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What she wanted was men who could act while she thought. And those were just the men whom she would find nowhere but she knew it too well in the hated Christian priesthood. And then that fearful Iphigenia sacrifice loomed in the distance as inevitable. The only hope of philosophy was in her despair! ...............
There was no restraining the ardour of the young, who sought their death in a spirit of delirious chivalry, each proud to be the Iphigenia or the Jephtha's Daughter of a France set free. It has been noted since that the young generation, born about 1890, had been prepared for the crisis in a very significant way.
I found Karl lost in gloomy thought: he had again met with an unfavourable reception when conducting Gluck's Overture to Iphigenia, and was keeping aloof from everybody. Hans was busily rehearsing with a very poor company and a horrible orchestra, in a hideous theatre.
The energy of the drama was concentrated in the role of Iphigenia a nervous, hysterical, and pedantic Iphigenia, who lectured the hero, declaimed furiously, laid bare for the audience her Nietzschian pessimism and, glutted with death, cut her throat, shrieking with laughter. Nothing could be more contrary to Christophe's mind than such pretentious, degenerate, Ostrogothic stuff, in Greek dress.
The flight of Orestes and his sister is not highly calculated to excite our interest: the artifice by which Iphigenia brings it about is readily credited by Thoas, who does not attempt to make any opposition till both are safe, and then he is appeased by one of the ordinary divine interpositions.
This time she was indeed alone. As I looked into her face, I somehow thought of Agamemnon's fair daughter doomed to die a virgin. You can see my 'Iphigenia' in the spring, if you chance to be in Paris. "This time, self-knowledge deserted me. The past was forgotten. The future was undreaded. The passion in my heart spoke without reserve or caution! I no longer said: 'You need me!
Moreover, by bringing the sacrifice of Iphigenia thus immediately before us, the poet has succeeded in lessening the indignation which otherwise the foul and painful fate of Agamemnon is calculated to awaken. He cannot be pronounced wholly innocent; a former crime recoils on his own head: besides, according to the religious idea of the ancients, an old curse hung over his house.
Then, as they take their places and begin their rhythmic dance, in a strain of impassioned verse that is at once a narrative and a lyric hymn, they tell, or rather present in a series of vivid images, flashing as by illumination of lightning out of a night of veiled and sombre boding, the tale of the deed that darkened the starting of the host the sacrifice of Iphigenia to the goddess whose wrath was delaying the fleet at Aulis.
Philoctetes filled the Greek stage with his lamentations; Hercules himself, when in fury, does not keep under his grief. Iphigenia, on the point of being sacrificed, confesses with a touching ingenuousness that she grieves to part with the light of the sun.
Of course there were various alterations of detail, changes in the metres, curtailments, and disfigurements; in the Latin edition of the -Iphigenia- of Euripides, for instance, the chorus of women was either after the model of another tragedy, or by the editor's own device converted into a chorus of soldiers.
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