This is the classic story pattern for Greek tragedy.

这是希腊悲剧故事的经典结构。

You would think I was in a Greek tragedy.

你会以为我在演希腊悲剧。

This is an opera in seven parts, based on the trilogy of ancient Greek tragedies by Aeschylus.

这是分为七部分的歌剧，基于埃斯库罗斯所写的古希腊悲剧三部曲。

Haven't we seen this in Greek tragedy somewhere?

这个桥段有没有和某希腊悲剧似曾相识？

Of course, these narrative principles transcend classic Greek tragedy.

当然，这些敍事原则超越经典希腊悲剧。

Despite a long history that embraces Greek tragedy and Roman farce, it is a much-derided form of art.

尽管哑剧有着悠久的历史，涵盖了希腊悲剧和罗马闹剧，但它仍然是一种备受嘲笑的艺术形式。

Editions of Terence appeared late in the fifteenth century, followed by translations of Greek tragedies and Aristotle's Poetics.

特伦斯的法语版本出现于15世纪晚期 之后是希腊悲剧和亚里士多德诗学的翻译版。

It's like inviting a Greek tragedy over for dinner.

简直是把希腊悲剧故事邀请来了。

He was an ancient Greek, one of the big three of Greek tragedy, along with Aeschylus and

他是古希腊人，与埃斯库罗斯、希腊悲剧三巨头之一。

To be clear, my interest in ancient Greek tragedy is far from any form of cultural conservatism.

需要明确的是， 我对古希腊悲剧的兴趣远非任何形式的文化保守主义。

When I flew to Athens last summer, it was to fulfill a dream of seeing Greek tragedy performed in Greece.

去年夏天我飞到雅典，就是为了圆一个在希腊看希腊悲剧的梦想。

Greek tragedies are often about eminent families, the better to explore the combustible mix of familial conflict and political struggle.

希腊悲剧往往与显赫家庭有关，更好地探索家庭冲突和政治斗争的易燃混合体。

In fact, one of his most famous plays was retelling the story of a famous Greek tragedy from Aeschylus' Oresteia plays.

事实上，他最著名的戏剧之一是重述埃斯库罗斯 (Aeschylus) 的奥瑞斯忒亚 (Oresteia) 戏剧中的著名希腊悲剧故事。

There is an attempt at it in DIANA OF THE CROSSWAYS. They are confidantes, of course, in Racine and the Greek tragedies.

在《十字路口的黛安娜》中有一次尝试。当然，在拉辛和希腊悲剧中， 他们是知己。

Theatre forms a rich part of every culture, from ancient Greek tragedies and Japanese Kabuki, to Indian Sanskrit epics and the medieval world of Islamic puppet theatre.

在所有文化，剧场都扮演了非常重要的角色，从古希腊悲剧，日本歌舞町伎，再到印度的梵语史诗，中世纪的木偶剧院。

The virtue of Greek tragedy is that it makes such disavowal more difficult by confronting us with a situation of grief-stricken rage and disorder.

希腊悲剧的优点在于， 它使我们面对悲痛欲绝的愤怒和混乱的情况， 从而使这种否认变得更加困难。

This is where, I think, a reflection on Greek tragedy might at the very least illuminate our current predicament and tell us something about our present.

我认为，在这里，对希腊悲剧的反思至少可以阐明我们目前的困境， 并告诉我们一些关于我们现在的事情。

Greek tragedy, particularly with its obsessive focus on the aftermath of the Trojan War, especially in the delightful excessiveness of Euripides, is largely about combat veterans.

希腊悲剧，尤其是它对特洛伊战争后果的过度关注，尤其是在欧里庇得斯令人愉快的过度中，主要是关于退伍军人的。

What we now think of as Greek tragedy is a relatively small corpus from the fifth century B.C., fewer than three dozen plays from the hundreds that were produced over the course of that century.

我们现在所认为的希腊悲剧是公元前五世纪的一个相对较小的语料库，该世纪创作的数百部戏剧中不到三打。

Greek tragedy does not present human beings who are ideally in harmony with themselves, their world, and their gods. There is a gap between what the tragic character is and the ways in which the world acts upon him.

希腊悲剧并没有表现出与他们自己、他们的世界和他们的神灵完美和谐的人。悲剧人物的本质与世界对他的作用方式之间存在差距。