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Published: 10 December 2022

Last updated: 29 January 2023

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1

GURD, SEAN. "On Text-Critical Melancholy." Representations 88, no. 1 (2004): 81–101. http://dx.doi.org/10.1525/rep.2004.88.1.81.

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ABSTRACT This essay discusses a lost chapter in the history of the textual criticism of Euripides' Iphigenia at Aulis: G. Hermann's 1847 De Interpolationibus Euripideae Iphigeniae in Aulide. I argue that this work, like all textual criticisms in classics, aims to represent not the image of a lost original, but rather a singular image of textual history and formal change. This has consequences for the reading of critical texts in general, which do not aim to return us to the past but to provide a charter of history conceived as a temporally heterogeneous textual multiplicity.

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2

Castrucci, Greta. "L’Euripo sulla rotta di Troia, secondo Euripide. Correnti alterne del destino o venti d’opposte doxai?" ACME - Annali della Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano, no. 03 (December 2012): 243–52. http://dx.doi.org/10.7358/acme-2012-003-cast.

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In his Iphigenia at Aulis, Euripides places his characters on the stage of Euripus, a sea strait which – since ancient times – had had a strong symbolic value: it was crossed by opposing currents and so represented the place of change, also in the metaphorical sense of changes of mind. As J. Morwood remarked in A Note on the Euripus in Euripides’ Iphigenia at Aulis, in this tragedy Euripides appropriates this metaphorical interpretation and uses the geographical and mythical context of the Euripus to emphasize the mental changes his characters go through. This article aims to go more deeply into Morwood’s brief note, showing how mention of the Euripus is never casual or accidental in Iphigenia at Aulis, but always substantial: Euripides wants to stage the changeability not only in his characters’ psychology and ethics, but also in their destinies and in the Gods’ actions, and takes advantage of the geographical setting for this specific aim. Thus, every reference to the Euripus in this drama (from Agamemnon’s words in the Prologue to Iphigenia’s lament in the fourth episode), assumes an allusive value, even if it seems apparently banal, and maybe also refers, implicitly, to sophist attitudes.

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3

Miola, Robert S. "Early modern receptions of Iphigenia at Aulis." Classical Receptions Journal 12, no. 3 (January 22, 2020): 279–98. http://dx.doi.org/10.1093/crj/clz031.

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Abstract The sacrifice of Iphigenia, appearing influentially in Euripides’ Iphigenia at Aulis, assumes various forms in early modern translation, reading, and adaptation. Early modern receptions variously constrict, domesticate, Romanize, and Christianize the story. Publication in Latin, especially in Erasmus’ translation (1506) transposes Greek linguistic and cultural referents to later hermeneutics, rendering mysterious ancient elements into familiar Roman analogues — Stoic ideals, fortuna, prudentia, and the like. Caspar Stiblin’s Latin translation (1562) and Gabriel Harvey’s copious marginalia in his copy of Erasmus’ translation show that constriction and domestication often take the form of fragmentation of the text into sententiae, or wise sayings. The search for rhetorical figures, political maxims, or moral lessons generates many Christian applications and culminates in Buchanan’s biblical reworking of Iphigenia’s story in Jephthes, wherein Artemis gives way to the Judaeo-Christian god and Iphigenia, here Iphis, becomes a type of Christ. The Vernacular Adaptations of Jane Lumley, Jean Racine, and Abel Boyer continue to dismantle the heroic ethos of Euripides play and re-imagine the story: Achilles dwindles into a romantic lead, Agamemnon, into a vicious ruler and father, and Iphigenia becomes a pious and submissive daughter.

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McDonald, Marianne. "Iphigenia's "Philia": Motivation in Euripides "Iphigenia at Aulis"." Quaderni Urbinati di Cultura Classica 34, no. 1 (1990): 69. http://dx.doi.org/10.2307/20547029.

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5

Bacalexi, Dina. "Personal, paternal, patriotic: the threefold sacrifice of Iphigenia in Euripides' Iphigenia in Aulis." Humanitas 68 (December 29, 2016): 51–76. http://dx.doi.org/10.14195/2183-1718_68_3.

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In the IA, Iphigenia accepts to be sacrificed. This voluntary sacrifice can be interpreted as a result of her threefold motivation: personal, love for life; paternal, love for her father Agamemnon, the leader of the Greek army which is about to sail to Troy; and patriotic, love for her country, the great Hellas, whose dignity and freedom Agamemnon and the army intend to defend. These three motives are interconnected and should not be considered separately. This is the principal Euripidean innovation, with regard to the mythical and Aeschylean tradition of Iphigenia's sacrifice. It allows us to reconsider the Aristotelian criticism concerning Iphigenia's change of mind, and to restore the unity of the character.

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Wickramasinghe, Chandima S. M. "Grief and Stress Communication and Management in Euripides’ Iphigenia in Aulis." KnowEx Social Sciences 1, no. 1 (July 7, 2021): 01–12. http://dx.doi.org/10.17501/27059901.2020.1101.

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Communication, an essential human trait, is vital to develop a great connectedness among individuals as it helps to understand human mind and emotions. Grief and stress are communicated in different proportions in ancient Greek tragedies, which revolve around a plot that emanates grief. The characters in a Greek tragedy are affected by or are victims of a grieving situation central to the play. Aristotle maintained that tragic action must emanate pity and fear which are connected with grief and stress. Euripides, the revolutionary dramatist of Classical Athens, has empowered his characters to the effect of transmitting their sentiments freely. This feature is notable in his plays such as Alcestis, Electra, Ion, Orestes and Iphigenia in Aulis (IA). In IA, a well-established mythical account is presented as a simple family story. It is not just Iphigenia, who is affected by her impending tragedy. Almost all characters grieve in different proportions, while attempting to manage their grief and stress first by communicating it and then in ways peculiar to themselves. The strategies range from keeping a positive attitude, accepting the situations, to being assertive instead of being aggressive. This study examines the communication of grief and stress as a means of managing such sentiments with especial reference to Iphigenia in Aulis in order to understand how Euripidean tragedy could bring relief to its audience. In the process, the study observes how the dynamics of engagement of a character with others, their feelings, thoughts and intentions can contribute to manage grief and stress through effective communication of such sentiments. Keywords: grief and stress, communication, management, Euripides, Iphigenia in Aulis

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7

Lush, Brian V. "Popular Authority in Euripides’ Iphigenia in Aulis." American Journal of Philology 136, no. 2 (2015): 207–42. http://dx.doi.org/10.1353/ajp.2015.0032.

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8

Alves Ribeiro Jr., Wilson. "Os autores da Ifigênia em Áulis de Eurípides." CODEX – Revista de Estudos Clássicos 2, no. 2 (December 5, 2010): 57. http://dx.doi.org/10.25187/codex.v2i2.2811.

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<div class="page" title="Page 57"><div class="layoutArea"><div class="column"><p><span>O texto da <em>Ifigênia em Áulis</em>, tragédia de Eurípides encenada pela primeira vez em 405 a.C., juntamente com <em>Bacchae</em> e <em>Alcmeon</em>, chegou até nós com inegáveis sinais de adulteração e de interpolações. No presente trabalho são discutidos os elementos mais importantes para a moderna abordagem do texto legado pela tradição medieval e para a identificação das passagens que podem ser atribuídas a Eurípides ou aos retractatores da <em>Ifigênia em Áulis</em>. </span></p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>The authors of Euripides’ Iphigenia at Aulis </strong></p><p><span><strong>Abstract</strong> </span></p><p><span> The text of Iphigenia at Aulis</span><span>, Euripides’ tragedy staged for the first time in 405 a.C. t</span><span>o- gether with Bacchae and Alcmeon, reached us with undeniable signs of adulteration and interpolations. This work presents and discuss the most important elements for a modern approach of the text received from medieval tradition and for identification of passages that can be ascribed to Euripides or to Iphigenia in Aulis retractatores. </span></p><p><span><strong>Keywords:</strong> Iphigenia at Aulis; Euripides; Greek tragedy; manuscripts </span></p></div></div></div><p><span><br /></span></p></div></div></div>

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Kovacs, David. "Toward a reconstruction ofIphigenia Aulidensis." Journal of Hellenic Studies 123 (November 2003): 77–103. http://dx.doi.org/10.2307/3246261.

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AbstractIphigenia Aulidensiswas produced after the poet's death, probably in 405 BC. The aim of this paper is to recover the text of this production, which I call FP for First Performance. Probably Euripides left behind an incomplete draft, which was finished by Euripides Minor, the poet's son or nephew. The text we have contains, as Page showed in 1934, material added for a fourth-century revival and other still later interpolations. Diggle's edition tries to separate original Euripides from all later hands on the basis of style. But if we want to recover the amalgam that was FP we need to be attentive to the plot that is implied by the most clearly genuine portions: we can't confine ourselves to what appears to be Euripidean since more than one hand contributed to FP.A discovery about the plot gives us some objective basis for reconstructing FP. Our transmitted text contains two different conceptions of Calchas' prophecy, only one of which belonged to FP. Several passages scattered throughout the play imply that it was public, made to the entire army, but other passages say that it was private, restricted to Agamemnon's inner circle, with the army left in the dark. The secret prophecy motif, I argue, is the work of a fourth-century producer, whom I call the Reviser. Its purpose was to introduce into the play scenes where Greek soldiers, ignorant of the real reason for Iphigenia's coming to Aulis, might make naive comments or ask questions that are highly ironic in view of the actual situation, this being an emotional effect he found congenial. We find two such passages in places that are under grave suspicion: the entrance of Clytaemestra, where there is a chorus of Argives who felicitate Iphigenia on her wonderful prospects, and the first messenger, who reports naive questions from the soldiery. Both these passages have linguistic and dramaturgical features that make it virtually certain that neither Euripides nor Euripides Minor wrote them. Working from these we can detect the Reviser's hand at other places in the play and reconstruct its original lineaments. One satisfying result is that the business of baby Orestes, played by a doll, can be shown to be the work of the Reviser. The play ended with Iphigenia's departure for the altar, and there was no substitution of a stag. Like Menoeceus, Macaria and their kin, Iphigenia pays for the victory of her country with her blood, and there is no happy ending.

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Lawrence, S. E. "Iphigenia at Aulis: Characterization and Psychology in Euripides." Ramus 17, no. 2 (1988): 91–109. http://dx.doi.org/10.1017/s0048671x00003118.

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Perhaps the most intriguing feature of Euripides'Iphigenia at Aulisis the tendency of the characters to alter their attitudes towards the human sacrifice. Menelaus and Iphigenia (and even Achilles, it would appear) each undergo a single but remarkable change of mind, while Agamemnon displays so much confusion and uncertainty in adjusting his attitudes that it is not perfectly clear just how many times he actually changes his mind. These about-faces are not merely responses to changing circumstances or fresh information; rather they dramatize in an unusually arresting fashion a characteristically Euripidean psychology that emphasizes those forces or tendencies, both inside and outside the mind, that work to disrupt or even preclude the moral, intellectual or psychological integration of the character.Now although this psychology typifies Euripidean drama in general in varying degrees, it would appear to take a more extreme form in theI.A.than in much earlier plays such asMedeaorHippolytus. We shall find it of some interest then, after examining closely the characterization and psychology of this late play, to hazard a number of necessarily brief comparisons with some earlier plays and also with Sophoclean drama.

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Wasdin, Katherine. "CONCEALED KYPRIS IN THE IPHIGENIA AT AULIS." Classical Quarterly 70, no. 1 (April 29, 2020): 43–50. http://dx.doi.org/10.1017/s0009838820000166.

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In their first stasimon, the chorus of Euripides’ Iphigenia at Aulis (= IA) praises ‘concealed Kypris’ as a marker of virtue for women (568–72):μέγα τι θηρεύειν ἀρετάν,γυναιξὶ μὲν κατὰ Κύ-πριν κρυπτάν, ἐν ἀνδράσι δ᾿ αὖκόσμος ἐνὼν ὁ μυριοπλη-θὴς μείζω πόλιν αὔξει.It is something great to hunt for excellence. For women, it is according to concealed Kypris, and among men in turn manifold order being within makes the city grow greater.

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Pottakis, Andreas. "GREECE In Search of a Modern Deus ex Machina: Towards an Orderly Bankruptcy of European Legal Orders." European Public Law 17, Issue 2 (June 1, 2011): 181–96. http://dx.doi.org/10.54648/euro2011014.

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'O my father, here am I to do thy bidding; freely I offer this body of mine for my country and all Hellas, that ye may lead me to the altar of the goddess and sacrifice me, since this is Heaven's ordinance. Good luck be yours for any help that I afford! and may ye obtain the victor's gift and come again to the land of your fathers. So then let none of the Argives lay hands on me, for I will bravely yield my neck without a word.' Iphigenia, in Euripides' Iphigenia at Aulis

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Willink, C. W. "The goddess ΕΥΛΑΒΕΙΑ and pseudo-Euripides in Euripides' Phoenissae." Proceedings of the Cambridge Philological Society 36 (1990): 182–201. http://dx.doi.org/10.1017/s0068673500005277.

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Few, if any, Euripidean plays are altogether free from interpolation. The Phoenician Women, apart from the posthumous Iphigenia at Aulis, has incurred more suspicion than any other. No reputable scholar now doubts that this play contains numerous intrusive verses; and few would deny, though there is almost infinite room for disagreement in detail, that some of these intrusions are of passages rather than odd lines.More controversial, but also more important, are the related issues, whether it contains longer or otherwise structurally significant interpolations that affect the play's essential integrity; and (if so) whether in a purely additive way (so in principle still remediable by excision) or with an element of retractatio (not so remediable, the Urtext having been deliberately altered with some cutting to make way for new material).

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Leroux, Virginie. "Les premières traductions de l’Iphigénie à Aulis d’Euripide, d’Érasme à Thomas Sébillet." Renaissance and Reformation 40, no. 3 (November 24, 2017): 243–64. http://dx.doi.org/10.33137/rr.v40i3.28743.

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En 1506, Érasme est le premier à traduire en latin des tragédies grecques entières, en l’occurrence deux tragédies d’Euripide, Hécube et Iphigénie à Aulis. S’il adopte pour l’Hécube une traduction vers à vers, il opte dans l’Iphigénie pour une traduction plus détaillée en veillant à produire dans la langue cible les effets de l’original. Dans son ouvrage sur L’Hécube d’Euripide en France, Bruno Garnier a montré comment la traduction latine d’Érasme a influencé la première traduction française de l’Hécube, attribuée à Guillaume Bochetel (1544). Cet article est consacré aux premières traductions de l’Iphigénie à Aulis et, en particulier, à celle de Thomas Sébillet qui se mesure à Érasme pour démontrer, contre Joachim Du Bellay, la capacité d’une traduction poétique à illustrer la langue française. In 1506, Erasmus was the first person to translate complete Greek tragedies into Latin, in this case two tragedies by Euripides, Hecuba and Iphigenia at Aulis. Though he used a verse by verse translation for Hecuba, he opted in Iphigenia for a more detailed translation, taking care to reproduce in the target language the effects of the original. In his work on Euripides’ Hecuba in France, Bruno Garnier has shown how the Latin translation of Erasmus influenced the first French translation of Hecuba, attributed to Guillaume Bochetel (1544). This article addresses the first translations of Iphigenia at Aulis and in particular that of Thomas Sébillet. He pitted himself against Erasmus to demonstrate, contrary to Joachim Du Bellay, the capacity of a poetic translation to exemplify the French language.

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Sorum, Christina Elliott. "Myth, Choice, and Meaning in Euripides' Iphigenia at Aulis." American Journal of Philology 113, no. 4 (1992): 527. http://dx.doi.org/10.2307/295538.

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Ryzman, Marlene. "The reversal of Agamemnon and Menelaus in Euripides’ Iphigenia at Aulis." Emerita 57, no. 1 (June 30, 1989): 111–18. http://dx.doi.org/10.3989/emerita.1989.v57.i1.581.

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Morwood, James. "A Note on the Euripus in Euripides’ Iphigenia at Aulis." Classical Quarterly 51, no. 2 (December 2001): 607–8. http://dx.doi.org/10.1093/cq/51.2.607.

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Kostyleva, Tatiana V. "Arist. Poet. 1454a31–33 Again." Philologia Classica 15, no. 2 (2020): 411–15. http://dx.doi.org/10.21638/spbu20.2020.214.

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Among the examples on how not to portray a character in tragedy, Aristotle names the female protagonist of the Iphigenia in Aulis, claiming that she is drawn in violation of the principle of consistency: begging to spare her life she is much unlike her later self. Philologists stood for Euripides, charging Aristotle with a lack of intuitive understanding. Moreover, as has been pointed out, the unaffected character of Iphigenia’s behaviour could find a footing in the ample observations on human psychology Aristotle himself made elsewhere in the Ethics and Rhethoric. Certain modern scholars, however, tend to side with Aristotle. To argumentatively prove or disprove the feasibility of the change Iphigenia undergoes seems thus to be close to impossible, both psychologically and aesthetically. A thought not alien to the Poetics goes as simple as that: not all the shifts and turns, so human and so easily observed in life, should find their way into art. One supposes Aristotle all too well recognised the fact that no example would in this case prove to be free of blame, while holding that the general applicability and inherent veracity of his theory goes unimpaired by the fact that it could in principle be assailed.

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Vasileiou, Fotis. "“No one can escape God”. A filicidal beneficial tale from early Byzantium." Byzantinische Zeitschrift 111, no. 1 (February 1, 2018): 135–56. http://dx.doi.org/10.1515/bz-2018-0006.

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Abstract John Moschos includes the story of a female filicide in his Spiritual Meadow. After exploring the authorial self of Moschos, this article discusses the relation between this beneficial story and the biblical book of Jonah on the one hand, and Euripides’ Iphigenia at Aulis and Medea on the other. Finally, the story is examined in the wider framework of the seventh century, in an attempt to understand John Moschos’ viewpoint on his own time.

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BAL, Metin. "THE PHILOSOPHICAL MEANING OF THE KILLING OF A SACRED DEER AS A CONTEMPORARY INTERPRETATION OF TRAGEDY IPHIGENIA AT AULIS." IEDSR Association 6, no. 15 (September 20, 2021): 491–508. http://dx.doi.org/10.46872/pj.399.

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With the movie The Killing of a Sacred Deer , Jorgos Lanthimos takes the value sacred from superhuman powers and makes it mundane. It is claimed that queen Clytemnestra, one of the heroes of Euripides’ tragedy Iphigenia at Aulis, does not believe in superhuman powers. This is because Clytemnestra considers the event of killing of her own daughter Iphigenia a murder rather than a sacrifice. In The Killing of a Sacred Deer, Lanthimos interprets the killing of Iphigenia as a “sacrifice” by her own father, King Agamemnon, to question the relations between the people of the contemporary world. Are the killings of Iphigenia and Martin’s father, Jonathan Lang, sacrifices or murders? Whatever the answer is, the idea that both the film and the tragedy suggest is that what should be considered sacred is life. King Agamemnon, who killed his own daughter, and surgeon Steven, who caused the death of his own patient, are expected to pay the price for the loss of life they caused. But how? What could be the cost of a human life? As a result, the contribution of the movie The Killing of a Sacred Deer to the people of the contemporary world is that it re-examines the values of “sacred” and “sacrifice.”

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Pavlou, Maria. "Clytemnestra's letter in Iakovos Kambanellis’ Letter to Orestes." Byzantine and Modern Greek Studies 40, no. 2 (September 22, 2016): 283–97. http://dx.doi.org/10.1017/byz.2016.8.

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Kambanellis’ Letter to Orestes constitutes Clytemnestra's apologia for the murder of Agamemnon and is addressed to her estranged son Orestes. Until now, research has concentrated mainly on the content, verbal message and metatheatrical dimension of Clytemnestra's letter, laying emphasis upon Kambanellis’ intertextual links with the ancient Greek tragedies revolving around the Atreid myth. This article focuses attention on the dramatic form of the letter, examining it as a physical object with social connotations and as an active agent in the development of the events. It is argued that in emphasizing these aspects of the letter Kambanellis was probably influenced by the function of letters in two of the Greek tragedies which he clearly draws upon in The Supper trilogy: Euripides’ Iphigenia at Aulis and Iphigenia among the Taurians. However, Kambanellis’ intention was not to reproduce his tragic models but rather to exploit the medium of the letter in order to reconsider a staple of his own work: the disconcerting issue of human, and more particularly of familial, communication.

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Vasiliu, Laura Otilia. "Ancient Greek Myths in Romanian Opera. Pascal Bentoiu’s Jertfirea Ifigeniei [The Sacrifice of Iphigenia]." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 108–23. http://dx.doi.org/10.2478/ajm-2019-0006.

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Abstract Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poetic form of the ancient tragedies signed by Euripides, Aeschylus and Sophocles. Significant Romanian musical works written in the avant-garde period of 1960 to 1980 – Doru Popovici’s opera Prometeu, Aurel Stroe’s Oedipus at Colonus, Oresteia I – Agamemnon, Oresteia II – The Choephori, Oresteia III – The Eumenides, Pascal Bentoiu’s The Sacrifice of Iphigenia – to which titles of the contemporary art of the stage are added – Cornel Ţăranu’s Oreste & Oedip – propose new philosophical and artistic interpretations of the original myths. At the same time, the mentioned works represent reference points of the multiple and radical transformation of the opera genre in Romanian culture. Emphasising the epic character, a heightened chamber dimension and the alternative extrapolation of the elements in the syncretic complex, developing new modes of performance, of sonic and video transmission – are features of the new style of opera associated to the powerful and simple subject-matter of ancient tragedy. In this sense, radio opera The Sacrifice of Iphigenia (1968) is a significant step in the metamorphosis of the genre, its novel artistic value being confirmed by an important international distinction offered to composer Pascal Bentoiu – Prix Italia of the Italian Radio and Television Broadcasting Company in Rome. The poetic quality of the text quoted from the masterpiece of ancient theatre, Euripides’ Iphigenia in Aulis, the hymnic-oratory character of the music, the economy and expressive capacity of the compositional means configured in the relationship between voice, organ, percussion, electro-acoustic means – can be associated in interpreting the universal major theme: the necessity of virgin sacrifice in the process of durable construction.

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O'Brien, Michael J. "Pelopid History and the Plot ofIphigenia in Tauris." Classical Quarterly 38, no. 1 (January 1988): 98–115. http://dx.doi.org/10.1017/s0009838800031311.

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The plot ofIphigenia in Taurisis usually thought to be Euripides' own invention. Its basic assumption can be found in Proclus' summary of theCypria, viz. that a deer was substituted for Iphigenia during the sacrifice at Aulis and that she herself was removed to the land of the Tauri. Her later rescue by Orestes and Pylades, however, cannot be traced with probability to any work of art or literature earlier than Euripides' play. In this play, in which Orestes recognizes and then saves the sister whom he had long thought dead, it is assumed that her replacement by a deer went unseen by those present at the sacrifice. The sequel which this assumption allowed Euripides to invent (if it was he who invented it) is original only in a limited sense, since it bears the imprint of several familiar story types. These types include the following: (1) the murder of a kinsman is narrowly averted by a recognition; (2) a reunion is followed by an intrigue; and (3) a maiden is rescued. Each is used elsewhere by Euripides. The first two, for example, are found inCresphontes, the second inElectra, and the third inAndromeda. Correspondences of this sort, based on plot patterns, will naturally gain in interest if it can be shown that they throw light on a play's meaning or on the process that led to its creation. The student of dramatic plots, however, soon discovers that analogies between them are easy to draw and can be quickly multiplied.

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SHAUGHNESSY, LORNA. "The Absence of Tragedy in Ifigenia (1950) by Gonzalo Torrente Ballester." Bulletin of Hispanic Studies: Volume 98, Issue 2 98, no. 2 (February 1, 2021): 123–41. http://dx.doi.org/10.3828/bhs.2021.8.

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Gonzalo Torrente Ballester’s novella, Ifigenia (1950) has been read consistently as a critique of the consolidating Francoist state of the 1940s and an early example of his ‘demythologizing’ technique. This article seeks to open discussion on aspects of the text that have not attracted critical attention to date. It traces the unacknowledged legacies of Euripides’ Iphigenia in Aulis in the text, most visible in both authors’ emphasis on the capacity of language for deceit. Drawing on Hannah Arendt’s The Origins of Totalitarianism, it argues that Torrente’s Ifigenia should be read not only in the context of post-Civil War Spain but also in the wider socio-political context of post-Second World War Europe. It argues that the consistent suppression of expression of emotion throughout the text produces an absence of tragedy in Torrente’s retelling of the myth, and outlines how this relates to the post-war contexts of Spain and Europe.

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Diggle, James. "The Teubner Iphigenia at Aulis H. C. Günther (ed.): Euripides, Iphigenia Aulidensis. (Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana.) Pp. xxi + 68. Leipzig: Teubner, 1988. DM 28.50." Classical Review 42, no. 01 (April 1992): 9–14. http://dx.doi.org/10.1017/s0009840x00281961.

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Habash, Nicolas Lema. "Lawlessness Controls the Laws: Nomos, “The Ethical,” and the (Im)possibilities of Anarchia in Euripides’ Iphigenia at Aulis." Arethusa 50, no. 2 (2017): 169–92. http://dx.doi.org/10.1353/are.2017.0006.

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Lloyd, Michael. "J. Morwood (trans.): Euripides: Iphigenia among the Taurians, Bacchae, Iphigenia at Aulis, Rhesus. With introduction by Edith Hall. Pp. liii + 227, 2 maps. Oxford: Oxford University Press, 1999. Cased, £45. ISBN: 0-19-815094-6." Classical Review 50, no. 2 (October 2000): 576. http://dx.doi.org/10.1017/s0009840x00310058.

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Jones, Richard. "Iph. .. (After Euripides' Iphigeneia in Aulis) (review)." Theatre Journal 51, no. 3 (1999): 334–36. http://dx.doi.org/10.1353/tj.1999.0060.

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Kozak, Lynn. "Searching for Homeric Fandom in Greek Tragedy." Yearbook of Ancient Greek Epic Online 2, no. 1 (August 23, 2018): 118–50. http://dx.doi.org/10.1163/24688487-00201004.

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Abstract This article proposes an application of fan studies, and particularly a refined model of Suzanne Scott’s “fanboy auteur,” to reconsider Homeric creative response, with a special focus on the parodos of Euripides’s Iphigenia in Aulis.

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Demers, Patricia. "On First Looking into Lumley's Euripides." Renaissance and Reformation 35, no. 1 (January 1, 1999): 25–42. http://dx.doi.org/10.33137/rr.v35i1.10678.

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This essay explores the text of Lady Jane Lumley's Tudor translation of Iphigeneia at Aulis in an attempt to see the mind of an erudite, privileged young woman at work. By braiding domestic and political contexts in Lumley's adroitly oblique allusions to her time, it attends to her interest in the moral issues of government and authority. The translation subtly subverts commonplaces about a woman's negligible worth.

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Mastronarde, Donald J., Euripides, and M. J. Cropp. "Euripides: Iphigenia in Tauris." Phoenix 55, no. 3/4 (2001): 429. http://dx.doi.org/10.2307/1089134.

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Chant, Dale. "Role Inversion and Its Function in the Iphigeneia at Aulis." Ramus 15, no. 2 (1986): 83–92. http://dx.doi.org/10.1017/s0048671x00003350.

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In the Iphigeneia at Aulis role and role inversion are paramount concerns. Indeed it could be contended that in this play we find Euripides' clearest and best defined account of human (and divine) variability. Agamemnon, Menelaos, Achilleus, Iphigeneia, and even, in the final analysis, Artemis, all take positions and attitudes diametrically opposed to those initially adopted. Moreover, the basic thrust behind these movements in position and attitude is the same for each of these characters. All are concerned, in one way or another, with the saving or destruction of Iphigeneia, a situation which most emphatically includes Iphigeneia herself. For on the one hand she wildly supplicates to be saved, while on the other she gladly offers her body to the blade. In addition, Iphigeneia plays a crucial role in greater destructions. If she is destroyed by Agamemnon's and the army's actions, then Greece is destroyed in turn by her (Agamemnon's and the Greeks' final triumph is a ‘Pyrrhic’ victory at best), a situation made all the more ironic by her affected stance of saviour to the fatherland. In Iphigeneia's case, however, the discrepancy between intention and the consequences of action is innocent enough. The play gives no hint that she is at all aware of the irony implicit in her actions. But such lack of awareness is not postulated with regard to Agamemnon, Menelaos and Achilleus. The duplicities and hypocrisies of these three have been the subject of much analysis, and it is at least a critical commonplace to observe that they are characterised in a way more reminiscent of the sour end of everyday life than of the due proprieties associated with heroic, or Homeric, behaviour.

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Gualberto, Rebeca. "Adaptation against Myth: Gary Owen’s Iphigenia in Splott and the Violence of Austerity." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 119. http://dx.doi.org/10.14198/raei.2021.35.06.

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This article explores, from the standpoint of socio-political myth-criticism, the processes of revision and adaptation carried out in Gary Owen’s 2015 play Iphigenia in Splott. The play, a dramatic monologue composed in the rhythms of slam poetry, rewrites the classical Greek myth of Iphigenia in order to denounce the profound injustice of the sacrifices demanded by austerity policies in Europe—and more specifically, in Britain—in the recession following the financial crash of 2008. Reassessing contemporary social, economic and political issues that have resulted in the marginalisation and dehumanisation of the British working class, this study probes the dramatic and mythical artefacts in Owen’s harrowing monologue by looking back to Euripides’s Iphigenia in Aulis, the classical play which inspires the title of Owen’s piece and which serves as the mythical and literary background for the story of Effie. The aim is to demonstrate how Owen’s innovative adaptation of the sacrifice of Iphigenia, slurred out in verse, resentful and agonising, speaks out a desperate plea against myth, that is, against a dominant social ethos that legitimises its own violence against the most vulnerable—those who, as in the classical myth, suffer the losses that keep our boats afloat.

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WILLINK, C. W. "EURIPIDES, IPHIGENIA IN TAURIS 392–455." Classical Quarterly 56, no. 2 (December 2006): 404–13. http://dx.doi.org/10.1017/s0009838806000413.

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WILLINK, C. W. "EURIPIDES, IPHIGENIA IN TAURIS 123–36." Classical Quarterly 57, no. 2 (November 7, 2007): 746–49. http://dx.doi.org/10.1017/s0009838807000675.

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MARSHALL, C. W. "EURIPIDES, IPHIGENIA IN TAURIS 1391–7." Classical Quarterly 57, no. 2 (November 7, 2007): 749–52. http://dx.doi.org/10.1017/s0009838807000687.

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TRIESCHNIGG, CAROLINE P. "IPHIGENIA'S DREAM IN EURIPIDES' IPHIGENIA TAURICA." Classical Quarterly 58, no. 2 (December 2008): 461–78. http://dx.doi.org/10.1017/s0009838808000554.

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Ward, Marchella. "(A.) Hinds (trans.) Euripides’ Iphigenia in Aulis. Two versions of Euripides’ masterpiece. With Martine Cuypers. Pp. 187. London: Oberon Books, 2017. Paper, £14.99. ISBN: 978-1-78682-135-5. - (A.) Hinds (trans.) Aeschylus’ The Oresteia. With Martine Cuypers. Pp. 238. London: Oberon Books, 2017. Paper, £14.99. ISBN: 978-1-78682-133-1." Classical Review 69, no. 2 (June 27, 2019): 673–75. http://dx.doi.org/10.1017/s0009840x19000817.

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Chong-Gossard, J. H. Kim On. "The Silence of the Virgins: Comparing Euripides' Hippolytus and Theonoe." Antichthon 38 (2004): 10–28. http://dx.doi.org/10.1017/s0066477400001477.

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One of the most pleasurable features of the plays of Euripides is his exploration of a wide range of character types, each of whom has the potential to be more exciting than the previous one. The fictional Aeschylus in the underworld of Aristophanes'Frogs(1043) remembers in particular the wicked women (Stheneboea, Phaedra), but Euripides also had his share of pious and self-sacrificing virgins (Macaria, Polyxena, Iphigenia), faithful wives (Helen in her name play, Andromache, Alcestis, Evadne), shrewd matriarchs (Hecuba, Jocasta, Aethra, Alcmene), and priestesses (Cassandra, Iphigenia inI. T., Theonoe, the Pythia).

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Bakogianni, Anastasia. "Euripides’ Iphigenia: Ancient Victim, Modern Greek Heroine?" CODEX -- Revista de Estudos Clássicos 7, no. 2 (December 31, 2019): 10–26. http://dx.doi.org/10.25187/codex.v7i2.30457.

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W. Most, Glenn. "TWO NOTES ON EURIPIDES IPHIGENIA AMONG THE TAURIANS." Acta Antiqua Academiae Scientiarum Hungaricae 40, no. 1-4 (December 2000): 349–56. http://dx.doi.org/10.1556/aant.40.2000.1-4.30.

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Nikolsky, B. M. "Euripides’ Iphigenia in Tauris and Athenian foreign policy." Shagi / Steps 3, no. 4 (2017): 107–27. http://dx.doi.org/10.22394/2412-9410-2017-3-4-107-127.

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Lloyd, Michael. "Review of L.P.E. Parker (ed.), Euripides: Iphigenia in Tauris." Acta Classica 59, annual (2016): 228–31. http://dx.doi.org/10.15731/aclass.059.15.

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Sansone, David. "Poulheria Kyriakou: A commentary on Euripides’ Iphigenia in Tauris." Gnomon 80, no. 5 (2008): 385–87. http://dx.doi.org/10.17104/0017-1417_2008_5_385.

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Wolff, Christian. "Euripides' "Iphigenia among the Taurians": Aetiology, Ritual, and Myth." Classical Antiquity 11, no. 2 (October 1, 1992): 308–34. http://dx.doi.org/10.2307/25010977.

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Kasimis, Demetra. "(C.E.) Luschnig, (P.) Woodruff (trans.) Euripides: Electra, Phoenician Women, Bacchae, Iphigenia at Aulis. Pp. xl + 286, map. Indianapolis and Cambridge: Hackett Publishing Company, Inc, 2011. Paper, £8.95, US$11.95 (Cased, £26.95, US$37.95). ISBN: 978-1-60384-460-4 (978-1-60384-461-1 hbk)." Classical Review 62, no. 2 (September 12, 2012): 662–63. http://dx.doi.org/10.1017/s0009840x12001539.

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Starkey, Jennifer. "Artemis and the Furies in Euripides’ Iphigenia among the Taurians." Classical World 115, no. 2 (2022): 103–29. http://dx.doi.org/10.1353/clw.2022.0000.

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Hamamra, Bilal Tawfiq. "Sacrifice/Martyrdom in Lady Lumley’s Iphigenia and Contemporary Palestine." Critical Survey 30, no. 4 (December 1, 2018): 22–39. http://dx.doi.org/10.3167/cs.2018.300403.

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Lady Lumley’s Iphigenia, a dramatization of sacrifice for a political cause, echoes the Lumley family’s participation in the politics of the 1550s. The role of Lady Lumley’s father in the events surrounding Lady Jane Grey’s death illuminates his daughter’s translation of Euripides, revealing affinities with Palestinian constructions of gender and female ‘martyrdom’ whereby women transcend convention while self-silencing their voices of protest. In both the fictional world of Lumley’s Iphigenia and contemporary Palestine, marriage and sacrifice are metaphorically associated. Clytemnestra’s opposition to Agamemnon’s plan to sacrifice Iphigenia and the Chorus’s complicity with the former enacts a presentist dialogue with contemporary Palestinian mothers divided in their support of or opposition to their daughters’ participation in armed resistance. Controversially, in common Palestinian parlance those dying defending the Palestinian cause (including, even more controversially, suicide bombers) are termed ‘martyrs’ for a just cause. Iphigenia’s heroism and Agamemnon’s indecisions therefore bear contemporary resonances.

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Marshall, C. W., Euripidea, James Diggle, Euripidea, and James Diggle. "Euripides: "Fabulae." Vol. 3. Helena, Phoenissae, Orestes, Bacchae, Iphigenia Aulidensis, Rhesus." Classical World 91, no. 5 (1998): 448. http://dx.doi.org/10.2307/4352149.

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Lourenço, Frederico. "An interpolated song in Euripides? Helen 229–52." Journal of Hellenic Studies 120 (November 2000): 132–39. http://dx.doi.org/10.2307/632485.

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Euripides may not have been a darling of the ‘gallery’ during his lifetime, but once he was dead he became a classic, to be read, performed—and imitated. Aristophanes' half-serious attempts to show up the ‘depravity’ of Euripidean tragedy had no lasting effect: the many revivals of his plays from the fourth century onwards suggest that later audiences appreciated the purely sensuous appeal in Euripides' verbal dexterity, his rhetorical flourishes, his distraught characters on the brink of madness and self-destruction, no less than the iridescent beauty of his lyric imagery. In particular, the far-fetched melodramatic outpourings in his solo arias must have had a special appeal, their kaleidoscopic rhythms and lush phraseology blending in with the Euripidean monodist's stock in trade, self-pity. At the Athenian theatre of Dionysus, solo arias were felt to be so quintessentially ‘Euripidean’ that Aristophanes included monody in the ‘diet’ with which his ‘Euripides’ claims to have educated the audience's taste (Ran. 944). We have no way of knowing if Athenian theatre-goers really became the sophisticated connoisseurs of fine poetry whom Aristophanes' Euripides wished for. We may surmise, however, that by the early fourth century, as long as Helen and Iphigenia sang an aria which sounded loosely ‘Euripidean’, it did not matter that the said aria had not actually been written by Euripides.

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