The Iphigenia in Tauris of Euripides Euripides 9781546867579 Books
Download As PDF : The Iphigenia in Tauris of Euripides Euripides 9781546867579 Books
The Iphigenia in Tauris of Euripides by Euripides
The Iphigenia in Tauris of Euripides Euripides 9781546867579 Books
Of course, this is an important work, given how many of the great masterpieces of Aeschylus, Sophocles, and Euripides have been lost. The translation by Gilbert Murray reads well, and one must applaud the way he frequently manages to interpolate patterns that rhyme, large segments in iambic pentameter, and other poetic devices. The text flows smoothly and is quite accessible.One obvious question arises at this point. Whom am I reviewing? I wouldn't presume to critique Euripides, and the scholarship of Murray is certainly beyond reproach. However, much as I enjoy my Kindle, this publication underscored an inherent deficiency of the device.
I refer specifically to the wonderful "Notes to IPHIGENIA IN TAURUS," which begin at the 84% mark of the digital volume. Here, the Murray commentary is reproduced, but with allusions to the hard-copy pages (and other, more specific designations). Obviously, these do not transpose adequately on a reader that merely advises what percentage of the text has been read. Moreover, we do not even have the benefit of asterisks or footnote indications.
I might also point to occasional lapses with the layout. Of course, anyone who has ever attempted to publish on Kindle knows how easily technology may "miss the mark," and leave the readers with somewhat questionable layout.
That said, however, I am not reviewing the Kindle product; I am reviewing Murray's translation of Euripides. I enjoyed it, and I hope others will, also.
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The Iphigenia in Tauris of Euripides Euripides 9781546867579 Books Reviews
At the end of "Iphigenia at Aulius," when the virgin daughter of Agamemnon is about to sacrificed offstage to appease the goddess Artemis, as the fatal blow is struck the young girl disappears and a stage appears in its place. Thus, at the last minute, Euripides refrains from suggesting a goddess demanded a human sacrifice. But what happened to the young girl? The dramatist provides his answer in "Iphigenia in Tauris" Artemis saved Iphigenia and brought her to the temple of the goddess in Tauris (which is in Thrace, although others take this to mean the Crimea). Meanwhile, her brother Orestes, still trying to appease the Furies for his crime of matricide, is ordered by the god Apollo to bring the statue of Artemis from Tauris to Athens. However, the Taurians have the quaint habit of sacrificing strangers to the goddess (so much for the goddess disdaining human sacrifice). Once again, Euripides is showing his disdain for Apollo; at first consideration you might think Apollo is setting up the reconciliation of brother and sister, but since it is up to the goddess Athena to help the pair, and Orestes's friend Pylades, to escape, the clearly implication is that Apollo wants Orestes dead.
"Iphigenia in Taurus" ("Iphigeneia en Taurois," which is also translated as "Iphigenia among the Taurians") is really more of a tragicomedy than a traditional Greek tragedy. Basically it consists of a key scene of recognition ("anagnorisis") and a clever escape by the main characters. The recognition scene between Orestes and Iphigenia is well done, and so atypical in that there is joy in the "anagnorisis" rather than pain or death (cf. "Oedipus the King"). "Iphigenia in Tauris" takes place after the Orestia trilogy by Aeschylus (Athena refers to the events of the final play), and one of the more interesting elements of this play is the idea that Orestes had been hallucinating when he was seeing the Furies pursuing him. This is a rather rational explanation for his behavior following the murder of Clytemnestra and Aegithus.
I was rather surprised to discover that Euripides wrote "Iphigenia in Tauris" in 413 BC, which was years before "Iphigenia at Aulis" was first performed in 406. I had naturally assumed that Euripides was following the character's chronology, but apparently this is not the case. My preference has always been for the latter play, but this is based on my interest in how Euripides foreshadows the conflict between Agamemnon and Achilles that serves as the opening conflict of Homer's epic poem, "The Iliad." This also speaks to the fact that to successfully teach and/or really appreciate this play, you simply have to understand the entire background of the characters, both in terms of "Iphigenia at Aulis" and "The Orestia." Certainly this can be done in the classroom through summaries of these plays, but it most assuredly has to be done.
At the end of "Iphigenia at Aulius," when the virgin daughter of Agamemnon is about to sacrificed offstage to appease the goddess Artemis, as the fatal blow is struck the young girl disappears and a stage appears in its place. Thus, at the last minute, Euripides refrains from suggesting a goddess demanded a human sacrifice. But what happened to the young girl? The dramatist provides his answer in "Iphigenia in Tauris" Artemis saved Iphigenia and brought her to the temple of the goddess in Tauris (which is in Thrace, although others take this to mean the Crimea). Meanwhile, her brother Orestes, still trying to appease the Furies for his crime of matricide, is ordered by the god Apollo to bring the statue of Artemis from Tauris to Athens. However, the Taurians have the quaint habit of sacrificing strangers to the goddess (so much for the goddess disdaining human sacrifice). Once again, Euripides is showing his disdain for Apollo; at first consideration you might think Apollo is setting up the reconciliation of brother and sister, but since it is up to the goddess Athena to help the pair, and Orestes's friend Pylades, to escape, the clearly implication is that Apollo wants Orestes dead.
"Iphigenia in Taurus" ("Iphigeneia en Taurois," which is also translated as "Iphigenia among the Taurians") is really more of a tragicomedy than a traditional Greek tragedy. Basically it consists of a key scene of recognition ("anagnorisis") and a clever escape by the main characters. The recognition scene between Orestes and Iphigenia is well done, and so atypical in that there is joy in the "anagnorisis" rather than pain or death (cf. "Oedipus the King"). "Iphigenia in Tauris" takes place after the Orestia trilogy by Aeschylus (Athena refers to the events of the final play), and one of the more interesting elements of this play is the idea that Orestes had been hallucinating when he was seeing the Furies pursuing him. This is a rather rational explanation for his behavior following the murder of Clytemnestra and Aegithus.
I was rather surprised to discover that Euripides wrote "Iphigenia in Tauris" in 413 BC, which was years before "Iphigenia at Aulis" was first performed in 406. I had naturally assumed that Euripides was following the character's chronology, but apparently this is not the case. My preference has always been for the latter play, but this is based on my interest in how Euripides foreshadows the conflict between Agamemnon and Achilles that serves as the opening conflict of Homer's epic poem, "The Iliad." This also speaks to the fact that to successfully teach and/or really appreciate this play, you simply have to understand the entire background of the characters, both in terms of "Iphigenia at Aulis" and "The Orestia." Certainly this can be done in the classroom through summaries of these plays, but it most assuredly has to be done.
Great
Of course, this is an important work, given how many of the great masterpieces of Aeschylus, Sophocles, and Euripides have been lost. The translation by Gilbert Murray reads well, and one must applaud the way he frequently manages to interpolate patterns that rhyme, large segments in iambic pentameter, and other poetic devices. The text flows smoothly and is quite accessible.
One obvious question arises at this point. Whom am I reviewing? I wouldn't presume to critique Euripides, and the scholarship of Murray is certainly beyond reproach. However, much as I enjoy my , this publication underscored an inherent deficiency of the device.
I refer specifically to the wonderful "Notes to IPHIGENIA IN TAURUS," which begin at the 84% mark of the digital volume. Here, the Murray commentary is reproduced, but with allusions to the hard-copy pages (and other, more specific designations). Obviously, these do not transpose adequately on a reader that merely advises what percentage of the text has been read. Moreover, we do not even have the benefit of asterisks or footnote indications.
I might also point to occasional lapses with the layout. Of course, anyone who has ever attempted to publish on knows how easily technology may "miss the mark," and leave the readers with somewhat questionable layout.
That said, however, I am not reviewing the product; I am reviewing Murray's translation of Euripides. I enjoyed it, and I hope others will, also.
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