The name Iphianassa occurs only once in Latin literature—in the proem to De Rerum Natura. Here Lucretius illustrates the evils of religion with a description of Iphianassa's sacrifice at Aulis :illud in his rebus uereor, ne forte rearisimpia te rationis inire elementa uiamqueindugredi sceleris. quod contra saepius illareligio peperit scelerosa atque impia facta.Aulide quo pacto Triuiai uirginis aramIphianassai turparunt sanguine foedeductores Danaum delecti, prima uirorum.cui simul infula uirgineos circumdata comptusex utraque pari malarum parte profusast,et maestum simul ante aras adstare parentemsensit (...) et hunc propter ferrum celare ministrosaspectuque suo lacrimas effundere ciuis,muta metu terram genibus summissa petebat.nec miserae prodesse in tali tempore quibatquod patrio princeps donarat nomine regem.nam sublata uirum manibus tremibundaque ad arasdeductast, non ut sollemni more sacrorumperfecto posset claro comitari Hymenaeo,sed casta inceste nubendi tempore in ipsohostia concideret mactatu maesta parentis,exitus ut classi felix faustusque daretur.tantum religio potuit suadere malorum.It is clear that Lucretius treats the name Iphianassa as a synonym for Iphigenia. Homer and Sophocles mention a daughter of Agamemnon called Iphianassa, but in neither author is she the daughter who was sacrificed at Aulis. The first known mention of this myth was in the Cypria, where, according to the summary of Proclus, the daughter was called Iphigenia. Hesiod refers to it in the Catalogue of Women, where he calls the daughter Iphimede. From the fifth century b.c.e., the extant sources, beginning with Pindar and Aeschylus, call her Iphigenia. Why did Lucretius choose Iphianassa? (shrink)

The plot of Iphigenia in Tauris is usually thought to be Euripides' own invention. Its basic assumption can be found in Proclus' summary of the Cypria, 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 is original only in a limited sense, since it bears the imprint of several familiar story types. These types include the following: the murder of a kinsman is narrowly averted by a recognition; a reunion is followed by an intrigue; and a maiden is rescued. Each is used elsewhere by Euripides. The first two, for example, are found in Cresphontes, the second in Electra, and the third in Andromeda. 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. (shrink)