Aristophanes and Alcibiades: Echoes of Contemporary History by Michael Vickers

By Michael Vickers

This learn of Aristophanes presents the foundation for a complete re-evaluation not just of Aristophanes as a poet and playwright, but additionally of our belief of politics and the position of the theatre in classical Athens.

It indicates how Aristophanes used allegorical ability to touch upon the day by day political issues of Athenians, specifically the issues awarded by way of the sluggish emergence of Alcibiades as essentially the most strong figures within the kingdom.

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Georgie attended the Collège Calvin, where classes were in French; despite his own version of events, it would seem that he never in fact passed his baccalauréat. He did make vital literary discoveries: the poetry of Walt Whitman of whom he remained a lifelong admirer, and the philosophy of Schopenhauer. He also made a good friend, Maurice Abramovich, who introduced him to French symbolist poetry. In 1917, through the revolutionary events unfolding in Russia, Borges and his friends espoused revolutionary socialism; Borges was fiercely anti-militaristic, a position to which he would return very late in his life.

Lo repiten infinitamente en nosotros, como si Carriego perdurara disperso en nuestros destinos, como si cada uno de nosotros fuera por unos segundos Carriego. ) que aniquilan el supuesto correr del tiempo, prueban la eternidad’ (I 119). LIFE AND LITERATURE 25 previously unnoticed, which revealed to Carriego that the universe (which is entirely in being in each moment, in any place, and not only in the works of Dumas) was also there, in the mere present, in Palermo, in 1904. Come in, for the gods are here too, said Heraclitus of Ephesus to the people who found him warming himself in the kitchen.

10 Argentinian life is not exile; Palermo is the centre of the world. The Emer­ sonian pantheism seen here underlies much of Borges’s world; the moment that defines a life is explored in stories like ‘A Biography of Tadeo Isidoro Cruz’. From the publication of Cuaderno San Martín in 1929, until the compilation The Maker in 1960, Borges published no collections of poetry. His works of the thirties give the impression of a man casting round in a somewhat forlorn way for a voice. In Evaristo Carriego his own voice is mediated by that of another; in Discusión, and A History of Eternity (1936) he wrote erudite, obscure and bookish essays.

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