Oxford University Press, Oxford, 2016. CIX,385p. Paperback. 'This is a substantial edition. (.) The introduction is generous, with sections on Iphigenia (?In Cult?, ?Before Euripides,? ?Iphigenia and Euripides?, ?Iphigenia after Euripides?, ?Iphigenia and the Critics?), the play?s date, its metres, the transmission of the text, MSS and sigla, and papyri (which give little help). This is followed by the text, with full apparatus criticus, seemingly based on, but not identical to, Diggle?s OCT, the commentary (where textual notes are placed in square brackets) and a full bibliography and indexes. (.) The commentary itself is one of robust commonsense and laudable fairness to earlier editors (.). It is greatly to her credit that what we have are her own opinions and decisions, and if this involves, say, a transposition or an athetesis of a line or two (or the refusal to athetise, against Diggle, at 572) so be it. In other words, she proceeds on the basis that Euripides did not write nonsense, and her text reflects this (.). This is a most welcome addition to the corpus of Euripidean scholarship.' (COLIN LEACH in Classics for All, 15.08.2016).

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Bibliographic Details

Title: Iphigenia in Tauris. Edited with Introduction and Commentary by L.P.E. Parker.
Publisher: Oxford University Press
Publication Date: 2016
Language: English
ISBN 10: 0199550107
ISBN 13: 9780199550104
Binding: Soft cover

About this title

Synopsis

Euripides' Iphigenia in Tauris is the tale of how two children of Agamemnon whose lives have been blighted in youth are brought together for mutual salvation and for the healing of the calamitous house of Pelops. Aristotle makes more complimentary references to the play than any other Attic tragedy, apart from Sophocles' Oedipus the King, and even less favourable critics recognize the extraordinary skill of its construction.

Comprising an introduction, the Greek text, and commentary, this volume is designed to be useful to a wide range of readers, facilitating a close and accurate reading of one of Euripides' more frequently studied plays. The introduction explores earlier and later re-interpretations of the story of Iphigenia, the adoption of narrative motifs in New Comedy, Roman comedy, and the ancient novel, differing critical assessments, and more technical information on metre and textual transmission. The commentary features guidance on vocabulary and syntax, while more advanced material, including textual discussion, is included in parenthesis.

About the Author

L. P. E. Parker, Emeritus Fellow at St. Hugh's College, University of Oxford

L. P. E. Parker is Emeritus Fellow at St. Hugh's College, Oxford.

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