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56 victims, if he will carry home a letter for her brother; and this gives rise to the celebrated contest between the friends, which of them shall die and which escape. But be it remarked that this conflict is here not worked out in much detail, as it is by Euripides' modern imitators, and that Pylades soon yields to the stronger will of the life-weary Orestes. When she goes out to seek the letter, they both break out into surprise at the anxious questioning of the priestess about Argos and its royal house. The reappearance of Iphigenia with the letter, which she reads aloud to Pylades, lest any accident should befall it—a frequent stage device—leads to the affecting recognition of the brother and sister. There follow the rejoicings of all, and the discussion of schemes to carry off the image. But these schemes are not successful, like the escape in the Helena, and though the chorus act as accomplices of the fugitives, and endeavour by false directions to prevent the announcement of their recapture reaching the king, they are only saved by the intervention of Athene, who commands them to be set at liberty and sent to their home.

Here again there is interest in the plot throughout, and in every respect higher interest than in the analogous Helena. The recognition scene, so gradual and yet exciting, is finer than the beautiful recognition of Menelaus and Helen. The escape of the fugitives is less triumphant, and their knavery less successful. Above all, the more than fraternal affection of Orestes and Pylades adds a new interest to the story, and makes it one of the most suggestive of plays. The deceit practised towards king Thoas was thoroughly excusable in Greek morals, though it so offended Goethe that, in his imitation, he altered the plot in order to avoid it, and made Iphigenia, in a moment of remorse, confess her schemes to the noble king, who (after the model of the Helena) is also turned into her romantic lover. But these modern features are fatal to the essentially Greek character of the story, as was clearly seen by all critics when the first storm of