Abstract

This essay examines Aristotle's discussion of the recognition scenes in Euripides' Iphigenia in Tauris and in Polyidus' alternative scenario. It suggests that Aristotle might show interest in Polyidus because he intuits the significance of the timing of the recognition scenes within the plot. Gluck's eighteen-century opera, Iphigénie en Tauride, maintains the general structure of Euripides' play but borrows Polyidus' recognition scene. The operatic recognition provides a clear dramatic frame to the brief references to Polyidus in the Poetics and facilitates an analysis of the differences between Euripides and Polyidus