explains how she had narrowly avoided death by sacrifice at the hands of her father. Orestes despairs, fearing that they will become human sacrifices.. Pylades encourages him, telling him about the kindly priestess who does not kill prisoners. Orestes thinks there’s no point in him answering anything since he is about to die either way, but when asked “Are you brothers, from one mother?” he does reply with the touching “By friendship, yes; we are not brothers by birth, lady.” However, soon after he unintentionally reveals his hometown as well—and since it is the same as Iphigenia’s—a longer discussion between the two follows, during which Iphigenia enquires about the fates of various Greeks under Troy (Helen, Odysseus, Achilles, Agamemnon, Clytemnestra) and finds out that both of her parents are dead, her sister Electra the only one now living in the house. He begins to concede. While she pours libations in his honor, they all lament Orestes’ fate and the unfortunate end of the house of Agamemnon. Iphigenia, who has not seen her brother since his childhood and believes him dead anyway, is about to commence the sacrifice, when chance causes their relationship to be discovered (Iphigenia plans to use one of the captured Greeks to convey a letter and, after a contest of friendship between the two in which each insists on sacrificing his own life for that of his comrade, it becomes apparent that Orestes himself is the intended recipient of the letter). Reciprocal closeness in Iphigenia in Tauris is explored even more in the theme of interhuman connection, whether kinship or friendship: Orestes, Pylades, and Iphigenia—even before the recognition-scene—are willing to risk their lives and reputation for each other, and Orestes even explicitly suggests that him and Pylades are brothers by affection, even if they are not brothers by mother. Luschnig). “See, Orestes, I bring you a tablet from your sister here, and give it to you.”. “And does the dead father's son live at Argos?” she asks worriedly. On October 10, 1898, a Catalan translation by Joan Maragall was performed at Parc del Laberint d'Horta in Barcelona. We learn that just after being saved by Athena from the immediate wrath of the Erinyes, Orestes was assigned by Apollo to bring back to Greece the statue of Artemis—the one, last thing he has to do so that he is left alone for good by the avenging goddesses (who still visit him in his dreams). The Chorus rejoices, promising eternal gratitude and reverence to Athena. However, they are captured by Taurian guards and brought to the temple to be killed, according to the local custom. However, no evidence—other than conjectures and literary interpretations—exists to support such grouping. Scene 5: In the Song of the Fates she recalls the pitiless vengeance of the Gods. Soon after, though, Orestes himself, accompanied by his friend Pylades, enters. Be quick to prepare the purifications and the first offerings.” Iphigenia interrogates the Herdsman about their identity, and he tells her that he knows the name of only one of them (Pylades) because the other, seized by a fit of madness and hallucinating “hell’s dragons,” had called for his help. “That man is my friend, and I wish him to live, no less than myself.” As Iphigenia goes inside the temple to retrieve the letter, Pylades objects to this new arrangement, but he is eventually convinced by Orestes to accept it. It is now the job of Iphigenia to prepare for sacrifice any Greek male who might arrive in the land of the Taurians. As she leaves followed by Orestes and Pylades, Iphigenia instructs Thoas to take as much time as he can to purify Artemis’ temple with fire; in addition, she tells him to send someone to the city to tell the other Taurians to remain indoors so as not to be polluted. Iphigenia leaves in dismay. She also recounts a dream she has recently had, suggesting that her brother. One of Thoas’ servants arrives before the temple to relay some urgent news to the king: “the girl who presided at this altar,” he says hurriedly, “has left the country with the strangers, and has taken with her the holy statue of the goddess.” The purification was an elaborate ruse: the strangers are, in fact, is one of several late plays by Euripides—, . Thoas wants to know what kind of sin the Greeks are guilty of and Iphigenia tells him: “They killed their mother together with their swords.” “Apollo!” shrieks he in disgust. Euripides was known for his striking portrayals of female characters, and Iphigenia is no exception, although she perhaps lacks the dramatic depth of his Medea and Electra. Euripides' title means "Iphigenia among the Taurians", whereas Goethe's title means "Iphigenia in Taurica", the country of the Tauri. “He lives, the miserable one, both nowhere and everywhere,” answers Orestes. Scene 4: Iphigenia prays to Diana: she places her faith in the goodness and justice of the Gods, and she begs her to spare her from having to sacrifice innocent victims. “Iphigenia in Tauris” or “Iphigenia among the Taurians” (Gr: “Iphigeneia en Taurois”) is a tragedy, although sometimes described as a romance or melodrama, by the ancient Greek playwright Euripides, written sometime between 414 BCE and 412 BCE. After devising the plan, Iphigenia informs Thoas, the ruler of the Taurians, that one of the Greeks had murdered his mother and that he has now polluted the statue of Artemis by touching it with his blood-stained hands. The story of her past is not the reason why, as she says, she “talks to the air”; it is, instead, to find some relief from a dream that visited her the preceding night, which, in her interpretation, had as its object the death of her brother Orestes. Iphigenia in Tauris (German: Iphigenie auf Tauris) is a reworking by Johann Wolfgang von Goethe of the ancient Greek tragedy Ἰφιγένεια ἐν Ταύροις (Iphigeneia en Taurois) by Euripides. If, however, you prefer poetry, feel free to delve into Arthur S. Way blank verse adaptation, Greek Mythology iOS Volume Purchase Program VPP for Education App. Indeed, the three constituent elements of the legend (the old Greek ceremonies, the Tauric worship and the traditions about Iphigenia) are rescued from their previous confusion and combined into a plausible and connected story, while at the same time throwing the odium of the primitive form of sacrifice firmly onto the barbarians and foreigners. Iphigenia declines: marriage would tie her to Tauris for ever. • Iphigenia, daughter of Agamemnon, sister of Orestes, and priestess of Artemis• Orestes, son of Agamemnon, brother of Iphigenia• Pylades, cousin of Orestes and Iphigenia, a loyal friend of Orestes• Herdsman, the first messenger• Thoas, king of the Taurians• Messenger, servant of Thoas• Athena, goddess of wisdom and warfare, savior of Orestes• Chorus of Greek captive maidens, temple servants and attendants of Iphigenia. The play was held in high estimation among the ancients (including Aristotle) for its beauty and its magnificent picture of devoted friendship and sisterly affection, and the modern verdict has been no less favourable. She gives several examples. He explains that the King is coming to ask for her hand, and he advises her to accept. Pylades tries to reason with him. Orestes accepts the offer but with one important adjustment: he would be the one to remain and be sacrificed, and Pylades the one to leave and pass on the letter.
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