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满河蛙声
唐子说,不是听你的不听你的,我问问吧。光着身子的唐子竟然站起来喊:小碟子,你听着,俺四哥冬暖想娶你当老婆!你愿意吗?小碟子好像没听见,但她显然是注意到了我们四个男孩子。结果,跟国的一句要命的话,让她疯了一般扑过来,她的小辫子翘翘着,一耸一耸的胸脯,那是明显地在生气。跟国喊了一句什么呢?跟国喊:小碟子,小碟子,俺四哥想跟你睡觉。完了,完了。冬暖站起来捂跟国的嘴巴已经来不及了。小碟子攥住月牙镰刀,眼里噙着泪,在河堤上跳着大骂。她边上就是我们停着的独轮车子。她一边哭,一边骂我们是流氓。没想到女孩子这么能骂啊。她骂,我们也跟着骂。只有冬暖不还口,他一点点地向小碟子靠近,小碟子瞪着眼睛说,你过来,我就把你的头割下来。冬暖说,你误会了,误会了。Burial at Thebes
Commissioned to mark the centenary of the Abbey Theatre in Dublin in 2004, The Burial at Thebes is Seamus Heaney's new verse translation of Sophocles' great tragedy, Antigone - whose eponymous heroine is one of the most sharply individualized and compelling figures in Western drama. Faithful to the 'local row' and to the fierce specificity of the play's time and place, The Burial at Thebes honours the separate and irreconcilable claims of its opposed voices, as they enact the ancient but perennial conflict between family and state in a time of crisis, pitching the morality of private allegiance against that of public service. Above all, The Burial at Thebes honours the sovereign urgency and grandeur of the Antigone, in which language speaks truth to power, then and now.