The Iphigenia in Tauris | Page 3

speech. Yet they have none of the unreality that is usual in such figures. The shadow of madness and guilt hanging over Orestes makes a difference. At his first entrance, when danger is still far off, he is a mass of broken nerves; he depends absolutely on Pylades. In the later scenes, when they are face to face with death, the underlying strength of the son of the Great King asserts itself and makes one understand why, for all his madness, Orestes is the chief, and Pylades only the devoted follower.
Romantic plays with happy endings are almost of necessity inferior in artistic value to true tragedies. Not, one would hope, simply because they end happily; happiness in itself is certainly not less beautiful than grief; but because a tragedy in its great moments can generally afford to be sincere, while romantic plays live in an atmosphere of ingenuity and make-believe. The Iphigenia is not of the same order as The Trojan Women. Yet it is a delightful play; subtle, ever-changing, full of movement and poignancy. The recognition scene became to Aristotle a model of what such a scene should be; and the long passage before it, from the entrance of the two princes onward, seems to me one of the most skilful and fascinating in Greek drama.
And after all the adventure of Euripides is not quite like that of the average romantic writer. It is shot through by reflection, by reality and by sadness. There is a shadow that broods over the Iphigenia, though it is not the shadow of death. It is exile, homesickness. Iphigenia, Orestes, the Women of the Chorus, are all exiles, all away from their heart's home, among savage people and cruel gods. They wait on the shore while the sea-birds take wing for Hellas, out beyond the barrier of the Dark-Blue Rocks and the great stretches of magical and 'unfriended' sea. Nearly all the lyrics are full of sea-light and the clash of waters, and the lyrics are usually the very soul of Euripidean tragedy.
G. M.

CHARACTERS OF THE PLAY
IPHIGENIA, eldest daughter of Agamemnon, King of Argos; supposed to have been sacrificed by him to Artemis at Aulis.
ORESTES, her brother; pursued by Furies for killing his mother, Clytemnestra, who had murdered Agamemnon.
PYLADES, Prince of Phocis, friend to Orestes.
THOAS, King of Tauris, a savage country beyond the Symplegades.
A HERDSMAN.
A MESSENGER.
CHORUS of Captive Greek Women, handmaids to Iphigenia.
The Goddess PALLAS ATHENA.
The play was first performed between the years 414 and 412 B.C.

THE IPHIGENIA IN TAURIS
[The Scene shows a great and barbaric Temple on a desolate sea-coast. An altar is visible stained with blood. There are spoils of slain men hanging from the roof. IPHIGENIA, in the dress of a Priestess, comes out from the Temple.]
IPHIGENIA.
Child of the man of torment and of pride Tantalid Pelops bore a royal bride On flying steeds from Pisa. Thence did spring Atreus: from Atreus, linked king with king, Menelaus, Agamemnon. His am I And Clytemnestra's child: whom cruelly At Aulis, where the strait of shifting blue Frets with quick winds, for Helen's sake he slew, Or thinks to have slain; such sacrifice he swore To Artemis on that deep-bosomed shore. For there Lord Agamemnon, hot with joy To win for Greece the crown of conquered Troy, For Menelaus' sake through all distress Pursuing Helen's vanished loveliness, Gathered his thousand ships from every coast Of Hellas: when there fell on that great host Storms and despair of sailing. Then the King Sought signs of fire, and Calchas answering
Spake thus: "O Lord of Hellas, from this shore No ship of thine may move for evermore, Till Artemis receive in gift of blood Thy child, Iphigenia. Long hath stood Thy vow, to pay to Her that bringeth light Whatever birth most fair by day or night The year should bring. That year thy queen did bear A child--whom here I name of all most fair. See that she die."
So from my mother's side By lies Odysseus won me, to be bride In Aulis to Achilles. When I came, They took me and above the altar flame Held, and the sword was swinging to the gash, When, lo, out of their vision in a flash Artemis rapt me, leaving in my place A deer to bleed; and on through a great space Of shining sky upbore and in this town Of Tauris the Unfriended set me down; Where o'er a savage people savagely King Thoas rules. This is her sanctuary And I her priestess. Therefore, by the rite Of worship here, wherein she hath delight-- Though fair in naught but name. ... But Artemis Is near; I speak no further. Mine it is To consecrate and touch the victim's hair; Doings of blood unspoken are the care Of others, where her inmost chambers lie. Ah me!