By Poulheria Kyriakou
This is often the 1st significant statement 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 gentle on Euripides' interesting therapy of fantasy, which makes the play an attractive scan in his occupation. The creation and observation speak about widely the play's well-known popularity and intrigue scenes and its interesting presentation of the connection of gods and people. The remark additionally deals clean insights into the play's advanced depiction of Greeks and barbarians, and the position of cult in 5th century Athens.
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Extra info for A Commentary on Euripides’ Iphigenia in Tauris
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). ) Iphigeneia's assumption is plausible and never explicitly proven wrong in the play. Nevertheless, the failure of the prayer to bring about the desired result and especially the absence of any hint in Athena's speech that Artemis sent the wind indicate that she probably did not.
27 If so, then the characterization seems to have been pursued, to some extent at least, for its own sake and may be counted among the play's innovations or peculiarities. ), more than two thirds into the play, if not until her last reported utterance, the prayer to Artemis to stop the wind and allow the passage of the priestess to Greece (13981402). This fairly full characterization is a source of dramatic interest, although it is remarkably consistent and none of its elements comes as a stark surprise to the audience.
In this case, the men addressed and dismissed at 468-71 are Taurian guards who brought the captives to the temple, with or without the cowherd. Alternatively, the captives may have been brought to the temple by the cowherd only and thus the men addressed at 468-71 are the assistants (or escorts and assistants may be dismissed together). If so, then the servants addressed at 638 are the chorus and those dismissed at 725-26 at least two men who accompanied Iphigeneia in her exit. 36 V. Date There is no external information about the dating of the play.
A Commentary on Euripides’ Iphigenia in Tauris by Poulheria Kyriakou