 If one wishes to adjudicate among the various types of interpretation, one may start by recognizing some of the requirements upon a successful interpretation, or an interpretation offering a historically plausible account of Parmenides’ thought in its place and time. A successful interpretation must take account of advances in the understanding of the text and transmission of the fragments of Parmenides’ poem, such as Theodor Ebert’s identification of a transposition in fr. 8 (Ebert 1989) and the results of Leonardo Tarán’s reexamination of the manuscripts of Simplicius’s commentary on Aristotle’s Physics (Tarán 1987). A successful interpretation should attend to the fr. 1 proem’s indications of the poem’s cultural context. It should attend to the poem’s epistemology as well as to its logical and metaphysical dimensions. Perhaps most importantly, it should take full and proper account of Parmenides’ cosmology (and not try to explain it away or else simply ignore it). Attention in recent years to some of the most innovative features of the cosmology have confirmed what should have been evident in any case, namely, that the cosmology that originally comprised the greater part of his poem is Parmenides’ own explanation of the world’s origins and operation (see especially Mourelatos 2013, Graham 2013, and Mansfeld 2015). A successful interpretation must explain the relation between the two major phases of the goddess’s revelation so that the existence of what is described in one is compatible with the existence of what is described in the other. To this end, it should avoid attributing to Parmenides views that are patently anachronistic or, worse, views that cannot be coherently asserted or maintained. A successful interpretation also needs to attend carefully to the structure of Parmenides’ argumentation in the path of conviction and to follow it through to the end without lapsing into understanding his claims that what is is "ungenerated and deathless,/ whole and uniform, and still and perfect" (fr. 8.3–4) as mere metaphors.