A Commentary on Euripides' Iphigenia in Tauris

Kyriakou, Poulheria

doi:10.1515/9783110926606

Cited by 94 publications

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“…10) This phrase can also refer to 'instituting' a choral performance as a recurring event, especially as part of a religious festival, and sometimes it means 'lead a chorus', used for either the lead 3) Reiske 1754, 175; supported by Keene (1893), , Diggle (1981), Cropp (1988), Donzelli (1995 Diggle (1981), Kovacs (1999), Cropp (2000, Kyriakou (2006).…”

Section: Standing In a Chorus In Euripides Electra 178 Andmentioning

confidence: 99%

Standing in a Chorus in Euripides Electra 178 and Iphigenia in Tauris 1143

Alonge

2012

Mnemosyne

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Section: Standing In a Chorus In Euripides Electra 178 Andmentioning

confidence: 99%

Standing in a Chorus in Euripides Electra 178 and Iphigenia in Tauris 1143

Alonge

2012

Mnemosyne

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“…12 Hall 2002.10; see further her n. 26 on the same page. 13 For metrical analyses of these sections, see Kyriakou 2006.473-76. 14 Csapo 1999.410 fi g. 1a: Hec.…”

Section: Imentioning

confidence: 99%

Aristotle and the Tragic Theater in the Fourth Century b.c .: A Response to Jennifer Wise

Hanink¹

2011

are

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In a recent article in Arethusa , J. Wise argues that the theory of tragedy put forth by Aristotle in the Poetics was one heavily distorted by his own experience of contemporary tragic performance. In this response, I argue that, although the Poetics does provide evidence of fourth-century dramatic practice, Aristotle was far more aware of the arc of Athenian theater history than Wise’s article presupposes. I also suggest that the problem of the “missing” polis in Aristotle’s Poetics can be largely explained by the fact that by Aristotle’s own time, Athenian tragedy was the city’s most successful cultural export, a circumstance that opened the genre to analysis independent of the festal and political contexts that had given birth to it.

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“…Nel caso di IT 1497-9, l'espunzione, proposta da Blomfield (1812) Diggle (1987), Ferrari (1988), Kovacs (1999), Cropp (2000) e Kyriakou (2006); favorevoli al mantenimento dei versi, oltre a tutti gli editori anteriori a Blomfield, sono Seidler (1813), Bothe (1826), Hermann (1833), Fix (1844), Monk (1845), Klotz (1860), Paley (1860), Kirchhoff (1867), Köchly (1872), Prinz-Wecklein (1898), Murray (1908), Way (1926), Platnauer (1938, Grégoire (1942) e Sansone (1981. Una difficoltà può essere rappresentata dal fatto che si tratterebbe di un appello extra-drammatico del Coro per la vittoria nel concorso drammatico (cf.…”

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“…tòn 'Agamémnonov paíd' riferito al solo Oreste, in favore del duale toe 'gamémnonov di Markland (1771), per il quale sarebbe eventualmente da riconoscere non un fenomeno di prodelisione (nessun caso paragonabile: cf. Kühner-Blass 1890-2, I 241-3;Platnauer 1960, 144;Martinelli 1997, 42- (1778), Kovacs (1999) 310 e Kyriakou (2006) 466, mentre il testo tràdito è difeso, tra gli altri, da Cropp (2000) 265 che porta a sostegno l'uso del futuro medio-passivo in Lycophr. Alex.…”

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“…infra), piuttosto che al nominativo seguente. Way (1929), Platnauer (1938), Grégoire (1942), Kovacs (1999), Cropp (2000), Kyriakou (2006). Per tutti gli altri editori si deve ipotizzare che seguendo Seidler nell'assegnare 1490-1 al Coro (vedi infra), ne accogliessero anche l'interpretazione del costrutto: oltre ad Hermann (1833), che non si pronuncia sulla questione, simili incertezze si hanno per L. Dindorf (1825), W. Dindorf (1832), Kirchhoff (1867), Prinz-Wecklein (1898), Sansone (1981), Diggle (1987), che non pongono alcun segno di interpunzione.…”

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Toante E Il Coro: Nota a Eur. It 1490–1

Catrambone

2013

Philologus

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The final words of Euripides’ Iphigenia in Tauris are vexed by several difficulties concerning the distribution of lines to speakers. In IT 1490-1, the problem affects the general interpretation of the ending, which seems to suggest clearly that the Chorus survives and returns to Greece. If 1490-1 are delivered by the Chorus, as Seidler suggests, it is to be assumed that the Greek women are not allowed to go back home with Iphigenia, Orestes and Pylades: this explicit does not square with the evidence of the drama as a whole. The restoration of L’s attribution of the lines to Athena (Kovacs) would fit well with the ultimate destiny of the Chorus, yet it raises the problem of admitting an unparalleled metrical transition from trimeters to anapaests by the same speaker; moreover, it creates an awkward repetition and reduplication of the content of 1487-9. The attribution to Thoas, who is in any case unable to leave until 1489, solves the problem and gives a better sense to 1490-1: Thoas is here urging the Chorus to leave the stage and sail towards Greece, trusting Athena’s recent deliberations. The mistake of attribution in L may reflect an original distribution in which changes of speaker were marked at 1486 (or 1487), 1490 and 1492.

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A Commentary on Euripides' Iphigenia in Tauris

Cited by 94 publications

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Standing in a Chorus in Euripides Electra 178 and Iphigenia in Tauris 1143

Standing in a Chorus in Euripides Electra 178 and Iphigenia in Tauris 1143

Aristotle and the Tragic Theater in the Fourth Century b.c .: A Response to Jennifer Wise

Toante E Il Coro: Nota a Eur. It 1490–1

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