the truth that "the gods help those who help themselves."

II.

DIVISION OF THE PLAY INTO ACTS AND SCENES.

SCENERY.

The following is a short summary of the acts (ÉTELσódia) and scenes of which the play is composed. I have departed in one point only from the division given by Arnoldt (Die chorische Technik des Euripides, p. 19 f.). He arranges the play so as to give only three émeuródia. His universal principle is that nothing επεισόδια. but a orάopov can mark the division between the Telódia. If, however, the Parodos, which includes scenic as well as orchestral parts, can mark a main division in the play, it is hard to say on what principle a kópos can be excluded from doing the same. In his arrangement the second éreódiov extends from v. 467 to v. 1068. It is not only the inordinate length of this act which leads me to think it ought to be broken up. The κóppos (vv. 643-658) forms a turning point in the action of the play. Up to this point we have no hint of the discovery which is to lead to the rescue of the captives and the consummation of their desires. The conversation of Orestes and Pylades, beginning at v. 658, prepares the way for the recognition which is to follow: there is more

over no need here, as there generally is where σráoiμa occur, of a longer interval, to give an actor time to change his dress. I have therefore, as Wecklein does, marked v. 658 as the beginning of the third act.

The scenes, which are always determined by the entrance of a new actor or the departure of one present in the previous scene, I have marked1 in the text by a slight gap between the verses.

The chorus is present in the orchestra during the whole action. During the σráoua the stage is always empty.

More detailed explanations of the entrances and exits of the characters will be found in the explanatory notes at the beginning of each scene.

I.

PROLOGOS.

Scene 1 (vv. 1-66), Iphigeneia alone.
Scene 2 (vv. 67-122), Orestes and Pylades.

II.

Parodos of the Chorus, who join with Iphigeneia in a funeral dirge (vv. 123-235).

III.

FIRST EPEISODION,

in one scene. Iphigeneia and the Herdsman (vv. 236-391): (from v. 344 Iphigeneia alone).

1 At v. 1307 in the Exodos I have by inadvertence omitted thus to mark the second scene.

IV.

First Stasimon.

Vv. 392-466.

V.

SECOND EPEISODION,

in one scene. Iphigeneia, Orestes, and Pylades 1 (vv.

467-642).
VI.

Kommos

between portions of the Chorus 2 and Orestes and Pylades (vv. 643-657).

VII.

THIRD EPEISODION.

Scene 1. Orestes and Pylades (vv. 658-724).

Scene 2. Iphigeneia, Orestes, and Pylades (vv. 725-1088). (The longest and most important scene in the play, containing the recognition and a μovwdía of Iphigeneia).

in one scene.

VIII.

Second Stasimon.

Vv. 1089-1152.

IX.

FOURTH EPEISODION,

Thoas and Iphigeneia (vv. 1153-1233).

1 Here, too, I depart from Arnoldt in a small point. He, in common with most editors, makes Pylades a mute actor in this scene, whereas I have given him vv. 494 and 496.

2 Arnoldt says, single members of the Chorus.

X.

Third Stasimon.

Vv. 1234-1283.

XI.

EXODOS.

Scene 1. Messenger and Chorus (vv. 1284-1306).

Scene 2. Thoas and Messenger (vv. 1307-1434).

Scene 3. Athena and Thoas; Choric song at the end (vv. 1435-1499).

In the above table the orchestral parts are printed in italics. It will be seen that the scenic parts of the play are made to fall into six divisions by five orchestral (and therefore musical) interludes. The numbering of the verses is the same as that in the Aldine edition, which is adopted in Dindorf's Poetae Scenici.

Scenery.

The σkývn in this play represented the front of the temple of the Taurian Artemis. From the account of Herodotus (iv. 103) it would more naturally occur to us to imagine the temple as facing towards the sea. The exigencies of the stage would, however, be best met by making the temple face inland. The two TEρíaкTOι in that case, which probably stood immediately behind 1 the two stage ráрodо-gaps between

1 Most authorities imagine these replaктo to have stood before the πάροδοι.

the stonework of the temple front and the sides of the theatre would contain representations of the sea and the sea coast on each side of the temple. In front of the temple was an altar with blood-stained cornice, bearing arms taken as trophies from previous victims.1

The town of the Tauri, with Thoas's palace, must, according to the Athenian stage traditions, be supposed to lie to the spectators' right. Part of the σkývy or, perhaps of the περίακτοι, or the παρασκήνια, if there were any, may have represented out-buildings in which Iphigeneia and the temple servants lived.

III.

THE AUTHORITIES FOR THE TEXT.

The text of the Iphigencia among the Tauri rests on two mss. of the fourteenth century: (1) the ms. 32. 2 in the Laurentian Library at Florence-called L in the Critical Notes, and so called by Prinz (the C of Kirchhoff and v. Wilamowitz-Moellendorf); (2) the ms. 287 in the Palatine mss. in the Vatican. This ms. (Kirchhoff's B) is now generally referred to as P.

To no editor of this play, as far as I know, who wrote before the appearance in 1875 of v. WilamowitzMoellendorf's Analecta Euripidea (Berlin, Borntraeger), was the ms. L known, except through the very careless collation of it made by de Furia for Matthiae 1 Cf. vv. 72-75.