Lucian of Samosata Toxaris vel amicitia 2

Austin Morris Harmon (Translator)

Toxaris vel amicitia. Lucian of Samosata. Austin Morris Harmon (Translator). United States. Perseus 5.0.

Funding provided by National Endowment for the Humanities.

Current edition Perseus

Toxaris, or Friendship (English) (Lucian, Vol. 5. Harmon, Austin Morris, editor. London: William Heinemann, Ltd.; Cambridge, MA: Harvard University Press, 1936 (printing).)

Editions (1)
Τόξαρις ἢ Φιλία Perseus (Lucian, Vol. 5. Harmon, Austin Morris, editor. London: William Heinemann, Ltd.; Cambridge, MA: Harvard University Press, 1936 (printing).) — 2 focus
Translations (2)
Toxaris: a Dialogue of Friendship Perseus (The Works of Lucian of Samosata, Vol. 3. Fowler, Henry Watson and Fowler, Francis George, translators. Oxford: Clarendon Press, 1905.) — 2 focus
Toxaris; Or, Friendship Perseus (Selections from Lucian. Smith, Emily James, translator. New York: Harper Brothers, 1892.) — 2 focus

Notes on the current edition

Toxaris, or Friendship

1.
Both here and below in § 6 Lucian omits as self-understood the point that Orestes discovers the priestess to be his sister Iphigenia, previously thought to have perished at Aulis under the sacrificial knife.
2.
In the point that this version of the story makes the Greeks escape by overpowering the Scythians and killing Thoas, their king, it differs significantly both from Euripides in the Iphigenia among the Taurians and from Sophocles in the Chryses, in which Thoas was killed, to be sure, but only after they had somehow got away and he had overtaken them at “Sminthe,” whose ruler, Chryses, turning out to be the son of Agamemnon and Chryseis, and so the half-brother of Orestes and Iphigenia, aids them to kill their pursuer. Elsewhere in extant ancient literature the Lucianic version is found only in Servius and in accounts derived from him (Serv. in Aen., II, 216; cf. [Hyginus], 261, and Mythogr. Vat., II, 202). It may have been the accepted version of the cult of Diana at Aricia (Preller, Robert), but cannot be of Latin origin. It is surely the early version, effaced in the literary tradition by the influence of Euripides, but perpetuated (as early myths often were) in art through a painting by some famous Hellenistic master, later reflected not only in Graeco- Roman sarcophagus-reliefs but in the murals of some Graeco- Scythian Oresteum (§6). Lucian’s knowledge of it may safely be ascribed to an allusion to those murals in the literary source from which he derives the curious mixture of fact and fiction in § 6.