By Honoré de Balzac
Balzac is anxious with the alternative among ruthless self-gratification and asceticism, dissipation and reticence, in a singular that's strong in its symbolism and real looking depiction of decadence.
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Additional resources for The Wild Ass's Skin
162–3, 778–9). 40 For Apollo in the Oresteia see Roberts (1984), ch. 3. On the Erinyes and their background, see Sewell-Rutter (2007), ch. 4. 42 In Eum. the Erinyes apply a broader range of punishments (186–90) to a narrower range of crimes, though the latter is not deﬁned consistently. At 210–12, 336, 355–6 they imply that they pursue only those who have killed a relative, and they are not concerned for Aegisthus’ claim against Orestes. But at 316–20, 421 they avenge homicide in general. 43 Eum.
Cassandra’s divesting herself of her prophetic garments would have made another memorable moment (1264–8; it inﬂuenced Eur. Tro. 451–4). The revelation of Clytemnestra with the bath and corpses has been described above; this spectacle is an important part of the dramatic structure, since it is pointedly paralleled by the tableau of Orestes and corpses at Cho. 973. The play’s ending also relies for its eﬀect on the visual, as the Chorus squares up against Aegisthus’ bodyguards, with staﬀs drawn against swords, and is perhaps forced out of the theatre by them, in lieu of the choral coda which seems to have been conventional (see the ﬁnal n.
L. Austin (1962). cf. also the popular superstition of ‘jinxing’ something by praising it excessively. 75 In the later sixth century, Homer was being recited in Athens at the Panathenaea. g. Herington (1985), Scullion (2002). 76 Lines 20, 121, 217, 255, 349, 674, 998–1000, 1249. Schenker (1999), 649–57 adopts a similar position to us on these passages. Introduction li material for prophecy. 77 More generally, in the popular Greek form of divination by κληδ νε a chance remark could be interpreted as an omen, whether intended as such or not.