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THE SYMBOLISMS AND DRAMATURGIC NOTIONS IN THE TROJAN WOMEN UNDER JEAN PAUL SARTRE’S POLITICAL AND PHILOSOPHICAL VIEW
Abstract
The present study examines the contemporary rewriting in the French language of Euripides' play The Trojan Women by Jean Paul Sartre. The French philosopher having the intention once more to deal with humanity’s big problems, he intensifies Euripides’ text with elements drawn from modern society and era. The theme dealt with is war and suppression, along with their conviction, a pattern especially popular with the creator since it is the one he deals with in his debut drama Bariona ou le fils de tonnerre (1940). Also, The Trojan Women (1964) linguistic style matches that of Bariona and Nekrassov (1955), since the personalities of the main heroes in all three plays are governed by the same notions: self – denial, rebelliousness and a firm belief in the ideals. The element which distinguishes the abovementioned texts from the rest of the writer’s dramaturgic work is their abstinence from an existential and psychological – analytical spirit. Thus, the existentialist dramaturgist’s familiar speech with which so many scholars have been preoccupied is almost absent from The Trojan Women. The Sartre’s goal is to “shout out loud” Euripides’ big truths and in order to achieve it, he instills into his heroes additional characteristics, thus giving them an even more rebellious and aggressive constitution than the already existing one, expressed by a modern glossolalia. In The Trojan Women, the pioneer writer also deals with the impaired place of woman in contemporary society, an idea also existing in current days.
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References15
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