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Added example(s)
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* AngstAversion: A lot of readers (including translator Gilbert Murray) just simply can't finish the play because of how bleak and hopeless it is, with the only hope for the characters being Athena and Poseidon's curse on the Greek warriors and Cassandra's promise of bringing ruin to Agamemnon.
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* BaseBreakingCharacter: Helen. Being easily the least sympathetic female character of the group as well as having a war waging because of her that led to the entire tragedy doesn't do her any favors.
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* BaseBreakingCharacter: Helen. Being easily the least sympathetic female character of the group as well as having a war waging because of her that led to the entire tragedy doesn't do her any favors. Even in the 1971 film adaptation, the critics were split between finding Irene Papas miscast (and thinking co-star Vanessa Redgrave would be better as the WorldsMostBeautifulWoman) and the famously CausticCritic Pauline Kael declaring "you can believe men would fight over her".
* SugarWiki/HeReallyCanAct: Brian Blessed is best remembered as a LargeHam, but this movie is often pointed to by people who like to prove he had plenty to offer as an actor as well.
* SugarWiki/HeReallyCanAct: Brian Blessed is best remembered as a LargeHam, but this movie is often pointed to by people who like to prove he had plenty to offer as an actor as well.
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** Interestingly, Euripedes wrote another play, ''Helen'', that proposed that ''neither'' was true; the Judgement of Paris really happened, but the real Helen was spirited away to Egypt by Athena and Hera, and the 'Helen' who ran away with Paris was an illusion... which, if true to this play as well, would mean the whole argument was pointless since the Helen who appeared in ''The Trojan Women'' would've been the illusion and the real Helen would be unambiguously innocent of everything.
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Changed line(s) 1 (click to see context) from:
* AngstAversion: A lot of readers (including translator Gilbert Murray) just simply can't finish the play because of how bleak and hopeless it is, with the only hope for the characters being Athena and Poseidon's curse on the Greek warriors and Cassandra's promise of bringing ruin to Agamemnon.
to:
* AlternateCharacterInterpretation: Helen's character hinges on the Judgement of Paris; she says it happened while Hecuba says it didn't. If Hecuba is right, then Helen is something of a {{Jerkass}} who thinks it's NeverMyFault and her treatment is at least somewhat karmic, while if Helen is right, then she had absolutely no agency in the start of the war and is blamed for Aphrodite being a JerkassGod.
* AngstAversion: A lot of readers (including translator Gilbert Murray) just simply can't finish the play because of how bleak and hopeless it is, with the only hope for the characters being Athena and Poseidon's curse on the Greek warriors and Cassandra's promise of bringing ruin to Agamemnon.
* AngstAversion: A lot of readers (including translator Gilbert Murray) just simply can't finish the play because of how bleak and hopeless it is, with the only hope for the characters being Athena and Poseidon's curse on the Greek warriors and Cassandra's promise of bringing ruin to Agamemnon.
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* TheWoobie: The entire Trojan female population, but those who stand out are Hecuba and Andromache.
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* TheWoobie: TheWoobie:
** The entire Trojan female population, but those who stand out are Hecuba andAndromache.Andromache.
** Helen might be this or a JerkassWoobie, depending on whether you think the Judgement of Paris is 'canon' to the story. If it is, she's treated as a prize in a divine popularity contest just because she's pretty and everyone hates her for something Aphrodite mind-controlled her into doing. If it isn't, she made a stupid mistake as a young woman and has thus spent 10 years in a city that absolutely hated her, she gets zero sympathy from the other women, and still only barely avoids being executed.
** The entire Trojan female population, but those who stand out are Hecuba and
** Helen might be this or a JerkassWoobie, depending on whether you think the Judgement of Paris is 'canon' to the story. If it is, she's treated as a prize in a divine popularity contest just because she's pretty and everyone hates her for something Aphrodite mind-controlled her into doing. If it isn't, she made a stupid mistake as a young woman and has thus spent 10 years in a city that absolutely hated her, she gets zero sympathy from the other women, and still only barely avoids being executed.
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Changed line(s) 1 (click to see context) from:
* AngstAversion: A lot of readers (including translator Gilbert Murray) just simply can't finish the play because of how bleak and hopeless it is, with the only hope for the characters is Athena and Poseidon's curse on the Greek warriors and Cassandra's promise of bringing ruin to Agamemnon.
to:
* AngstAversion: A lot of readers (including translator Gilbert Murray) just simply can't finish the play because of how bleak and hopeless it is, with the only hope for the characters is being Athena and Poseidon's curse on the Greek warriors and Cassandra's promise of bringing ruin to Agamemnon.
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* TearJerker: The entire play from beginning to end is miserable and heart-wrenching read.
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* TearJerker: The entire play from beginning to end is a miserable and heart-wrenching read.
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Some Anvils Need To Be Dropped got cut.
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* SomeAnvilsNeedToBeDropped: WOMEN ARE PEOPLE, NOT OBJECTS OR TROPHIES, with pain, dreams and hopes of their own. No, being on the side of the enemy doesn't negate that. This sentiment unfortunately didn't amuse or get through to the Ancient Greek audience.
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* {{Applicability}}: Due to its universal themes of WarIsHell, playwrights often update or reference more familiar settings in their adaptations. This can range from Sartre using it to criticize European imperialism to setting it in the 19th century African kingdom of Owu to [[Literature/TheGateToWomensCountry post-apocalyptic sci-fi]].
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* AngstAversion: A lot of readers (including translator Gilbert Murray) just simply can't finish the play because of how bleak and hopeless it is, with the only hope for the characters is Athena and Poseidon's curse on the Greek warrior Cassandra's promise of bringing ruin to Agamemnon.
to:
* AngstAversion: A lot of readers (including translator Gilbert Murray) just simply can't finish the play because of how bleak and hopeless it is, with the only hope for the characters is Athena and Poseidon's curse on the Greek warrior warriors and Cassandra's promise of bringing ruin to Agamemnon.
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* AngstAversion: A lot of readers (including translator Gilbert Murray) just simply can't finish the play because of how bleak and hopeless it is, with the only hope for the characters is Athena and Poseidon's curse on the Greek warrior Cassandra's promise of bringing ruin to Agamemnon.
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Moving the example to under a more proper trope
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* SomeAnvilsNeedToBeDropped: WarIsHell, no matter if it was 1200 BC, 415 BC or even 2000 AD. The message is timeless and universal, which is why the tragedy has aged so well.
** WOMEN ARE PEOPLE, NOT OBJECTS OR TROPHIES, with pain, dreams and hopes of their own. No, being on the side of the enemy doesn't negate that. This sentiment unfortunately didn't amuse or get through to the Ancient Greek audience.
** WOMEN ARE PEOPLE, NOT OBJECTS OR TROPHIES, with pain, dreams and hopes of their own. No, being on the side of the enemy doesn't negate that. This sentiment unfortunately didn't amuse or get through to the Ancient Greek audience.
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* SomeAnvilsNeedToBeDropped: WarIsHell, no matter if it was 1200 BC, 415 BC or even 2000 AD. The message is timeless and universal, which is why the tragedy has aged so well.
**WOMEN ARE PEOPLE, NOT OBJECTS OR TROPHIES, with pain, dreams and hopes of their own. No, being on the side of the enemy doesn't negate that. This sentiment unfortunately didn't amuse or get through to the Ancient Greek audience.
**
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* ValuesResonance: WarIsHell, no matter if it was 1200 BC, 415 BC or even 2000 AD. The message is timeless and universal, which is why the tragedy has aged so well.
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* TearJerker: The entire play from beginning to end is miserable and heart-wrenching read.
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Not a YMMV trope
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* RealitySubtext: As Creator/{{Euripides}} was fond of using old myths to explore the quandaries of contemporary Athenian culture there are undertones of some of his contemporary issues:
** It was produced during UsefulNotes/ThePeloponnesianWar, when for the sake of its hegemony Athens subjected the pacific island of Melos, slaughtering and enslaving its people;
** That was also the year of the scandalous desecration of the ''hermai'' [[note]] A simple squared sculpture with a head and male genitals carved in the lower section, which were placed at crossings, country borders and boundaries as a symbol of Hermes' protection, and vandalizing them was seen as a big no-no for Greeks [[/note]] and was also the Athenians' second expedition to Sicily, maybe reflected by Cassandra's vicious rape in Athena's temple (another big no-no, as intercourse was forbidden inside the temples) and Sicily is mentioned by the GreekChorus.
** It was produced during UsefulNotes/ThePeloponnesianWar, when for the sake of its hegemony Athens subjected the pacific island of Melos, slaughtering and enslaving its people;
** That was also the year of the scandalous desecration of the ''hermai'' [[note]] A simple squared sculpture with a head and male genitals carved in the lower section, which were placed at crossings, country borders and boundaries as a symbol of Hermes' protection, and vandalizing them was seen as a big no-no for Greeks [[/note]] and was also the Athenians' second expedition to Sicily, maybe reflected by Cassandra's vicious rape in Athena's temple (another big no-no, as intercourse was forbidden inside the temples) and Sicily is mentioned by the GreekChorus.
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* BaseBreakingCharacter: Helen. Being easily the least sympathetic female character of the group as well as having a war waging because of her that led to the entire tragedy doesn't do her much favor.
* OneSceneWonder: Cassandra appears in a single scene where she lights the fires to celebrate her "marriage" to Agamemnon, where she totally steals the scene with her wild {{Foreshadowing}} and a ''very'' sympathetic purpose of revenge.
* OneSceneWonder: Cassandra appears in a single scene where she lights the fires to celebrate her "marriage" to Agamemnon, where she totally steals the scene with her wild {{Foreshadowing}} and a ''very'' sympathetic purpose of revenge.
to:
* BaseBreakingCharacter: Helen. Being easily the least sympathetic female character of the group as well as having a war waging because of her that led to the entire tragedy doesn't do her much favor.
any favors.
* OneSceneWonder: Cassandra appears in a single scene where she lights the fires to celebrate her "marriage" to Agamemnon,where and she totally steals the scene with her wild {{Foreshadowing}} and a ''very'' sympathetic purpose of revenge.
* OneSceneWonder: Cassandra appears in a single scene where she lights the fires to celebrate her "marriage" to Agamemnon,
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** It was produced during UsefulNotes/ThePeloponnesianWar, when fir the sake of its hegemony Athens subjected the pacific island of Melos, slaughtering and enslaving its people;
** That was also the year of was also the year of the scandalous desecration of the ''hermai'' [[note]] A simple squared sculpture with a head and male genitals carved in the lower section, which were placed at crossings, country borders and boundaries as a symbol of Hermes' protection, and vandalized them was saw as a big no-no for Greeks [[/note]] and also the Athenians' second expedition to Sicily, maybe reflected by Cassandra's vicious rape in Athena's temple (another big no-no, as intercourses were forbidden inside the temples) and Sicily is mentioned by the GreekChorus.
* RescuedFromTheScrappyHeap: This play did thid to many of the flat female chracters in the Trojan war mythology while boosting up old favorite Cassandra. The most prominent examples are Hecuba, Andromache and Helen who went from SatelliteCharacter to the lead in their titular plays.
* SomeAnvilsNeedToBeDropped: WarIsHell, no matter if it was the 1200 BC, the 415 BC or even the 2000 AD. The message it's timeless and universal, which is why the tragedy has aged so well.
** WOMEN ARE PEOPLE, NOT OBJECTS OR TROPHIES, with pain, dream and hope of their own. No, being on the side of the enemy doesn't negate that. This sentiment unfortunately didn't amuse or get through to the Ancient Greeks audience.
* TheWoobie: The entire Trojan female population, but those who stands up are Hecuba and Andromache.
** That was also the year of was also the year of the scandalous desecration of the ''hermai'' [[note]] A simple squared sculpture with a head and male genitals carved in the lower section, which were placed at crossings, country borders and boundaries as a symbol of Hermes' protection, and vandalized them was saw as a big no-no for Greeks [[/note]] and also the Athenians' second expedition to Sicily, maybe reflected by Cassandra's vicious rape in Athena's temple (another big no-no, as intercourses were forbidden inside the temples) and Sicily is mentioned by the GreekChorus.
* RescuedFromTheScrappyHeap: This play did thid to many of the flat female chracters in the Trojan war mythology while boosting up old favorite Cassandra. The most prominent examples are Hecuba, Andromache and Helen who went from SatelliteCharacter to the lead in their titular plays.
* SomeAnvilsNeedToBeDropped: WarIsHell, no matter if it was the 1200 BC, the 415 BC or even the 2000 AD. The message it's timeless and universal, which is why the tragedy has aged so well.
** WOMEN ARE PEOPLE, NOT OBJECTS OR TROPHIES, with pain, dream and hope of their own. No, being on the side of the enemy doesn't negate that. This sentiment unfortunately didn't amuse or get through to the Ancient Greeks audience.
* TheWoobie: The entire Trojan female population, but those who stands up are Hecuba and Andromache.
to:
** It was produced during UsefulNotes/ThePeloponnesianWar, when fir for the sake of its hegemony Athens subjected the pacific island of Melos, slaughtering and enslaving its people;
** Thatwas also the year of was also the year of the scandalous desecration of the ''hermai'' [[note]] A simple squared sculpture with a head and male genitals carved in the lower section, which were placed at crossings, country borders and boundaries as a symbol of Hermes' protection, and vandalized vandalizing them was saw seen as a big no-no for Greeks [[/note]] and was also the Athenians' second expedition to Sicily, maybe reflected by Cassandra's vicious rape in Athena's temple (another big no-no, as intercourses were intercourse was forbidden inside the temples) and Sicily is mentioned by the GreekChorus.
* RescuedFromTheScrappyHeap: This play didthid this to many of the flat female chracters characters in the Trojan war War mythology while boosting up old favorite Cassandra. The most prominent examples are Hecuba, Andromache and Helen Helen, who went from SatelliteCharacter to the lead in their titular plays.
* SomeAnvilsNeedToBeDropped: WarIsHell, no matter if it wasthe 1200 BC, the 415 BC or even the 2000 AD. The message it's is timeless and universal, which is why the tragedy has aged so well.
** WOMEN ARE PEOPLE, NOT OBJECTS OR TROPHIES, with pain,dream dreams and hope hopes of their own. No, being on the side of the enemy doesn't negate that. This sentiment unfortunately didn't amuse or get through to the Ancient Greeks Greek audience.
* TheWoobie: The entire Trojan female population, but those whostands up stand out are Hecuba and Andromache.
** That
* RescuedFromTheScrappyHeap: This play did
* SomeAnvilsNeedToBeDropped: WarIsHell, no matter if it was
** WOMEN ARE PEOPLE, NOT OBJECTS OR TROPHIES, with pain,
* TheWoobie: The entire Trojan female population, but those who
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* BaseBreakingCharacter: Helen. Being easily the least sympathetic female character of the group as well as having a war waging because of her that led to the entire tragedy doesn't do her much favor.
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** It was produced during UsefulNotes/ThePeloponnesianWar, when fir the sake of its hegemony Athens subjected the pacific island of Melos, slaughtering and enslaving his people,
to:
** It was produced during UsefulNotes/ThePeloponnesianWar, when fir the sake of its hegemony Athens subjected the pacific island of Melos, slaughtering and enslaving his people,its people;
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* RescuedFromTheScrappyHeap: This play did thid to many of the flat female chracters in the Trojan war mythology while boosting up old favorites like Cassandra. The most prominent examples are Hecuba, Andromache and Helen who went from SatelliteCharacter to the lead in their titular plays.
to:
* RescuedFromTheScrappyHeap: This play did thid to many of the flat female chracters in the Trojan war mythology while boosting up old favorites like favorite Cassandra. The most prominent examples are Hecuba, Andromache and Helen who went from SatelliteCharacter to the lead in their titular plays.
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Changed line(s) 5 (click to see context) from:
* RescuedFromTheScrappyHeap: This play did thid to many of the flat female chracters in the Trojan war mythology while boosting up old favorites like Cassandra, Hecuba and Helen that would continue in their titular plays.
to:
* RescuedFromTheScrappyHeap: This play did thid to many of the flat female chracters in the Trojan war mythology while boosting up old favorites like Cassandra, Hecuba Cassandra. The most prominent examples are Hecuba, Andromache and Helen that would continue who went from SatelliteCharacter to the lead in their titular plays.
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** WOMEN ARE PEOPLE, NOT OBJECT OR TROPHIES, with pain, dream and hope of their own. This sentiment unfortunately didn't amuse or get through to the Ancient Greeks audience.
to:
** WOMEN ARE PEOPLE, NOT OBJECT OBJECTS OR TROPHIES, with pain, dream and hope of their own.own. No, being on the side of the enemy doesn't negate that. This sentiment unfortunately didn't amuse or get through to the Ancient Greeks audience.
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** Women are people too with pain, dream and hope of their own. This sentiment unfortunately didn't amuse or get through to the Ancient Greeks audience.
to:
** Women are people too WOMEN ARE PEOPLE, NOT OBJECT OR TROPHIES, with pain, dream and hope of their own. This sentiment unfortunately didn't amuse or get through to the Ancient Greeks audience.
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** Women are people too with pain, dream and hope of their own. This sentiment unfortunately didn't amuse the Ancient Greeks audience.
to:
** Women are people too with pain, dream and hope of their own. This sentiment unfortunately didn't amuse or get through to the Ancient Greeks audience.
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None
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* RescuedFromTheScrappyHeap: This play did thid to many of the flat female chracters in the Trojan war mythology while boosting up old favorites like Cassandra, Hecuba and Helen that would continue in their titular plays.
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** Women are people too with pain, dream and hope of their own. This sentiment unfortunately didn't amuse the Ancient Greeks audience.
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None
Added line(s) 4 (click to see context) :
* OneSceneWonder: Cassandra appears in a single scene where she lights the fires to celebrate her "marriage" to Agamemnon, where she totally steals the scene with her wild {{Foreshadowing}} and a ''very'' sympathetic purpose of revenge.
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* SomeAnvilsNeedToBeDropped: WarIsHell, no matter if it was the 1200 BC, the 415 BC or even the 2000 AD. The message it's timeless and universal, which is why the tragedy has aged so well.
to:
* SomeAnvilsNeedToBeDropped: WarIsHell, no matter if it was the 1200 BC, the 415 BC or even the 2000 AD. The message it's timeless and universal, which is why the tragedy has aged so well.well.
* TheWoobie: The entire Trojan female population, but those who stands up are Hecuba and Andromache.
* TheWoobie: The entire Trojan female population, but those who stands up are Hecuba and Andromache.
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None
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* RealitySubtext: As Creator/{{Euripides}} was fond of using old myths to explore the quandaries of contemporary Athenian culture there are undertones of some of his contemporary issues:
** It was produced during UsefulNotes/ThePeloponnesianWar, when fir the sake of its hegemony Athens subjected the pacific island of Melos, slaughtering and enslaving his people,
** That was also the year of was also the year of the scandalous desecration of the ''hermai'' [[note]] A simple squared sculpture with a head and male genitals carved in the lower section, which were placed at crossings, country borders and boundaries as a symbol of Hermes' protection, and vandalized them was saw as a big no-no for Greeks [[/note]] and also the Athenians' second expedition to Sicily, maybe reflected by Cassandra's vicious rape in Athena's temple (another big no-no, as intercourses were forbidden inside the temples) and Sicily is mentioned by the GreekChorus.
* SomeAnvilsNeedToBeDropped: WarIsHell, no matter if it was the 1200 BC, the 415 BC or even the 2000 AD. The message it's timeless and universal, which is why the tragedy has aged so well.
** It was produced during UsefulNotes/ThePeloponnesianWar, when fir the sake of its hegemony Athens subjected the pacific island of Melos, slaughtering and enslaving his people,
** That was also the year of was also the year of the scandalous desecration of the ''hermai'' [[note]] A simple squared sculpture with a head and male genitals carved in the lower section, which were placed at crossings, country borders and boundaries as a symbol of Hermes' protection, and vandalized them was saw as a big no-no for Greeks [[/note]] and also the Athenians' second expedition to Sicily, maybe reflected by Cassandra's vicious rape in Athena's temple (another big no-no, as intercourses were forbidden inside the temples) and Sicily is mentioned by the GreekChorus.
* SomeAnvilsNeedToBeDropped: WarIsHell, no matter if it was the 1200 BC, the 415 BC or even the 2000 AD. The message it's timeless and universal, which is why the tragedy has aged so well.