[5] Also, other than this play and the two plays known to date to 412, we do not know of any such escape plays by Euripides; if he produced two that year, why not three, which might make a particularly strong impression if the escape theme was one Euripides wished to emphasize that year. But Pylades tells her that Agamemnon has been murdered by his wife Clytemnestra and her lover Aegisthus, in revenge for Agamemnon's sacrifice of his daughter. Consulting the Delphic oracle of Apollo, he was told to bring "the sister" to Athens and that this would be the only way to lift the curse. Goddess Artemis saved me and substituted a deer, which my father sacrificed believing he was thrusting the sharp blade into me. The play begins with Iphigenia reflecting on her brother's death. Vielwillkommner Ton The attendants to Iphigenia leave to prepare for the sacrifice. Am Ende steht Thoas jedoch zu seinem Wort und lässt Iphige… Gefaehrlich ist die Freiheit, die ich gebe; Die Goetter wenden ab was euch bedroht! Wieder muss sie sich entscheiden. Sie nimmt ihm die Ketten ab. She interprets this dream to mean that Orestes is dead. Arkas drängt auf Beschleunigung des Opfers und bittet Iphigenie, den König zu erhören, während Pylades Iphigenie bedrängt, den König zu betrügen. Gesteht Schuld ein, sagt die Wahrheit; 3. She believes that her father's bloodline has ended with the death of Orestes. Orest. Durch den Fluch wird die Vernunft der Männer blockiert und sie handeln nur nach ihren Trieben. Gefährlich ist die Freiheit, die ich gebe; Die Götter wenden ab, was euch bedroht! Zusammen mit Iphigenies Bruder kommt er auf die Insel Tauris und unterstützt diesen in seinem Vorhaben, dem Orakelspruch des Apollon zu folgen. 11, Gymnasium/FOS, Bayern 22 KB Furthermore, she has had a prophetic dream about her younger brother Orestes and believes that he is dead. Abbildung in dieser Leseprobe nicht enthalten Der Tantalidenfluch Der Tantalidenfluch erfasst der Sage nach jeden direkten männlichen Nachkommen des verfluchten Tantalos. Orestes despairs, fearing that they will become human sacrifices.. Pylades encourages him, telling him about the kindly priestess who does not kill prisoners. Szene des 2. She reveals that she has confessed to the King. Mir scheint es, daß ich eher einem Griechen Als einem Skythen dich vergleichen soll. Scene 3: Thoas makes his suit. In a prayer, Iphigenia thanks Diana and asks that Orestes may be released from the curse. She begs Diana to reunite her with her family: Scene 2: Arkas, the confidant of Thoas, King of Tauris, announces the King's arrival. So zeigt das Handeln der Protagonistin Iphigenie eine Harmonie zwischen Pflicht und Neigung, was in der Weimarer Klassik die … They have been discovered by the King's soldiers however, and taken prisoner. Apollo sends him to steal a sacred statue of Artemis to bring back to Athens so that he may be set free. Untersuchen Sie in diesem Zusammenhang die sprachliche Form des Dialogs. A herdsman enters and explains to Iphigenia that he has captured two Hellenes and that Iphigenia should make ready the lustral water and the rites of consecration. König Thoas nimmt die Eindringlinge gefangen und Orest befürchtet, geopfert zu werden. )[6], Roman relief carving around stone column discovered in Fittleworth, West Sussex (1st century AD. 4//4: Iphigenie, Pylades: Pylades kehrt mit Iphigenie zurück um die Statue zu stehlen und zu dem Schiff mit Orest und den Männern zurückzubringen, das versteckt in … Das Schauspiel »Iphigenie auf Tauris« wurde am 13. Arkas reminds her of all the good she has done in Tauris, for example, ending the custom of sacrificing all strangers on Diana's altar. Iphigenia in Tauris (Ancient Greek: Ἰφιγένεια ἐν Ταύροις, Iphigeneia en Taurois) is a drama by the playwright Euripides, written between 414 BC and 412 BC. As a result, Orestes and Electra, the brother and sister of Iphigenia, harboured a grudge against the mother over the murder of their father, and Orestes, with the help of Electra, murdered his mother Clytemnestra. Iphigenie: Unglücklicher, ich löse deine Bande Zum Zeichen eines schmerzlichern Geschicks. Thoas agrees that this must be done, and suspects nothing. Orestes decides nevertheless that he should die to appease the Furies; Iphigenia and Pylades should save themselves. Although she is grateful to the goddess, and although she is held in high regard by King Thoas and his people, she longs more and more to return to her homeland. Although the play is generally known in English as Iphigenia in Tauris, this is, strictly speaking, the Latin title of the play (corresponding to the Greek Ἰφιγένεια ἐν Ταύροις), the meaning of which is Iphigenia among the Taurians. Orestes explains that he has avenged Agamemnon's death by killing Clytaemnestra and Aegisthus. In the mistaken belief that her husband Agamemnon had murdered their daughter Iphigenia, Clytemnestra then killed Agamemnon. During this recitation, Orestes asks Pylades what he should do, having realized that he was standing in front of his sister. … Er bestraft sie, indem er sie zu unmoralischem Handeln zwingen will. The altar is in the center. She recites: She that was sacrificed in Aulis send this message, Iphigenia, still alive, though dead to those at Argos. In an attempt to flee his impending fate of falling victim to revenge and of being killed for his crime, he fled. It has much in common with another of Euripides's plays, Helen, as well as the lost play Andromeda, and is often described as a romance, a melodrama, a tragi-comedy or an escape play.[1][2]. When Orestes finally wakes from his dream (The curse is lifted, my heart assures me), he embraces Iphigenia, thanks the gods, and declares himself ready for action again. Also, the statue must be cleansed. He pities his friend and wishes that his sister Electra were also in the underworld, so that she too can be free of the curse. Iphigenia and Pylades come to him, to heal him. 1172-1254 Beschreiben Sie die Reaktionen von Orest und Iphigenie, als sich die Geschwister wiedererkennen. He sees his dead forebears in the Tantalus line happily forgiven in the underworld. Beloved by the gods for his wisdom, the demigod Tantalus was once invited to their fellowship. His account increases her homesickness and her desire to see her father Agamemnon again. Iphigenia explains that she was tricked into going to Aulis, through the treachery of Odysseus. Arkas leaves to report to the King. This has often been taken as a reason to reject 412 as the date for Iphigenia in Tauris, since that would mean three similar plays would have been performed in the same trilogy. A messenger enters, shouting that the strangers have escaped. Iphigenia tells the herdsmen to bring the strangers to the temple, and says that she will prepare to sacrifice them. Orestes demands that he be sacrificed, and that Pylades be sent home with the letter, because Orestes brought Pylades on this trip, and it would not be right for Pylades to die while Orestes lives. [5] The plot of Iphigenia in Tauris is similar to that of Euripides' Helen and Andromeda, both of which are known to have been first performed in 412. Goethe wrote the first version of his play in six weeks, and it was first performed on April 6, 1779, in prose form. - Abhängig von seinem Freund Pylades - Er glaubt fest, dass die Götter alles vorherbestimmen und er sich nicht gegen sein Schicksal wehren kann. He becomes haunted by the Erinyes for committing the crime and goes through periodic fits of madness. Iphigenia interprets it thus to Thoas: The strangers arrived with the blood of kin on their hands and they must be cleansed. Thoas himself is willing to accept the challenge, and is unpersuaded by Iphigenia's reasoning, especially because she had been party to the plan to steal the statue of Diana. Die Personencharakterisierung liefert eine sehr ausführliche und äußerst präzise Analyse von jeder Figur.Wie Iphigenie (die Hauptfigur), Orest (ihr jüngerer Bruder), Pylades (dessen Kindheitsfreund), Thoas (der Herrscher über die Tauren) und Arkas (der Diener des Taurenkönigs) handeln und vor allem aufgrund welcher inneren Einstellungen sie agieren, soll in den Charakterisierungen verdeutlicht werden. She argues that a woman's words can be as powerful as a man's sword; she tells him who the prisoners are, who she is, and of their plan to escape; and she appeals to his humanity. Iphigenia finds out which of the two is Pylades and that they are from Argos. Iphigenia enters and discusses her sad life with the chorus, composed of captive Greek maidens, attendants of Iphigenia. Scene 3: Iphigenia tells the angry Thoas that having experienced mercy when she was to be sacrificed, she is obliged to be merciful now. They argue over the King's right to command, and the priestess's right to interpret the will of the Goddess. Offended by the deception, the gods banished Tantalus from their community to Tartarus and cursed him and his family, the House of Atreus. Und niemand, wer es sei, darf euer Haupt, Solang ich Priesterin Dianens bin, Berühren. Iphigenia has just retrieved the statue from the temple and explains that when the strangers were brought in front of the statue, the statue turned and closed its eyes. - Wird von Iphigenie in 3 Schritten geheilt: 1. However, Matthew Wright believes the plot and other stylistic similarities between the three plays indicates that they most likely were produced as part of the same trilogy in 412. It received a favorable review in the art journal Luz; A. L. de Barán particularly praised the performance of Clotilde Domus as Ifigenia. Iphigenie. Iphigenia questions him about Greece. V. 1648 ff.) [3] The name refers to the Crimean Peninsula (ancient Taurikḗ). Als sie ihm verschiedene Gründe liefert, warum sie nicht heiraten kann, ist ihm klar, dass sie nicht bei ihm bleiben will. und das Recht auf Betrug in … Orestes explains his misunderstanding of the oracle's reference to a sister. She asks about Agamemnon's children (her siblings). Er möchte Iphigenie heiraten. The two decide to hide and make a plan to retrieve the idol without being captured. Nevertheless, Orestes feels that their mission is hopeless. The King reluctantly allows them to go; Iphigenia begs that they part as friends; and the King finally wishes them Farewell. 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. Orestes also spoke of Pelops’ ancient spear, which he brandished in his hands when he killed Oenomaus and won Hippodamia, the maid of Pisa, which was hidden away in Iphigenia's maiden chamber. Iphigenia then recites the letter to Pylades so that, if it is lost, he can still relay the message. Pylades. Orestes and Pylades exit into the temple. O suesse Stimme! Pylades; Goethes Idee von der Humanität; Form des Stücks; Epoche Klassik; Thoas - König von Tauris - Wird durch Iphigenie positiv beeinflusst - Nahm Iphigenie anfangs als Tochter auf - Will Iphigenie heiraten, um einen neuen Thronfolger zu zeugen, nachdem sein erster Sohn verstorben ist Der Dichter Johann Wolfgang von Goethe 2. Scene 6: Orestes offers himself in single combat, to decide their fate. Thoas is not dissuaded, but Iphigenia now calls on Diana: Thoas threatens to reintroduce the old custom of human sacrifice, which she would be obliged to carry out, rather than allow her to leave. Doch verweigr ich jene Pflicht, Wie sie der aufgebrachte König fordert, … In einer Vision des Hades sieht er seine Familie glücklich in der Unterwelt und wähnt auch Pylades und Iphigenie bei sich. Iphigenie: Woher du seist und kommst, o Fremdling, sprich! She still hesitates, even though Pylades points out that she would have an even worse conscience if Orestes and he were killed. Thus did Agamemnon, army commander and great-grandson of Tantalus, offer his eldest daughter Iphigenia to goddess Diana (in Greek known as Artemis) to ensure favourable winds for the voyage from Aulis, modern Avlida, to Troy, where he intended to wage war against Troy. Pylades ist der Vertraute von Orest. She has since been made a priestess at the temple of Artemis in Taurica, a position in which she has the gruesome task of ritually sacrificing foreigners who land on King Thoas's shores. Scene 1: Iphigenia promises Orestes, whose name she still does not know, to do all in her power to save him and Pylades from being sacrificed to Diana. Although the trial ends in his favour, the Erinyes continue to haunt him. Sie bezeichnet es sogar als „zweiten Tode“ (Vers 53), obwohl die Göttin Diana ihr das Leben erst nach der Opferung durch ihren Vater und der wundersamen Rettung ermöglichte. Gespräch, Analyse; 2. Thoas, king of the Taurians, enters and asks whether or not the first rites have been performed over the strangers. Auf dem Weg zur Opferbank spricht Orest von seiner Schwester Iphigenie. The scene represents the front of the temple of Artemis in the land of the Taurians (modern Crimea in Ukraine). Diese Einheit gibt mit ansprechenden Tafelbildern und Strukturskizzen Einblick in die geistige Welt Goethes und seine Zeit, und zeigt dieses klassische Drama, welches sich an einem antiken Vorbild orientiert, auf sehr ansprechende Weise. Additionally, Iphigenia will bring the statue that Orestes was sent to retrieve. It has much in common with another of Euripides's plays, Helen, as well as the lost play Andromeda, and is often described as a romance, a melodrama, a tragi-comedy or an escape play. Pylades: O süße Stimme! Scene 2: Orestes has a vision of Hades. Iphigenie Thoas, König der Taurier Orest Pylades Arkas. Iphigenie. Die Szene lässt sich inhaltlich in die fortgeschrittene Handlung bzw. Pylades tries to reason with him. This became know… Iphigenie beginnt aufgrund Arkas Rede erneut zu zweifeln, ob sie den König belügen kann, um ihnen selbst zur Flucht zu verhelfen. 1 Einleitung 2 Arkas und Pylades- Ein Vergleich der Helferfiguren 2.1 Der erste Auftritt im Stück 2.1.1 Arkas als Überbringer des Heiratsantrags 2.1.2 Pylades als Gefangener Thoas´ 2.1.3 Vergleich der Ausgangspositionen 2.2 Die Figuren im Bezug auf ihre Helferrolle 2.2.1 Arkas im hierarchischen Verhältnis zu Thoas 2.2.2 Pylades als Freund Orests 2.2.3 Vergleich der Helferrollen 2.3 Die Figuren im Bezug auf Iphigenie 2.3.1 Arka… This is evidence enough for Iphigenia, who embraces Orestes. Iphigenie auf Tauris ist ein Bühnenstück von Johann Wolfgang von Goethe nach der Vorlage von Euripides Iphigenie bei den Taurern. Scene 2: Arkas brings the King's command to hasten the sacrifice: Iphigenia tells him that the prisoner's bloodguilt has polluted the temple, and that she must first purify it. Scene 5: In the Song of the Fates she recalls the pitiless vengeance of the Gods. Thoas heeds Athena's words, because whoever hears the words of the gods and heeds them not is out of his mind. Die Freiheit, die das Heiligtum gewährt, Ist, wie der letzte lichte Lebensblick Des schwer Erkrankten, Todesbote. Iphigenie. Scene 3: Orestes wakes, but still believes himself to be in Hades, and thinks that Iphigenia and Pylades have descended there too. He pretends that he and Orestes are brothers, and that Orestes has killed their brother. When the gods came to see Tantalus in turn, he tested their omniscience by offering his own son Pelops to them as their meal. He keeps the oracle's words to himself. Scene 1: Arkas reports to Thoas, who commands him to bring the priestess before him at once. Scene 5: Pylades and Arkas arrive; the King orders a halt to the fighting. Thoas ist der König von Tauris. Else I shall become a curse upon your house, Orestes. She wants to inform them that, thanks to the miraculous swap performed by Artemis, she is still alive and wants to return to her homeland, leaving the role of high priestess to someone else. Orestes reveals his identity to Iphigenia, who demands proof. Scene 2: Thoas reflects that his goodness to Iphigenia has encouraged her independence. She has had a dream in which the structure of her family's house crashed down in ruins, leaving only a single column which she then washed clean as if preparing it for ritual sacrifice. Scene 1: Since Diana saved her from death (her father Agamemnon chose to sacrifice her in return for a favourable wind for Troy), Iphigenia has been serving as her priestess on Tauris. J. W. von Goethe: Iphigenie auf Tauris Deutschaufsatz, 12. Das hat zur Folge, dass die Familienge… So he has pleaded with Apollo to release him from their anger. Scene 2: Iphigenia speaks with Pylades, who does not reveal his name. Woher du seist und kommst, o Fremdling, sprich! (Sie nimmt ihm die Ketten ab.) He begins to concede. Becoming boisterous whilst celebrating with them, he began to boast, and he stole the gods' nectar and ambrosia, their food of immortality. Orestes and Pylades exit. [2], Learn how and when to remove this template message, https://en.wikipedia.org/w/index.php?title=Iphigenia_in_Tauris_(Goethe)&oldid=984148343, Articles needing additional references from July 2011, All articles needing additional references, Articles with German-language sources (de), Articles with Esperanto-language sources (eo), Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 18 October 2020, at 13:47. Rescue me from this barbarian land, free me from this slaughterous priesthood, in which it is my office to kill strangers. Iphigenie gehört dem Geschlecht der Tantaliden an und wird auf die Insel Tauris geschickt um dem Fluch zu entgehen. 1779 schrieb der Dichter eine Prosafassung, die er während seiner Italienreise ab 1786 in ein Versdrama umformte. He rewrote it in 1781, again in prose, and finally in 1786 in verse form. Then she brought me to stay in this land.[4]. She asks if Helen has returned home to the house of Menelaus, and of the fates of Calchas, Odysseus, Achilles, and Agamemnon. Iphigenia demands that the prisoners' bonds be loosened, because they are hallowed. Pylades reminds them both of the need for haste which their danger imposes on them, and urges them to a quick conclusion. Das Libretto in französischer Sprache stammt von Nicolas François Guillard und basiert auf der Tragödie Iphigénie en Tauride von Claude Guimond de La Touche, das wiederum das Drama Iphigenie bei den Taurern (griechisch Ἰφιγένεια ἐν Ταύροις) des kla… Metrical analysis by Zielinski indicated a date between 414 and 413 BCE, but later analysis by Martin Cropp and Gordon Fick using more sophisticated statistical techniques indicated a wider range of 416 to 412 BCE. Orestes, Pylades, and Iphigenia plan an escape whereby Iphigenia will claim that the strangers need to be cleansed in order to be sacrificed and will take them to the bay where their ship is anchored. Iphigenia asks Orestes many questions, especially of Greeks who fought in Troy.