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This work is the first major commentary on Euripides' Iphigenia in Tauris to appear in English in more than 65 years. It offers detailed analysis of a fascinating play that scholars so far had considered mainly as a source of information about Athenian cult and viewed as a romantic adventure story with happy end. Apart from including sober assessments of textual, linguistic and metrical problems, the commentary sheds new light on the play’s treatment of myth, its intricate structure, presentation of character, and place in Euripides’ work. In particular it offers fresh insights into the play’s relationship to the literary tradition, especially its treatment of the crimes of the Pelopids, and its presentation of the complex, ambiguous relationship of humans and gods as well as that of Greeks and barbarians. Unlike most other tragedies, Iphigenia in Tauris does not feature any villain and avoids concentrating on past crimes and their corrosive influence on the characters’ present. The Taurians are not portrayed simply as savage and slow barbarians and Iphigenia, the most intelligent character, fails to transcend her limitations. Religion and cult in both myth and contemporary Athens are a mixture of traditional and invented elements and the play as a whole turns out to be an intriguing and unique experiment in Euripides’ career.
First English edition with commentary on one of Euripides' finest texts for 125 years, comprising two volumes sold together as a set (Volume 1: Introduction, Text and Translation; Volume 2: Commentary and Indexes).
This book is the second of three volumes of a new prose translation, with introduction and notes, of Euripides' most popular plays. The first three tragedies translated in this volume illustrate Euripides' extraordinary dramatic range. Iphigenia among the Taurians, set on the Black Sea at the edge of the known world, is much more than an exciting story of escape. It is remarkable for its sensitive delineation of character as it weighs Greek against barbarian civilization. Bacchae, a profound exploration of the human psyche, deals with the appalling consequences of resistance to Dionysus, god of wine and unfettered emotion. This tragedy, which above all others speaks to our post-Freudian era, is one of Euripides' two last surviving plays. The second, Iphigenia at Aulis, so vastly different as to highlight the playwright's Protean invention, centres on the ultimate dysfunctional family, that of Agamemnon, as natural emotion is tested in the tragic crucible of the Greek expedition against Troy. Rhesus, probably the work of another playwright, deals with a grisly event in the Trojan War. Like Iphigenia at Aulis, its `subject is war and the pity of war', but it is also an exciting, action-packed theatrical Iliad in miniature.
A modern translation exclusive to signet From perhaps the greatest of the ancient Greek playwrights comes this collection of plays, including Alcestis, Hippolytus, Ion, Electra, Iphigenia at Aulis, Iphigenia Among the Taurians, Medea, The Bacchae, The Trojan Women, and The Cyclops.
Using archaeological, epigraphic, and literary sources; and incorporating current scholarly theories, this volume will serve as an excellent companion to any introduction to Greek mythology, showing a side of the Greek gods to which most students are rarely exposed. Detailed enough to be used as a quick reference tool or text, and providing a readable account focusing on the oldest, most widespread, and most interesting religious practices of the ancient Greek world in the Archaic and Classical periods, Ancient Greek Cults surveys ancient Greek religion through the cults of its gods and goddesses, heroes and heroines. Jennifer Larson conveniently summarizes a vast amount of material in many languages, normally inaccessible to undergrad students, and explores, in detail, the variety of cults celebrated by the Greeks, how these cults differed geographically, and how each deity was conceptualized in local cult titles and rituals. Including an introductory chapter on sources and methods, and suggestions for further reading this book will allow readers to gain a fresh perspective on Greek religion.
This book presents a cultural history of the Greek tragedy and its influence on subsequent Greek and Roman art and literature.
Excerpt from The Iphigenia in Tauris: Of Euripides Tbs iphigenia in Tauris is not in the modem sense a tragedy; it is a romantic play, beginning in a tragic atmosphere and moving through perils and escapes to a happy end. To the archaeologist the cause of this lies in the ritual on which the play is based. All Greek tragedies that we know have as their nucleus something which the Greeks called an Aition - a cause or origin. They all explain some ritual or observance or commemorate some great event. Nearly all, as a matter of fact, have for this Aition a Tomb Ritual, as, for instance, the Hippolytus has the worship paid by the Trozenian Maidens at that hero's grave. The use of this Tomb Ritual may well explain both the intense shadow of death that normally hangs over the Greek tragedies and also perhaps the feeling of the Fatality, which is, rightly or wrongly, supposed to be prominent in them. For if you are actually engaged in commemorating your hero's funeral, it follows that all through the story, however bright his prospects may seem, you feel that he is bound to die; he cannot escape. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."