900), uning birinchi misrasi uning sehridan cho'chqaga aylangan odamlarning odatiy hikoyasini hikoya qiladi. Ammo keyin ikkinchi misra frantsuzcha qon tomirida noma'lum ayolning sezgir portretini taqdim etadi; yana bir bor: "Circe sehrlari odamlarni cho'chqaga aylantiradi".[45] Bu erkak proektsiyalarining passiv qurboni emas, balki uning jinsiy kuchini biladigan ayol. Shunday ham Xilda Dolittl uning to'plamidan "Circe" Qizlik pardasi (1921). Yakkama-yakka so'zlarida u zerikib qolgan fathlarni ko'rib chiqadi, keyin muvaffaqiyatsizlikka uchraganidan keyin motam tutadi. Ulissning nomini aytmasdan, Doolittle barcha ayollar aniqlay oladigan hissiyotni umumlashtirmoqda.[46] Asr oxirida ingliz shoiri Kerol Enn Daffi nomli monolog yozgan Circe bu "nereidlar va nymphs" tomoshabinlariga murojaat qilgan ma'buda tasvirlangan. Jinslar o'rtasidagi urushning bu ochiqchasiga epizodida Circe cho'chqaning barcha qismlarini pishirish va pishirishning turli usullarini tasvirlaydi.[47]

Kirs siymosini talqin qilishda progressivlikning yana bir ko'rsatkichi, bir-biridan asrlar davomida ikki she'rda berilgan, ikkalasi ham uning rasmlari bilan shug'ullangan. Birinchisi, sonnet Dante Gabriel Rossetti javoban yozgan Edvard Burne-Jons '"Sirning sharobi" uning jildida She'rlar (1870). Bu rasmning sodda tasvirini beradi Pre-Rafaelit uslubi, ammo uning "o'lim va sharmandalikdan distillangan" Circe iksirini ta'riflashi ham Circe-ni zamonaviy (erkak) ning buzuqlik bilan aniqlashiga mos keladi. Buni u (maktubda) u erda qora panterlar "vayron qilingan ehtiros tasvirlari" deb aytgani va she'rining oxirida kutganligi bilan ta'kidlaydi. ehtirosning to'lqinlangan qirg'og'i / Qayoqdagi dengiz o'tlari dengizni yomon ko'radigan joyda.[48] Avstraliyalik A. D. Umid "Circe - Dosso Dossi tomonidan chizilgan rasmdan keyin", boshqa tomondan, insoniyatning hayvonot merosini tabiiy va hatto Circe baham ko'rgan narsada tan oladi. She'rda u sevishganlarning so'nib borayotgan ratsionalligi va nutqini o'z hayvoni hayqiriqlari bilan sevgi harakatida bog'laydi.[49]

Temptressni kiriting tomonidan Charlz Xermans (taxminan 1859-1924)

Uning ismini olgan she'rlar mavjud, ular afsonasini qayta talqin qilishdan ko'ra, yozuvchilarning shaxsiy mashg'ulotlariga ko'proq bog'liqdir. U bilan bog'lanish Margaret Atvud Birinchi marta nashr etilgan "Circe / Loy she'rlari" Siz baxtlisiz (1974), ko'proq ishora masalasidir va sarlavhadan tashqarida hech qanday ochiq-oydin aytilmagan. Bu zamonaviy Gender siyosatining aksidir, unga Avgusta Vebsterning niqoblari deyarli kerak emas.[50] Erkak yozuvchilarning yana ikkita she'ri bilan bir xil: Louis Macneice Masalan, "Circe" birinchi jildida paydo bo'lgan, She'rlar (London, 1935); yoki Robert Louell "Uliss va Tsirsa" oxirgi marta paydo bo'lgan, Kundan kunga (Nyu-York, 1977). Ikkala shoir ham o'zlarining buzilgan munosabatlari to'g'risida shaxsiy bayonot berish uchun afsonani o'zlashtirdilar.[51]

Parallellar va davomlar

XVI asrning bir necha Uyg'onish davri eposlarida Kirs figurasi asosida jozibali sehrgarlar bor. Ular odatda zavq bag'ishlangan alohida joyda yashaydilar, u erda sevuvchilar aldanib, keyinchalik hayvonlarga aylanadilar. Ular quyidagilarni o'z ichiga oladi:

  • Alcina Orlando Furioso (Mad Roland, 1516, 1532) dan Lyudoviko Ariosto, vaqtida o'rnatilgan Buyuk Karl. Uning ko'plab sub-uchastkalari orasida epizod mavjud Saracen chempion Ruggiero sehrgar tomonidan asirga olinadi va uni sehrli orolidan ozod qilish kerak.[52]
  • Filidiyani sevuvchilar Il Tankredi (1632) Ascanio Grandi (1567–1647) monsterlarga aylantirildi va fazilatli Tankred tomonidan ozod qilindi.[53]
  • Armida yilda Torquato Tasso "s La Ger Jerusalemme liberata (Quddus etkazib berildi, 1566–1575, 1580 yilda nashr etilgan) - bu infernal senat tomonidan yuborilgan Saracen sehrgaridir. Salibchilar u Quddus oldida lager qildi, u erda u ularning bir qismini hayvonlarga almashtirishga muvaffaq bo'ldi. Qahramon Rinaldoga suiqasd qilishni rejalashtirganida, u o'rniga unga muhabbat qo'yadi va sehrgar bog 'yaratadi, u erda u o'zining sobiq shaxsiyatini unutgan mahbub mahbusni saqlaydi.[54]
  • Edmund Spenserdagi akrasiya Feri KuinYuqorida aytib o'tilganidek, u ritsarlarning jozibador ayolidir va ularni Baxt minorasida sehrlab qo'ygan.

Keyinchalik stipendiya Circe va ayniqsa uning sehrgar do'sti xarakteridan elementlarni aniqladi Midiya O'rta asr afsonasi rivojlanishiga hissa qo'shgan Morgan le Fay.[55] Bundan tashqari, bu peri deb bahslashdi Titaniya yilda Uilyam Shekspir "s Yoz kechasi tushi (1600) - bu Circe inversiyasi.[56] Titaniya (qizi Titanlar ) sehrgar klassik davrlarda tanilgan unvon edi. Bu holda jadvallar peri malikasi bo'lgan belgi bo'yicha yoqiladi. U eshakni avvalgidan ko'ra yaxshi ko'radi, aksincha u o'zining haqiqiy hayvon qiyofasiga aylanadi.

Uilyam Bleyk Komusning 1815 yilgi akvarellari va uning hayvonlar boshli sayohatchilari

Keyinchalik shunday taklif qilingan Jon Milton "s Ludlov qasrida taqdim etilgan niqob (1634) ning davomi Temp tiklandi, Circe ikki yil oldin o'ylab topgan va u erda taqdim etilgan vaziyat yunon afsonasining teskari tomonidir.[57] Boshida maska, Komusning xarakteri Circe tomonidan o'g'li sifatida tasvirlangan Baxus, sharob xudosi va sehrlashda onasining tengdoshi. U ham sayohatchilarni "shahvoniy uslubda zavqlanib aylanadigan" hayvonlarcha shakllariga o'zgartiradi. Qahramonni uchirib, sehrlangan stulda immobilizatsiya qilib, u uning yonida turib, qo'lida tayoqchani ushlab turdi va sehrli kosani bosdi (jinsiy zavq va befarqlikni ifodalaydi), u mo''tadillik va iffat fazilati haqida bahslashib, bir necha bor rad etadi.[58] Taqdim etilgan rasm Klassik hikoyaning oynali tasviridir. Uchrashgan erkaklarni osonlikcha yo'ldan ozdiradigan jodugar o'rniga, erkak sehrgarga ayol fazilati qarshilik ko'rsatadi.

20-asrda Circe epizodi she'rning ikkita she'riy davomida qayta baholanishi kerak edi Odisseya. Ulardan birinchisida, Jovanni Paskoli "s L'Ultimo Viaggio (Oxirgi safar, 1906), keksa yoshdagi qahramon o'z sayohatini orqaga qaytarib, yoshlik tuyg'ularini qayta kashf etishga kirishadi Troy, faqat Eea oroli kimsasizligini aniqlash uchun. U muhabbat orzusida sherlarning shovqini va Kirsning qo'shig'i uchun olgan narsasi endi kuzgi emanlarda dengiz shamoli sadosidan boshqa narsa emas edi (Cantos 16-17).[59]

Illyuziyani melankolik tarzda yo'q qilish aks ettirilgan Odisseya: zamonaviy davom (1938) tomonidan Nikos Kazantzakis. U erda yozilgan hayotning yangi mazmunini izlagan yangi sayohat qahramonning dastlabki ikki bobda avvalgi tajribalarini rad etishidan kelib chiqadi. Circe epizodini u ruhning o'limidan tor qochish deb biladi: Buralgan qo'llar va sonlar bilan biz yonayotgan qumlarga dumalab tushdik, / quyoshga yopishtirilgan xivirlagan ilonlarning osilgan chalkashligi! ... / Yorqin sayohat bilan vidolashish tugadi! Muvaffaqiyatli hayvonning loyli portida prow va soul / moored! / Ey adashgan, ko'p sayohat qilgan jon, bu sening mamlakatingmi? Uning bu hissiyot botqog'idan qutulishi bir kuni ba'zi baliqchilar, ona va uning chaqalog'ining oddiy farovonlik va ichimliklardan zavqlanib, hayoti, vazifalari va zavqlarini eslashi bilan yuz beradi.[60] Paskoli qahramonining o'tmishni qaytarib olishga urinishi muvaffaqiyatsiz tugagan bo'lsa, Kazantzakisning "Odissey" o'z tajribalarining bo'shligini allaqachon anglab etib, kelajakka to'la umidvor bo'lgan narsaga sayohat qiladi.

Vizual namoyishlar

Qadimgi san'at

Miloddan avvalgi 490–480 yillardagi neft idishida, Afina-Milliy Arxeologiya muzeyi

Sahnalari Odisseya yunon kulolchiligida keng tarqalgan bo'lib, ular orasida Circe epizodi mavjud. Ikki eng keng tarqalgan vakolatxonada Circe o'zgargan dengizchilar bilan o'ralgan va Odissey sehrgarni qilichi bilan tahdid qilmoqda. Birinchisida, hayvonlar har doim ham cho'chqa emas, balki, masalan, miloddan avvalgi VI asr Bostonda qo'chqor, it va sherni ham o'z ichiga oladi. kiliks.[61] Ko'pincha o'zgarish faqat qisman bo'lib, bosh va ehtimol unib chiqqan dumni o'z ichiga oladi, qolgan tanasi esa insondir. 5-asrda boshqacha tushunarsiz bo'lgan yunon bronzasini tasvirlashda Uolters san'at muzeyi cho'chqaning old qismlari bilan to'rt oyoqli odam qiyofasini oladi,[62] sharhlovchi rassom hayvonlar boshi bo'lgan odamdan boshqa sehrlangan kishini qanday boshqa usul bilan tasvirlashi mumkinligini so'raydi.[63] Ushbu sahnalarda Circe deyarli har doim o'z tayoqchasi bilan iksirni aralashtirayotgani namoyish etiladi, garchi Gomerda tasvirlanganidek, u bu tayoqchani faqat dengizchilar o'zlarini tetiklashtirgandan keyin sehrlash uchun ishlatgan.[64] Istisnolardan biri - Berlin amfora o'tirgan Circe tayog'ini yarim o'zgargan odam tomon tutadi.[65]

Ikkinchi sahnada Odissey sehrgarni Gomer ta'riflaganidek, tortilgan qilich bilan qo'rqitadi. Biroq, ba'zida u xuddi xuddi bo'lgani kabi, nayza ko'targan holda tasvirlangan Afina lekythos,[66] Gomer bu uning elkasiga osib qo'ygan kamon bo'lganligi haqida xabar berganida.[67] Ushbu epizodda Circe odatda parvozda ko'rsatiladi va Erlangen lekythos piyolani tashlab, uning orqasida tayoq tashlayotganini aniq ko'rish mumkin.[68] Ikkita qiziquvchan ibtidoiy sharob idishida Circe dastgohining Gomerik tafsilotlari bor,[69] uning saroyiga yaqinlashayotgan erkaklar uning ishlayotgan paytida uning shirin qo'shiqlarini eshitishgan.[70] 5-asrda skifos Boeotiyadan aftidan nogiron Odissey tayoqchaga suyanadi, negroid xususiyatiga ega bo'lgan ayol esa nomutanosib katta piyola ushlaydi.[71] Ikkinchisida qozon qornidagi qahramon qilich ko'taradi, Circe esa uning iksirini aralashtiradi. Ikkalasi ham bu yoki boshqa kulgida tasvirlangan sahnani aks ettirishi mumkin satira o'ynaydi ularning uchrashuvi bilan shug'ullanadigan. Hozir bularning ozgina qoldiqlari bir necha satrdan tashqarida Esxil, Afina shahridagi Efippus va Anaxilas. O'sha davrdagi boshqa vaza rasmlari shuni ko'rsatadiki, Odisseyning yarim o'zgargan hayvon-odamlari odatdagi satiralar o'rniga xorni tashkil qilishgan.[72] Bunday o'yinlarning mavzusi bo'lishi kerakligi shundaki, sharob ichish ko'pincha ularning syujetida asosiy o'rin tutgan. Keyingi yozuvchilar epizodni ichkilikning zarari tasvirlangan deb talqin qilishda Suqrotga ergashishlari kerak edi.[73]

Hikoyani tasvirlaydigan boshqa asarlar orasida ko'krak qafasi ham bor Kipselus tomonidan sayohatnomada tasvirlangan Pausanias. Uning ko'plab o'ymakorliklari orasida "grotto" va unda bir ayol divanda erkak bilan uxlab yotgan. Men ularni Odissey va Kirs deb o'ylar edim, nazarimda, grotto oldida xizmatkorlar soni va ular nima qilayotganiga qarab. Chunki ayollar to'rt yoshda va ular Gomer she'riyatida aytib o'tgan vazifalar bilan shug'ullanmoqdalar.[74] Ushbu parchada ulardan biri qanday qilib zig'ir matolarini stullar ustiga tashlab, ustiga mayin binafsha matolarni yoygani tasvirlangan. Boshqasi esa stullarga kumush stollarni tortdi va oltin idishlarni yotqizdi, uchinchisi kumush idishga shirin asalli sharobni aralashtirdi va uni oltin stakanlarga tortdi. To'rtinchisi suv olib kelib, ulkan qozon tagida shovqinli olov yoqdi.[75] Bu juda batafsil ishni taklif qiladi, ammo Etrusk coffin preserved in Orvieto 's archaeological museum has only four figures. At the centre Odysseus threatens Circe with drawn sword while an animal headed figure stands on either side, one of them laying his hand familiarly on the hero's shoulder.[76] A bronze mirror relief in the Fitsvilliam muzeyi is also Etruscan and is inscribed with the names of the characters. There a pig is depicted at Circe's feet, while Odysseus and Elpenor approach her, swords drawn.[77]

Portraits in character

During the 18th century painters began to portray individual actors in scenes from named plays. There was also a tradition of private performances, with a variety of illustrated works to help with stage properties and costumes. Bular orasida edi Thomas Jefferys ' A Collection of the Dresses of Different Nations, Antient and Modern (1757–72) which included a copperplate o'yma of a crowned Circe in loose dress, holding a goblet aloft in her right hand and a long wand in her left.[78] Evidence of such performances during the following decades is provided by several portraits in character, of which one of the earliest was the pastel by Daniel Gardner (1750–1805) of "Miss Elliot as Circe". The artist had been a pupil of both Jorj Romni va Joshua Reynolds, who themselves were soon to follow his example. On the 1778 engraving based on Gardner's portrait appear the lines from Milton's Komus: The daughter of the Sun, whose charmed cup / Whoever tasted, lost his upright shape / And downward fell into a grovelling swine, in compliment to the charm of this marriageable daughter of a country house. As in the Jefferys' plate, she wears a silver coronet over tumbled dark hair, with a wand in the right hand and a goblet in the left. In hindsight the frank eyes that look directly at the viewer and the rosebud mouth are too innocent for the role Miss Elliot is playing.[79]

The subjects of later paintings impersonating Circe have a history of sexual experience behind them, starting with "Mary Spencer in the character of Circe" by Uilyam Kaddik da namoyish etilgan Qirollik akademiyasi in 1780. The subject here was the mistress of the painter Jorj Stubbs.[80] A portrait of "Mrs Nesbitt as Circe" by Reynolds followed in 1781. Though this lady's past was ambiguous, she had connections with those in power and was used by the Government as a secret agent. In the painting she is seated sideways, wearing a white, loose-fitting dress, with a wand in her right hand and a gilded goblet near her left. A monkey is crouching above her in the branches of a tree and a panther fraternizes with the kitten on her knee.[81] While the painting undoubtedly alludes to her reputation, it also places itself within the tradition of dressing up in character.

Jorj Romni "s v. 1782 portreti Emma Xemilton as Circe. It was used to illustrate numerous books, including Wuthering balandliklari

Soon afterwards, the notorious Emma Xemilton was to raise this to an art form, partly by the aid of George Romney's many paintings of her impersonations. Romney's preliminary study of Emma's head and shoulders, at present in the Teyt galereyasi, with its piled hair, expressive eyes and mouth, is reminiscent of Samuel Gardener's portrait of Miss Elliot.[82] In the full-length "Lady Hamilton as Circe" at Waddesdon Manor, she is placed in a wooded landscape with wolves snarling to her left, although the tiger originally there has now been painted out. Her left arm is raised to cast a spell while the wand points downward in her right.[83] After Emma moved to Naples and joined Lord Hamilton, she developed what she called her "Attitudes" into a more public entertainment. Specially designed, loose-fitting tunics were paired with large shawls or veils as she posed in such a way as to evoke figures from Classical mythology. These developed from mere poses, with the audience guessing the names of the classical characters and scenes that she portrayed, into small, wordless charades.[84]

The tradition of dressing up in character continued into the following centuries. One of the photographic series by Julia Margaret Kemeron, a pupil of the painter Jorj Frederik Uotts, was of mythical characters, for whom she used the children of friends and servants as models. Young Kate Keown sat for the head of "Circe" in about 1865 and is pictured wearing a grape and vineleaf headdress to suggest the character's use of wine to bring a change in personality.[85] The society portrait photographer Evonde Midlton, also known as Madame Yevonde, was to use a 1935 aristocratic charity ball as the foundation for her own series of mythological portraits in colour. Its participants were invited to her studio afterwards to pose in their costumes. There Baroness Dacre is pictured as Circe with a leafy headdress about golden ringlets and clasping a large Barokko porcelain goblet.[86]

A decade earlier, the illustrator Charlz Edmund Brok extended into the 20th century what is almost a pastiche of the 18th-century suhbat qismi in his "Circe and the Sirens" (1925). In this the Honourable Edith Chaplin (1878–1959), Marchioness of Londonderry, and her three youngest daughters are pictured in a garden setting grouped about a large pet goat.[87] Three women painters also produced portraits using the convention of the sitter in character. Eng qadimgi edi Beatrice Offor (1864–1920), whose sitter's part in her 1911 painting of Circe is suggested by the vine-leaf crown in her long dark hair, the snake-twined goblet she carries and the snake bracelet on her left arm.[88] Meri Sesil Allen was of Australian origin[89] but was living in the United States at the time "Miss Audrey Stevenson as Circe" was painted (1930). Though only a head and shoulders sketch, its colouring and execution suggest the sitter's lively personality.[90] Rosemary Valodon (born 1947), from the same country, painted a series of Australian personalities in her goddess series. "Margarita Georgiadis as Circe" (1991) is a triptix, the central panel of which portrays an updated, naked femme fatale reclining in tropical vegetation next to a pig's head.[91]

One painting at least depicts an actress playing the part of Circe. Bu Franz fon Stak 's striking portrait of Tilla Durieux as Circe (1913). She played this part in a Viennese revival of Calderon's play in 1912 and there is a publicity still of her by Isidor Hirsch in which she is draped across a sofa and wearing an elaborate crown.[92] Her enticing expression and the turn of her head there is almost exactly that of Van Stuck's enchantress as she holds out the poisoned bowl. It suggests the use of certain posed publicity photos in creating the same iconic effect as had paintings in the past. A nearly contemporary example was the 1907 photo of Mme Geneviève Vix as Circe in the light opera by Lucien Hillenacher at the Opéra-Comique Parijda.[93] The posing of the actress and the cropping of the image so as to highlight her luxurious costume demonstrates its ambition to create an effect that goes beyond the merely theatrical. A later example is the still of Silvana Mangano in her part as Circe in the 1954 film Uliss, which is as cunningly posed for effect.

Musiqiy muolajalar

Cantata and song

Wright Barker's 1889 painting of Circe as musician

Beside the verse dramas, with their lyrical interludes, on which many operas were based, there were poetic texts which were set as secular kantatalar. Eng qadimgi biri edi Alessandro Stradella "s La Circe, in a setting for three voices that bordered on the operatic. Bu birinchi bo'lib amalga oshirildi Frascati in 1667 to honour Cardinal Leopoldo de Medici and contained references to its surroundings. In the opening recitative, Circe explains that it was her son Telegonus who founded Frascati. The other characters with whom she enters into dialogue are the south wind (Zeffiro) and the local river Algido.[94] Keyingi asrda, Antonio Vivaldi kantata All'ombra di sospetto (In the shadow of doubt, RV 678) is set for a single voice and depicts Circe addressing Ulysses. The kontrendor part is accompanied by nay, klavesin, viyolonsel va teorbo va ikkita xususiyat recitativlar va ikkitasi ariyalar. The piece is famous for the dialogue created between flute and voice, conjuring the moment of flirtation before the two become lovers.[95]

The most successful treatment of the Ulysses episode in French was Jan-Batist Russo she'r Davra (1703), that was specifically written to be a cantata. The different verse forms employed allow the piece to be divided by the musicians that set it in order to express a variety of emotions. The poem opens with the abandoned Circe sitting on a high mountain and mourning the departure of Ulysses. The sorceress then calls on the infernal gods and makes a terrible sacrifice: A myriad vapours obscure the light, / The stars of the night interrupt their course, / Astonished rivers retreat to their source / And even Death's god trembles in the dark. But though the earth is shaken to its core, Love is not to be commanded in this way and the wintery fields come back to life.[96]

The earliest setting was by Jean-Baptiste Morin in 1706 and was popular for most of the rest of the century. One of its final moralising minets, Ce n'est point par effort qu'on aime (Love won't be forced) was often performed independently and the score reprinted in many song collections. The flautist Mishel Blavet arranged the music for this and the poem's final stanza, Dans les champs que l'Hiver désole (In the fields that Winter wastes), for two flutes in 174.The new setting of the cantata three years later by Francois Collin de Blamont was equally successful and made the name of its nineteen-year-old composer. Originally for voice and bass continuo, it was expanded and considerably revised in 1729, with parts for flute, violin and viol added.[97] Towards the end of the century, the choral setting by Georges Granges de Fontenelle (1769–1819) was equally to bring its young composer fame.[98]

Rousseau's poem was also familiar to composers of other nationalities. Set for mezzo-soprano and full orchestra, it was given almost operatic treatment by the court composer Luidji Cherubini in 1789. Franz Seydelmann set it for soprano and full orchestra in Dresden in 1787 at the request of the Russian ambassador to the Saksoniya Sud, Prince Alexander Belosselsky. Although he spoke highly of Seydelmann's work, it is now judged grandiloquent and banal.[99] The later setting by the Austrian composer Sigismond von Neukomm for soprano and full orchestra (Op. 4 1810) is better regarded.[100]

Recent treatments of the Circe theme include the Irish composer Gerald Victory's radio cantata Circe 1991 (1973–75), David Gribble's A Threepenny Odyssey, a fifteen-minute cantata for young people which includes the episode on Circe's Isle, and Malcolm Hayes' Odysseus remembers (2003–04), which includes parts for Circe, Anticleia and Tiresias. Gerald Humel's song cycle Circe (1998) grew out of his work on his 1993 ballet with Thomas Höft. The latter subsequently wrote seven poems in German featuring Circe's role as seductress in a new light: here it is to freedom and enlightenment that she tempts her hearers.[101] Another cycle of Seven Songs for High Voice and Piano (2008) by the American composer Martin Hennessey includes the poem "Circe's Power" from Luiza Glyuk "s O'tloqlar (1997).[102]

There have also been treatments of Circe in popular music, in particular the relation of the Odysseus episode in Fridrix Xollander 's song of 1958.[103] In addition, text in Gomerik yunoncha is included in the "Circe's Island" episode in Devid Bedford "s Odisseya (1976).[104] This was the ancestor of several later electronic suites that reference the Odysseus legend, with "Circe" titles among them, having little other programmatic connection with the myth itself.

Classical ballet and programmatic music

Keyin klassik balet separated from theatrical spectacle into a wordless form in which the story is expressed solely through movement, the subject of Circe was rarely visited. It figured as the first episode of three with mythological themes in Les Fêtes Nouvelles (New Shows), staged by Sieur Duplessis le cadet in 1734, but the work was taken off after its third performance and not revived.[105] Xoreograf Antuan Pitrot also staged Ulysse dans l'isle de Circée, describing it as a ballet sérieux, heroï-pantomime 1764 yilda.[106] Thereafter there seems to be nothing until the revival of ballet in the 20th century.

Circe enchanting Ulysses in the 2012 revival of Martha Graham's Circe

In 1963 the American choreographer Marta Grem created her Circe tomonidan hisob bilan Alan Ovaness. Its theme is psychological, representing the battle with animal instincts. The beasts portrayed extend beyond swine and include a goat, a snake, a lion and a deer.[107] The theme has been described as one of 'highly charged erotic action', although set in 'a world where sexual frustration is rampant'.[108] In that same decade Rudolf Brucchi uning tarkibiga kirgan Kirka (1967) in Croatia.

There is a Circe episode in Jon Xarbison "s Uliss (Act 1, scene 2, 1983) in which the song of the enchantress is represented by Martenot and tuned percussion.[109] After the sailors of Ullyses are transformed into animals by her spell, a battle of wills follows between Circe and the hero. Though the men are changed back, Ulysses is charmed by her in his turn. In 1993, a full scale treatment of the story followed in Gerald Humel's two-act Circe und Odysseus. Also psychological in intent, it represents Circe's seduction of the restless hero as ultimately unsuccessful. The part played by the geometrical set in its Berlin production was particularly notable.[110]

While operas on the subject of Circe did not cease, they were overtaken for a while by the new musical concept of the simfonik she'r which, whilst it does not use a sung text, similarly seeks a union of music and drama.[111] A number of purely musical works fall into this category from the late 19th century onwards, of which one of the first was Geynrix fon Gertsogenberg "s Odissey (Op.16, 1873). A Vagnerian symphony for large orchestra, dealing with the hero's return from the Trojan war, its third section is titled "Circe's Gardens" (Die Gärten der Circe).

In the 20th century, Ernst Boehe's cycle Aus Odysseus Fahrten (From Odysseus' Voyage, Op. 6, 1903) was equally programmatic and included the visit to Circe's Isle (Die Insel der Circe) as its second long section. After a depiction of the sea voyage, a bass clarinet passage introduces an ensemble of flute, harp and solo violin over a lightly orchestrated accompaniment, suggesting Circe's seductive attempt to hold Odysseus back from traveling further.[112] Alan Ovaness ' Circe Symphony (No.18, Op. 204a, 1963) is a late example of such programmatic writing. It is, in fact, only a slightly changed version of his ballet music of that year, with the addition of more strings, a second timpanist va selesta.

With the exception of Willem Frederik Bon's prelude for orchestra (1972), most later works have been for a restricted number of instruments. They include Hendrik de Regt's Circe (Op. 44, 1975) for clarinet, violin and piano; Christian Manen "s Les Enchantements De Circe (Op. 96, 1975) for bassoon and piano; va Jak Lenot "s Cir(c)é (1986) uchun oboe d'amore. The German experimental musician Diter Shnebel "s Circe (1988) is a work for harp, the various sections of which are titled Signal (signals), Säuseln (whispers), Verlockungen (enticements), Pein (og'riq), Schläge (strokes) and Umgarnen (snare), which give some idea of their programmatic intent.

Michael Amann (born 1964) provides notes for his Kirke for voice, violin, piano and percussion (1995). It is based on four excerpts from Homer's Odisseya and emphasises a variety of vocal uses for the mezzo-soprano part. He explains that 'the play between the foreseeable (deep structure) and the unexpected (surface) is for me an analogy of Ulysses (who realises Circe is a sorceress, so that the consequence of her magic is ineffective) and Odysseus' companions, whom Circe's enchantments take by surprise'.[113] Questioned in an interview about how this worked in terms of his composition, he explained that this meant disrupting the musical structure once it was established and that the singer's shift between voice tones, singing and non-communicative vocalisation equates to the movement from solitude to self-expression.[114] Dominique Lemaitre's Davra for soprano and eight cellos (1998) is equally programmatic. In it the singer's voice floats over the instruments, creating much the same the successive emotional effects as those in settings of Rousseau's poem.[115]

Thea Musgrave 's "Circe" for three flutes (1996) was eventually to become the fourth piece in her six-part Voices from the Ancient World for various combinations of flute and percussion (1998). Her note on these explains that their purpose is to 'describe some of the personages of ancient Greece' and that Circe was 'the enchantress who changed men into beasts'.[116] A recent reference is the harpsichordist Fernando De Luca 's Sonata II for viola da gamba titled "Circe's Cave" (L'antro della maga Circe).

Opera

Rolf Riyem wrote an opera with his own libretto based on several texts related to the meeting of Odissey and Circe, as told in Homer's Odisseya, tomonidan Karolin fon Gyunerrode, Jovanni Paskoli va Izabel Eberxardt, illuminating various aspects of the myth. The opera was premiered on 14 September 2014 at the Frankfurt operatsiyasi.[117]

Scientific interpretations

In later Christian opinion, Circe was an abominable witch using miraculous powers to evil ends. When the existence of witches came to be questioned, she was reinterpreted as a depressiv azob chekish xayollar.[118]

In botany, the Circaea are plants belonging to the tilsimon tur. The name was given by botanists in the late 16th century in the belief that this was the herb used by Circe to charm Odysseus' companions.[119] Medical historians have speculated that the transformation to pigs was not intended literally but refers to antikolinerjik intoxication with the plant Datura stramonium.[120] Alomatlar kiradi amneziya, gallyutsinatsiyalar, and delusions. The description of "moly" fits the qor tomchisi, a flower that contains galantamin, which is a long lasting antikolinesteraza and can therefore counteract anticholinergics that are introduced to the body after it has been consumed.[120]

Boshqa ta'sir

The Mamilia jinsi – described by Livi as one of the most distinguished families of Latium[121][122] – claimed descent from Mamilia, a granddaughter of Odysseus and Circe through Telegonus. One of the most well known of them was Octavius ​​Mamilius (died 498 BC), knyazlar ning Tuskulum va kuyovi Lucius Tarquinius Superbus the seventh and last Rim qiroli.

  • Linney named a genus of the Venus clams (Veneridae ) after Circe in 1778 (species Circe skriptlari (Linnaeus, 1758) and others).[123]
  • Her name has been given to 34 Circe, a large, dark main-belt asteroid first sighted in 1855.
  • There are a variety of chess variants named Circe in which captured pieces are reborn on their starting positions. The rules for this were formulated in 1968.
  • The Circe ta'siri, coined by the enzymologist Uilyam Jenks, refers to a scenario where an ferment lures its substrat towards it through electrostatic forces exhibited by the enzyme molecule before transforming it into a mahsulot. Where this takes place, the catalytic velocity (rate of reaction) of the enzyme may be significantly faster than that of others.[124]

Ommaviy madaniyatda

Asosiy maqola: Circe ommaviy madaniyatda

Shuningdek qarang

Adabiyotlar

  1. ^ https://www.britannica.com/topic/Circe-Greek-mythology Britannica entsiklopediyasi
  2. ^ Gomer, Odisseya 10.135; Gesiod, Teogoniya, 956; Apollodorus, Kutubxona 1.9.1; Apollonius Rodiy, Argonautika .
  3. ^ Grimal; Smit.
  4. ^ E., Bell, Robert (1993). Klassik mifologiya ayollari: biografik lug'at. Nyu-York: Oksford universiteti matbuoti. ISBN  978-0195079777. OCLC  26255961.
  5. ^ Gomer, Odisseya 10.212ff.
  6. ^ LSJ s.v. πολυ-φάρμα^κος; Gomer, Odisseya, 10.276.
  7. ^ Gomer, Odisseya 10.475—541.
  8. ^ Timothy Peter Wiseman, Remus: Rim afsonasi, Cambridge University 1995, 47-48 betlar.
  9. ^ "They escaped neither the vast sea's hardships nor vexatious tempests till Kirké should wash them clean of the pitiless murder of Apsyrtos" (Rodos Apollonius, Argonautika, iv. 586–88, in Peter Grean's translation).
  10. ^ See the ancient concept of miazma, a Peter Green's commentary on iv. 705–17, The Argonautika Apollonios Rhodios, (1997, 2007) p. 322.
  11. ^ iv: 659–84. Gutenberg.org. 1997 yil. Olingan 2014-03-19.
  12. ^ John E. Thorburn, FOF Companion to Classical Drama, Nyu-York 2005 yil, p. 138
  13. ^ "Draydenning tarjimasi". Classics.mit.edu. Olingan 2014-03-19.
  14. ^ "Online translation". Theoi.com. Olingan 2014-03-19.
  15. ^ Vol. XII of the Loeb Classical Library edition, 1957, at the Chicago University website.
  16. ^ tr. Virginia Brown, Harvard University 2003 ch. 38, pp. 74–76.
  17. ^ John Gower, English Works, 6.1391–1788; a ham bor modern translation by Ellin Anderson.
  18. ^ The German original is available on Google Books.
  19. ^ Vega, Lope de (1624). Pages 1–69. Olingan 2014-03-19.
  20. ^ The third section of the Gutenberg edition.
  21. ^ Judith Yarnall, Transformations of Circe, University of Illinois, 1994, 1-2 bet.
  22. ^ The English translation of 1754 is available on Google Books.
  23. ^ Book 2.12, stanza 86.
  24. ^ There is a French translation in Ouvrlar shikoyat qilmoqda X, Paris 1825, pp. 401–53.
  25. ^ The original and its English translation is available onlayn Arxivlandi 2019-02-22 da Orqaga qaytish mashinasi.
  26. ^ Much of the information that follows can be found discussed in Brigitte Urbani, Vaut-il "mieux mille fois être ânes qu'être hommes"? Quelques reécritures de La Circe de Giovan Battista Gelli, INT Chroniques 69/70. 2002 yil pp. 163–81.
  27. ^ "The Fables of La Fontaine, by Jean de La Fontaine : Book XII". ebooks.adelaide.edu.au.
  28. ^ Denis, Charles (2018). "Select Fables". Tonson and Draper – via Google Books.
  29. ^ Gryll Grange by Thomas Love Peacock. 2007 – via www.gutenberg.org.
  30. ^ Pope's translation of the Odyssey, Book X, lines 279–80.
  31. ^ Vignettes in Rhyme and other verses, US edition 1880, pp. 206–10.
  32. ^ Metyu Arnold, Adashgan sayohatchi va boshqa she'rlar, London 1849, pp. 11–27.
  33. ^ M. G. Sundell, "Story and Context in "The Strayed Reveller", Victorian Poetry 3.3, West Virginia University 1965, pp. 161–70.
  34. ^ Ksenofonnikiga tegishli Suqrotning yodgorliklari Book I, 3.7.
  35. ^ "Alciato at Glasgow: Emblem: Cavendum à meretricibus". www.emblems.arts.gla.ac.uk.
  36. ^ "Whitney 82". www.mun.ca.
  37. ^ The text is at Onlayn adabiyot.
  38. ^ Frantsuzcha matn onlayn.
  39. ^ Frantsuzcha matn onlayn.
  40. ^ Viktoriya antologiyasi 1837–95.
  41. ^ "T.S. Eliot's 'Harvard Advocate' Poems". world.std.com.
  42. ^ James E. Miller Jnr, T.S. Eliot: The Making Of An American Poet, Pennsylvania State University 2005, p. 71.
  43. ^ The whole text can be read on PoemHunter.
  44. ^ Christine Sutphin, The representation of women's heterosexual desire in Augusta Webster's "Circe" and "Medea in Athens", Women's Writing 5.3, 1998, pp. 373–93.
  45. ^ The Path of Dreams, p. 54.
  46. ^ Qizlik pardasi, 21-22 betlar.
  47. ^ Dunyoning xotini, London 1999; the text is on the Porkopolis website.
  48. ^ Painting and poem are juxtaposed on the Pre-Raphaelite Sisterhood site; the letter to Barbara Bodichon is quoted on the Rossetti Archive site.
  49. ^ A Late Picking – poems 1965–74da keltirilgan Avstraliya she'riyat kutubxonasi.
  50. ^ Tanlangan she'rlar, Boston 1976 yil pp. 201–23.
  51. ^ Jane Polden, Regeneration: Journey Through the Mid-Life Crisis, London 2002, pp. 124–28; "Ulysses is of course one more surrogate for the poet", Bruce Michelson, Lowell Versus Lowell, Virginia Quarterly Review, Winter 1983, pp. 22–39.
  52. ^ There is a translation on the Gutenberg website.
  53. ^ Merritt Y. Hughes, Spenser's Acrasia and the Circe of the Renaissance, Journal of the History of Ideas IV. 4, 1943, p. 383
  54. ^ Edward Fairfax's 1600 translation is available at the Gutenberg website.
  55. ^ Shearer, John Christopher (2017). Masks of the Dark Goddess in Arthurian Literature: Origin and Evolution of Morgan le Fay. Eastern Kentucky University, Richmond.
  56. ^ Paul A. Olson, Beyond a Common Joy: An Introduction to Shakespearean Comedy, University of Nebraska 2008, 79-82 betlar.
  57. ^ John G. Demaray, "Milton's Comus: The Sequel to a Masque of Circe," Hantington kutubxonasi har chorakda 29 (1966), pp. 245–54.
  58. ^ Matn Gutenberg website.
  59. ^ The Italian text is at the Fondazioni Pascoli Arxivlandi 2009-07-21 da Orqaga qaytish mashinasi; there is a discussion of the work in Mario Truglio, Beyond the Family Romance: The Legend of Pascoli, University of Toronto 2007, pp. 65–68.
  60. ^ The translation of Kimon Friar, New York 1958, Book 2, pp. 126–29.
  61. ^ "Odysseus & Circe – Ancient Greek Vase Painting". www.theoi.com.
  62. ^ Walters Art Museum, acc. yo'q. 54.1483
  63. ^ Hill, "Odysseus' Companions on Circe's Isle" Walters badiiy galereyasining jurnali 4 (1941:119–22) p. 120.
  64. ^ Odisseya Book X lines 198ff.
  65. ^ "Circe – Ancient Greek Vase Painting". www.theoi.com.
  66. ^ "Columbia College".
  67. ^ "Homer (c. 750 BC) – The Odyssey: Book X". www.poetryintranslation.com.
  68. ^ "Odysseus and Circe, Athenian red figure lekythos, c. 470 BC. The Core Curriculum". www.college.columbia.edu.
  69. ^ Eric Broudy, The Book of Looms, University Press of New England 1939, p. 23
  70. ^ Book X, lines 198ff
  71. ^ "Image gallery: skyphos". Britaniya muzeyi.
  72. ^ John E. Thorburn, FOF Companion to Classical Drama, Nyu-York 2005 yil, p. 138.
  73. ^ Afina, Deipnosophistae 1.10e 'By way of denouncing drunkenness the poet [Homer] . . changes the men who visited Kirke into lions and wolves because of their self-indulgence' (trans. Gullick) quoted on the Theoi website.
  74. ^ Yunonistonning tavsifi 5. 19. 7.
  75. ^ Book X lines 348ff.
  76. ^ Lessing images Arxivlandi 2015-01-28 da Orqaga qaytish mashinasi.
  77. ^ "The Fitzwilliam Museum". www.fitzmuseum.cam.ac.uk.
  78. ^ Published from London, p. 240.
  79. ^ "Binding with Briars My Joys & Desires". preraphaeliteoftheforest.tumblr.com.
  80. ^ Egerton, Judi (2007). George Stubbs, Painter: Catalogue Raisonné. Yel universiteti. pp. 95, 482. ISBN  978-0300125092.
  81. ^ The Smith College Museum of Art: European and American Painting and Sculpture, 1760–1960, 108-09 betlar.
  82. ^ Teyt. "'Emma Hart as Circe', George Romney, c. 1782".
  83. ^ Romney, George (23 June 1782). "Lady Hamilton as Circe" - Vikimedia Commons orqali.
  84. ^ Julia Peakman, Emma Hamilton, London 2005, 47-50 betlar.
  85. ^ Viktoriya va Albert muzeyi.
  86. ^ "Lady Alexandra Henrietta Louisa Haig as Circe". www.npg.org.uk. Milliy portret galereyasi.
  87. ^ "Art UK". Arxivlandi asl nusxasi 2013-04-19.
  88. ^ "Vera Violetta". Arxivlandi asl nusxasi 2016-04-17. Olingan 2019-03-10.
  89. ^ There is a fuller biography in the Avstraliya biografiya lug'ati.
  90. ^ "Sketch: Miss Audrey Stevenson as Circe – Mary Cecil ALLEN – NGV – View Work". www.ngv.vic.gov.au.
  91. ^ Myshkin, Príncipe (2010). "Origem da Comédia: The Goddess Series".
  92. ^ "Turn of the Century: Photo". turnofthecentury.tumblr.com.
  93. ^ "1907 Theatre – Mme Genevieve Vix as Circe, an opera comique by the Brothers Hillenacher at the Opera Comique, Paris". 2011-01-16.
  94. ^ The entire score can be downloaded from Sarge Gerbode's site Arxivlandi 2013-01-29 soat Arxiv.bugun
  95. ^ There is a performance on YouTube; the score is also available onlayn.
  96. ^ Oeuvres de Jean-Baptiste Rousseau, Brussels 1743, Volume 1, pp. 321–24.
  97. ^ Details are on the Philidor site and there is a performance on YouTube.
  98. ^ Biographical notes on the Musicologie website.
  99. ^ Jak Chayli, "Les dialogues sur la musique d'Alexandre Beloselskij", Revue des études qullar 45, 1966, pp. 93–103.
  100. ^ The manuscript score is onlayn.
  101. ^ "Thomas der Zug Spielzeug | Ein Schlüssel zum Verständnis von Thomas Train Characters ist eine handliche Thomas Train Character Guide für Jungen und Mädchen zur Auswahl".
  102. ^ "Martin Hennessy: Works Available Through This Site". www.martinhennessy.net.
  103. ^ A performance in German onlayn.
  104. ^ Track 9, available on YouTube.
  105. ^ Antoine de Léris, Dictionnaire des Théâtres, Paris 1763,online quotation.
  106. ^ Jozef Mari Kerar, La France littéraire, ou Dictionnaire bibliographique, Paris 1835, p. 196.
  107. ^ Lisa Allen's photographs of the ballet are available onlayn.
  108. ^ Jamake Highwater, Dance: Rituals of Experience, Oxford University 1996, pp. 179–81.
  109. ^ There is an excerpt onlayn.
  110. ^ Hans Dieter Schaal: Stage Architecture Stuttgart and London 2002, 48-51 betlar.
  111. ^ Stenli Sadi, Musiqa va musiqachilarning yangi Grove lug'ati, New York, 1980, 13:544–545.
  112. ^ "Aus Odysseus' Fahrten, Op. 6 (Boehe, Ernst) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music". imslp.org.
  113. ^ "Michael Amann – Komponist & Musikpädagoge". Michael Amann – Komponist & Musikpädagoge.
  114. ^ "Vorarlberg musical documentation centre". Arxivlandi asl nusxasi 2016-04-17. Olingan 2019-03-10.
  115. ^ Mavjud: YouTube.
  116. ^ "Composer's website". Arxivlandi asl nusxasi 2012 yil 17-iyulda.
  117. ^ Brandenburg, Detlef (14 September 2014). "Regie auf Irrfahrt". Die Deutsche Bühne (nemis tilida). Olingan 17 iyul 2019.
  118. ^ "Disbelieving in Witchcraft: Allori's Melancholic Circe in the Palazzo Salviati," Athanor 22 (2004), 57-65-betlar.
  119. ^ "Enchanter'S Nightshade | Definition of Enchanter'S Nightshade by Lexico". Lug'at lug'atlari | Ingliz tili. Arxivlandi asl nusxasi 2016 yil 4 martda.
  120. ^ a b Plaitakis A, Duvoisin RC (March 1983). "Homer's moly identified as Galanthus nivalis L.: physiologic antidote to stramonium poisoning". Neyrofarmakol klinikasi. 6 (1): 1–5. doi:10.1097/00002826-198303000-00001. PMID  6342763. S2CID  19839512.
  121. ^ Yunon va Rim biografiyasi va mifologiyasi lug'ati.
  122. ^ Titus Livius, Ab Urbe Kondita, 1:49.
  123. ^ Turlarning tafsilotlari; there are pictures on the Conchology website.
  124. ^ Jeremi M. Berg; Jon L. Timoczko; Lubert Stryer (2006). Biokimyo. Nyu-York: Freeman. ISBN  978-0-7167-6766-4.

Bibliografiya

Qadimgi

  • Hesiod. The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White. Teogoniya, Kembrij, MA, Garvard universiteti matbuoti; London, William Heinemann Ltd. 1914.
  • Gomer. Ingliz tilidagi tarjimasi bilan "Odisseya" A.T. Myurrey, tibbiyot fanlari doktori ikki jildda, Kembrij, MA, Garvard universiteti matbuoti; London, William Heinemann Ltd. 1919.
  • Lactantius Placidus, Commentarii in Statii Thebaida.
  • Ovid, Metamorfozalar xiv.248–308.
  • Servius, In Aeneida vii.190.

Zamonaviy

Tashqi havolalar