A Commentary on Euripides’ Iphigenia in Tauris by Poulheria Kyriakou

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 ignored tragedy. It sheds gentle on Euripides' exciting therapy of fantasy, which makes the play a fascinating test in his profession. The creation and remark speak about commonly the play's well-known reputation and intrigue scenes and its interesting presentation of the connection of gods and people. The observation 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

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The polarity Greek-barbarian is a source of irony, especially in the deception of Thoas, but the irony is not searing and not at the expense of one side only. Thoas, who esteems the priestess (1180, 1202, 121214) and is viewed by her as the host whose life she feels bound to protect (1021-23), is easily deceived by Iphigeneia. Her success, however, is attributed not to her ethnicity but to her personal intelligence, which is superior to that of all other characters in the play (cf. on 1153-1233).

16 The survival of Iphigeneia does not expose the futility of the murders of Agamemnon and Clytaemestra, as Cropp suggests. In this respect the Euripidean play does not differ from the Aeschylean Oresteia. It is true that, unlike the Oresteia, IT is not concerned with the process of revenge and it touches very lightly on its relationship with justice (559-60; cf. 714-15). g. Burnett (1971) 70-71, Seidensticker (1982) 202-3, W o l f f (1992) 328-29, Goff (1999) 116-23, Cropp 36-37, Dunn (2000) 22-23.

This remarkable song stands out in the play: it does not refer to any previous theme, event or character, including the chorus themselves, but narrates the myth of Apollo's acquisition of the Delphic oracle and is a hymn to his oracular power. The play's only celebration of divine power before Athena's speech at the end, the song does not explicitly predict the success of the escape but it leaves little doubt that the women believe in the willingness of Apollo and his colleagues to assist the escapees.

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A Commentary on Euripides’ Iphigenia in Tauris by Poulheria Kyriakou
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