Download A Commentary on Euripides’ Iphigenia in Tauris by Poulheria Kyriakou PDF
By Poulheria Kyriakou
This can be the 1st significant remark onEuropides' Iphigenia in Tauris to seem in English in additional than sixty five years and does complete justice to an undeservedly missed tragedy. It sheds gentle on Euripides' exciting therapy of fable, which makes the play an attractive test in his profession. The creation and statement speak about largely the play's recognized popularity and intrigue scenes and its attention-grabbing presentation of the connection of gods and people. The statement additionally deals clean insights into the play's advanced depiction of Greeks and barbarians, and the function of cult in 5th century Athens.
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Extra resources for A Commentary on Euripides’ Iphigenia in Tauris
He then cooperates with Orestes in killing Thoas and thus ensuring the escape of the fugitives to Greece. One fragment of this play (727) surfaces in a paratragic context in Aristophanes' Aves (1240), dated to 414 BC. This makes Sophocles' play earlier than Aristophanes' and thus probably earlier than IT. The problem is that the only source of information about the plot of Chryses is Hyginus (Fab. 5-121) but it is far from certain that his summaries reproduce the plot of Sophocles' or of any play earlier than IT.
On 1068b-74. 32 See Cropp p. 57 n. 110. 33 For a similar arrangement see Seaford on Cy. 345-46 who points out that the altar in the cave of Cyclops is introduced so that the abominable sacrifice, which the chorus of satyrs reject vehemently, does not take place at the orchestra altar. For the altar in general see Arnott (1962) 45ff. and cf. P. Poe, "The Altar in the Fifth-Century Theatre" ClAnt 8 (1989) 116ff. 38 Introduction The temple is near the sea (1196) but in the city or its outskirts since Iphigeneia urges the king to warn the citizens to stay at home when she and the captives will cross the city on their way to the shore for the supposed purification (1209-12).
Although she has experienced two most unexpected and radical reversals of fortune already at Aulis and she explicitly acknowledges the inscrutability of divine designs, she has no reservations in interpreting her dream and Artemis' attitude toward the sacrifices according to her beliefs. Even after another, major and joyous, reversal of fortune, the proof that her interpretation of the dream was wrong, and the double recognition, Iphigeneia (and the Greek crew) is still quick to assume that Artemis sent the wind and to address a prayer to the goddess for favorable weather (1397-1405).