telling him reveals her name. This produces the natural cry from Orestes, who avows himself, and clasps her in his arms. The dramatic movement of this scene is admirable. From this point the interest slackens in Euripides, in Goethe it deepens. In the Greek play it is the culmination of passionate interest; for although the stratagem by which Iphigenia contrives to bear away the sacred image would flatter the propensities of the cunning Athenian audience, it must have been, even to them, a delight altogether of a lower kind, addressing lower faculties, than those addressed by the tragic processional grandeur of the earlier portions; whereas in the German play, the hitherto feeble passionate interest now rises in an ascending scale of high moral interest, so that the tragedy evolved addresses the conscience rather than the emotions, being less the conflict of passions than the high conflict with duty. In the fourth act Iphigenia has to save more than her brother's life; she has to save him from the Furies; this is only to be done by deceit, inasmuch as force is impossible under the circumstances. To a Greek mind nothing could be more satisfactory. The Greek preferred deceit to force; but the Christianised conscience revolts from deceit as cowardly and deeply immoral. Accordingly, Iphigenia shudders at the falsehood which is forced upon her, and only requires to be reminded by the king's messenger of the constant kindness and 1 Comp. Euripides, v. 1157, sq. Iphigenia pretends that as the image of the goddess has been stained by the impure hands of the two captives, it must be purified, and for this purpose she intends to cleanse it in the sea, but that must be done in solitude. She then bids Thoas command that every citizen shall remain within doors, carefully avoiding a sight of that which may pollute them — μυσαρὰ γὰρ τὰ τοιάδ ̓ ἐστι: nay more, with an ingenuity which is almost farcical, she bids Thoas himself remain within the Temple, throwing a veil over his eyes as the captives issue forth; he is not to consider it at all singular if she is a long while absent. In this way she contrives to escape with the image, having made fools of Thoas and his guards. considerateness with which Thoas has treated her, to make her pause. When, therefore, Pylades arrives, urging her to flight, she communicates to him her scruples. 66 Pylades. Him thou dost fly who would have slain thy brother. Iphig. To me at least he hath been ever kind. Pylades. What fate commands is not ingratitude. Iphig. Alas! it still remains ingratitude Necessity alone can justify it. Pylades. Thee before gods and men it justifies. Iphig. But my own heart is still unsatisfied. Pylades. Scruples too rigid are a cloak for pride. Iphig. I cannot argue, I can only feel." How modern all this is! Pylades with more worldly views says: "Life teaches us To be less strict with others than ourselves; So wonderful Is human nature, and its varied ties Are so involved and complicate, that none Here, then, lies the tragedy. Will this soul belie its own high instincts, even for the sake of saving her brother? The alternative is horrible; and after portraying the temptation in all its force, and human frailty in all its tenderness, the poet shows us human grandeur in this fine burst from the unhappy priestess: "Attend, O king! A secret plot is laid; 'tis vain to ask Touching the captives; they are gone, and seek My brother and the other, Pylades, From Delphi, Phoebus sent them to this shore With a divine command to steal away Bear back the sister, promising for this The remnants of the house of Tantalus: For anything like this we seek in vain throughout the Greek" Iphigenia ;" and the mere grandeur of the conception would produce an overpowering effect on the stage, if delivered with adequate depth and dignity. Had Thoas been represented as a fierce Scythian, or even had he not been hitherto allowed to convince us of his generosity, the "collision" would have been stronger; as it is, we have little faith in his ferocity. He has nearly relented when Orestes rushes in with drawn sword to hasten Iphigenia away, because their design has been discovered. A scene ensues in which Thoas is resolved not to suffer the Image of Diana to be borne away; and as to carry it away is the object of Orestes, it must be decided by force of arms. now a light suddenly breaks in upon Orestes, who reads the oracle in another way. Apollo said "Back to Greece the sister bring, Who in the sanctuary on Tauris' shore But It was Iphigenia who was to purify him, and to bear her away is to fulfil Apollo's orders. This interpretation loosens the knot. Iphigenia recalls to Thoas his promise that she should depart if ever she could return. in safety to her kindred, and he reluctantly says, "Then go!" to which she answers: "Not so, my king; I cannot part Without thy blessing, or in anger from thee. Banish us not! the sacred right of guests Still let us claim: so not eternally So shall the wind more gently swell our sails, Thoas (extending his hand). Fare thee well." This is a very touching, noble close, and is in exquisite harmony with the whole. The remarks on this masterpiece have already occupied so much space that I could not, were I disposed, pause to examine the various collateral points of criticism which have been raised in Germany. I will merely allude to the characteristic difference between Ancient and Modern Art exhibited in the treatment of the Furies, which in Euripides are terrible Apparitions, real beings personated by actors; in Goethe they are Phantasms moving across the stage of an unhappy soul, but visible only to the inward eye; in like manner the Greek dénouement is the work of the actual interference of the goddess in person, whereas the German dénouement is a loosening of the knot by deeper insight into the meaning of the oracle. CHAPTER III. PROGRESS. In the beginning of 1779 we find Goethe very active in his new official duties. He has accepted the direction of the War Department, which suddenly assumes new importance, owing to the preparations for a war. He is constantly riding about the country, and doing his utmost to alleviate the condition of the people. "Misery," he says, "becomes as prosaic and familiar to me as my own hearth, but nevertheless I do not let go my idea, and will wrestle with the unknown Angel, even should I halt upon my thigh. No man knows what I do, and with how many foes I fight to bring forth a little." Among his undertakings may be noted an organisation of Firemen, then greatly wanted. Fires were not only numerous, but were rendered terrible by the want of any systematic service to subdue them. Goethe, who in Frankfort had rushed into the bewildered crowd, and astonished spectators by his rapid, peremptory disposition of their efforts into a system in Apolda and Ettersburg lent aid and command, till his eyebrows were singed and his feet were burnednaturally took it much to heart that no regular service was supplied; and he persuaded the duke to institute one. who On this (his thirtieth) birthday the duke, recognising his official services, raised him to the place of Geheimrath. It is strange and dreamlike," writes the Frankfort burgher in his new-made honour, "that I in my |