"Imperial Agamemnon, when he saw
His daughter, as a victim to the grave,
Advancing, groaned, and, bursting into tears,
Turned from the sight his head, before his eyes,
Holding his robe. The virgin near him stood,
And thus addressed him: 'Father, I to thee
Am present; for my country, and for all
The land of Greece, I freely give myself
A victim: to the altar let them lead me,
Since such the oracle. If aught on me
Depends, be happy, and obtain the prize
Of glorious conquest, and revisit safe
Your country. Of the Grecians, for this cause,
Let no one touch me; with intrepid spirit
Silent will I present my neck.' She spoke,
And all that heard revered the noble soul
And virtue of the virgin."
How quickly had the fair bud bloomed up into its perfection! Had she lived a thousand years, she could not have surpassed this. Goethe's Iphigenia, the mature Woman, with its myriad delicate traits, never surpasses, scarcely equals, what we know of her in Euripides.
Can I appreciate this work in a translation? I think so, impossible as it may seem to one who can enjoy the thousand melodies, and words in exactly the right place, and cadence of the original. They say you can see the Apollo Belvidere in a plaster cast, and I cannot doubt it, so great the benefit conferred on my mind by a transcript thus imperfect. And so with these translations from the Greek. I can divine the original through this veil, as I can see the movements of a spirited horse by those of his coarse grasscloth muffler. Besides, every translator who feels his subject is inspired, and the divine Aura informs even his stammering lips.
Iphigenia is more like one of the women Shakspeare loved than the others; she is a tender virgin, ennobled and strengthened by sentiment more than intellect; what they call a Woman par excellence.
Macaria is more like one of Massinger's women. She advances boldly, though with the decorum of her sex and nation:
"Macaria. Impute not boldness to me that I come
Before you, strangers; this my first request
I urge; for silence and a chaste reserve
Is Woman's genuine praise, and to remain
Quiet within the house. But I come forth,
Hearing thy lamentations, Iolaus;
Though charged with no commission, yet perhaps
I may be useful." * * *
Her speech when she offers herself as the victim is reasonable, as one might speak to-day. She counts the cost all through. Iphigenia is too timid and delicate to dwell upon the loss of earthly bliss and the due experience of life, even as much as Jephtha'a daughter did; but Macaria is explicit, as well befits the daughter of Hercules.
"Should these die, myself
Preserved, of prosperous future could I form
One cheerful hope?
A poor forsaken virgin who would deign
To take in marriage? Who would wish for sons
From one so wretched? Better then to die,
Than bear such undeserved miseries;
One less illustrious this might more beseem.
* * * * *
I have a soul that unreluctantly
Presents itself, and I proclaim aloud
That for my brothers and myself I die.
I am not fond of life, but think I gain
An honorable prize to die with glory."
Still nobler when Iolaus proposes rather that she shall draw lots with her sisters.
"By lot I will not die, for to such death
No thanks are due, or glory—name it not.
If you accept me, if my offered life
Be grateful to you, willingly I give it
For these; but by constraint I will not die."