In the surviving plays of Aeschylus and Sophocles the gods appear to men only rarely. In the Eumenides Apollo and Athena intervene to bring acquittal to Orestes. In Sophocles' Philoctetes Heracles appears ex machina to ensure that the hero returns to Troy, and we learn from a messenger how the gods have summoned the aged Oedipus to a hero's tomb. In Sophocles' Ajax Athena drives Ajax mad and taunts him cruelly. Prometheus Bound might seem to be an exception, since all (...) but one of its characters are gods. But nonetheless the intervention of the gods in the life of the one human character, Io, brings pain and trouble as well as promise of benefit. Io has been driven mad because she has refused to obey the dreams that tell her to go to the meadow where Zeus wants to have intercourse with her. The god does not make his request in person, and it is only in the course of her wanderings that Io learns how Zeus will bring a gentle end to her sufferings. Her informant is another god, Zeus' adversary Prometheus, who answers her questions, at times grudgingly , and in ways that are not immediately clear to her. (shrink)

Iphigenia Aulidensis was 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. (shrink)