By Poulheria Kyriakou
This is often the 1st significant observation onEuropides' Iphigenia in Tauris to seem in English in additional than sixty five years and does complete justice to an undeservedly ignored tragedy. It sheds mild on Euripides' fascinating remedy of fantasy, which makes the play an enticing scan in his profession. The advent and statement speak about greatly the play's recognized acceptance and intrigue scenes and its interesting presentation of the connection of gods and people. The observation additionally deals clean insights into the play's complicated depiction of Greeks and barbarians, and the position of cult in 5th century Athens.
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Additional info for A Commentary on Euripides’ Iphigenia in Tauris
5-121) but it is far from certain that his summaries reproduce the plot of Sophocles' or of any play earlier than IT. As Platnauer (xii-xiii) suggests, Chryses may have dramatized the wanderings of the hero in search of Iphigeneia after the murder of Agamemnon. 12 See the remarks in the commentaries of Stevens 13-14 and Willink xlviii-lii. 20 Introduction There may have been an old goddess Iphigeneia, who assisted in births, as her name perhaps indicates, and became eventually subordinated to Artemis and identified with the daughter of Agamemnon Iphigeneia or Iphimede.
In front of the temple there is a blood-stained altar with the remains of sacrificed victims hanging from it (see on 7475). 33 31 For the shape of the orchestra, circular from the fourth century onwards but perhaps rectangular or trapezoidal earlier, see Moretti (2000) 392-96. S. Scullion, Three Studies in Athenian Dramaturgy (Stuttgart 1994) 3-66, and D. Wiles, Tragedy in Athens (Cambridge 1997) 44-53, argue for the circular form. For the acting area cf. on 1068b-74. 32 See Cropp p. 57 n. 110.
15, 1454a31-32). 28 27 Examples of such well-chosen but not necessarily plot-dictated details are Iphigeneia's magnanimity toward her father (549, 992-93) and her respect for T h o a s ' life (1020-23), Orestes' concern for Electra (706-7), Pylades' fear of public slander (676-86) and Thoas' esteem for the priestess (1202, 1214). g. ) after her declaration of ruthlessness (348-50), are not particularly surprising or impossible to explain in psychological or characterological terms. 28 The contradictions and reversals in these late plays are not as glaring as they might at first seem; see Willink li-lii and Stockert 26-37; cf.
A Commentary on Euripides’ Iphigenia in Tauris by Poulheria Kyriakou