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@article{147483,
        author = {V.Poornima and M. VANMATHI},
        title = {The harmonic work and depiction of god in Euripides },
        journal = {International Journal of Innovative Research in Technology},
        year = {},
        volume = {5},
        number = {8},
        pages = {134-136},
        issn = {2349-6002},
        url = {https://ijirt.org/article?manuscript=147483},
        abstract = {Nigerian author Femi Osofisan’s latest description of Euripides' The Trojan Women is an African retelling of the Greek tragedy. The Trojan Women, the play opens with Poseidon and Athena. They will be in agreement to stick together navy to rebuke the Greeks and make their homecoming voyage as excruciating as probable.  Hence, where Athena joins Poseidon at the commencement of the engage in recreation to arrangement for the shipwreck of the Greeks, Osofisan’s Anlugbua does not convene his feminine equivalent until after the sight between Erelu and the chorus.  Considerably, Osofisan displaces the conversation between the gods from its unique place as a preface to the third scene. While Euripides informs his viewers from the start that the mortals are at the mercy of the gods, Osofisan makes it obvious that the gods place by weakly while humans hold accountability.  The Yoruba pantheon and the Greek pantheon likewise are characterized as being human in the sense that they act like human beings, being subject matter to many failings and follies. In their quarrels they habitually use human beings as their instruments},
        keywords = {Osofisan, Yoruba, Greek tragedy, Intertextuality, Lamentation},
        month = {},
        }