Orestes has avenged his father by murdering his mother, and has been pursued ever since by the implacable Furies. They know that the Taurians sacrifice Hellene blood in their temple of Artemis. Er stammt ebenfalls aus Griechenland und ist zusammen mit Orest aufgewachsen. Iphigeneia hates her forced religious servitude and is desperate to contact her family in Greece. Fetch me back to Argos, my brother, before I die. Gesteht Schuld ein, sagt die Wahrheit; 3. Untersuchen Sie in diesem Zusammenhang die sprachliche Form des Dialogs. 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. He explains that the King is coming to ask for her hand, and he advises her to accept. Woher du seist und kommst, o Fremdling, sprich! Apollo has answered through his oracle at Delphi, saying that his guilt will be redeemed if he brings his sister back to Greece. Iphigenie und Pylades diskutieren das Empfinden der reinen Seele (V. 1583 f.; vgl. Iphigenie: Unglücklicher, ich löse deine Bande Zum Zeichen eines schmerzlichern Geschicks. This became know… Iphigenie: Woher du seist und kommst, o Fremdling, sprich! Szene des 2. 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. 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. 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. So zeigt das Handeln der Protagonistin Iphigenie eine Harmonie zwischen Pflicht und Neigung, was in der Weimarer Klassik die … Gespräch, Analyse; 2. Orestes was sent by Apollo to retrieve the image of Artemis from the temple, and Pylades has accompanied him. At the last moment the goddess Artemis, to whom the sacrifice was to be made, intervened and replaced Iphigeneia on the altar with a deer, saving the girl and sweeping her off to the land of the Taurians. This became known as the curse on the Tantalids, in which descendants from Tantalus in every subsequent generation were driven by revenge and hatred to the killing of their own family members. Scene 2: Orestes has a vision of Hades. Als er schlussendlich erwacht, ist seine Motivation neu entfacht und er … Die Szene V. 3 aus dem Drama „Iphigenie auf Tauris“ (1787) von Johann Wolfgang von Goethe, welches der Epoche der Weimarer Klassik zuzuordnen ist, beinhaltet einen Dialog zwischen Thoas und Iphigenie. On October 10, 1898, a Catalan translation by Joan Maragall was performed at Parc del Laberint d'Horta in Barcelona. Orestes reveals his identity to Iphigenia, who demands proof. Thoas ist der König von Tauris. She recounts her "sacrifice" at the hands of Agamemnon, and how she was saved by Artemis and made priestess in this temple. 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. Iphigenia interprets it thus to Thoas: The strangers arrived with the blood of kin on their hands and they must be cleansed. Das Schauspiel »Iphigenie auf Tauris« wurde am 13. The herdsman leaves to fetch the strangers. Arkas und Pylades - Helferfiguren im Drama 'Iphigenie auf Tauris" - Germanistik / Neuere Deutsche Literatur - Hausarbeit 2005 - ebook 6,99 € - Hausarbeiten.de She addresses Iphigenia, telling her to be priestess at the sacred terraces of Brauron, and she tells Orestes that she is saving him again. Er möchte Iphigenie heiraten. Nevertheless, Orestes feels that their mission is hopeless. Scene 2: Thoas reflects that his goodness to Iphigenia has encouraged her independence. Hier besteht der Konflikt wieder darin, dass Iphigenie den Wunsch hat, zu fliehen und somit auch die Verantwortung für Orest und ihren Cousin Phylades trägt. Meanwhile, Orestes has killed his mother Clytemnestra to avenge his father Agamemnon with assistance from his friend Pylades. Else I shall become a curse upon your house, Orestes. Sie nimmt ihm die Ketten ab. Now, she presides over the sacrifices of any Hellene trespassers in the land of the Taurians, to avenge the crimes against her. Offended by the deception, the gods banished Tantalus from their community to Tartarus and cursed him and his family, the House of Atreus. Iphigenie auf Tauris Analyse 2.Szene 2.Auftritt Im vorliegendem Textauszug trifft Iphigenie auf Pylades und fragt ihn nach seiner Herkunft, weil sie vermutet das er ein Grieche ist. 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. Iphigenia enters and discusses her sad life with the chorus, composed of captive Greek maidens, attendants of Iphigenia. Menschen können ihr Schicksal nicht bestimmen. At the end of the scene he falls unconscious to the ground. She was told that she was being married to Achilles, but upon arriving in Aulis, she discovered that she was going to be sacrificed by Agamemnon. 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]. 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. [5], Wall painting at House of the Citharist, Pompeii (pre-79 AD. Apollo sends him to steal a sacred statue of Artemis to bring back to Athens so that he may be set free. The King reluctantly allows them to go; Iphigenia begs that they part as friends; and the King finally wishes them Farewell. Zusammen mit Iphigenies Bruder kommt er auf die Insel Tauris und unterstützt diesen in seinem Vorhaben, dem Orakelspruch des Apollon zu folgen. Als sie ihm verschiedene Gründe liefert, warum sie nicht heiraten kann, ist ihm klar, dass sie nicht bei ihm bleiben will. O suesse Stimme! Januar 1787 von Goethe während seiner Italienreise fertiggestellt und ist die letzte in einer Reihe von Fassungen. 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. Iphigenia asks Orestes many questions, especially of Greeks who fought in Troy. Being now guilty of a murder, he too fell under the family curse. So he has pleaded with Apollo to release him from their anger. V. 1648 ff.) Pylades bestätigt dies und ist erfreut auf eine Griechin zu treffen, weil es sich nach seiner Heimat sehnt. In einer Vision des Hades sieht er seine Familie glücklich in der Unterwelt und wähnt auch Pylades und Iphigenie bei sich. 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. (See plot of Iphigeneia at Aulis.) Sie ist die Priesterin der Göttin Diana auf der Insel Tauris. 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. Euripides' title means "Iphigenia among the Taurians", whereas Goethe's title means "Iphigenia in Taurica", the country of the Tauri. Orestes and Pylades exit. Scene 4: Pylades announces that Orestes is in good spirits, that the boat is ready, and urges her to hurry. He rewrote it in 1781, again in prose, and finally in 1786 in verse form. Furthermore, she has had a prophetic dream about her younger brother Orestes and believes that he is dead. Scene 3: Orestes wakes, but still believes himself to be in Hades, and thinks that Iphigenia and Pylades have descended there too. Beloved by the gods for his wisdom, the demigod Tantalus was once invited to their fellowship. He tells her of the fall of Troy and the death of many Greek heroes. 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 asks Orestes his origins, but Orestes refuses to tell Iphigenia his name. Pylades. 1172-1254 Beschreiben Sie die Reaktionen von Orest und Iphigenie, als sich die Geschwister wiedererkennen. 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. Orestes despairs, fearing that they will become human sacrifices.. Pylades encourages him, telling him about the kindly priestess who does not kill prisoners. 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. She still hesitates, even though Pylades points out that she would have an even worse conscience if Orestes and he were killed. Pylades ist der Vertraute von Orest. She asks about Agamemnon's children (her siblings). Abbildung in dieser Leseprobe nicht enthalten Der Tantalidenfluch Der Tantalidenfluch erfasst der Sage nach jeden direkten männlichen Nachkommen des verfluchten Tantalos. Orestes and Pylades enter, having just arrived in this land. In the mistaken belief that her husband Agamemnon had murdered their daughter Iphigenia, Clytemnestra then killed Agamemnon. Pylades: O süße Stimme! 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. This vision perhaps contributes to his healing, since it reveals to him the possibility of forgiveness after death. 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. Iphigenia explains that she would like to clean the strangers and the statue in the sea, to make for a purer sacrifice. Thoas, king of the Taurians, enters and asks whether or not the first rites have been performed over the strangers. Mir scheint es, daß ich eher einem Griechen Als einem Skythen dich vergleichen soll. Orestes tells her of Clytemnestra's murder, stabbed by Orestes at Electra's urging, and reveals his true identity, because he cannot bear Iphigenia's distress at this news: Let there be truth between us: I am Orestes. Orestes explains his misunderstanding of the oracle's reference to a sister. Orestes explains that he has avenged Agamemnon's death by killing Clytaemnestra and Aegisthus. Die Szene lässt sich inhaltlich in die fortgeschrittene Handlung bzw. Also, the statue must be cleansed. There is no such place as "Tauris" in Euripides' play, although Goethe, in his play Iphigenie auf Tauris (on which Gluck's opera Iphigénie en Tauride is based), ironically utilising this translation error, posits such a place. - Wird von Iphigenie in 3 Schritten geheilt: 1. Iphigenie. Upon hearing this, Iphigenia decides that she wants one of the strangers to return a letter to Argos, and that she will only sacrifice one of them. She interprets this dream to mean that Orestes is dead. Wieder muss sie sich entscheiden. She recites: She that was sacrificed in Aulis send this message, Iphigenia, still alive, though dead to those at Argos. In a prayer, Iphigenia thanks Diana and asks that Orestes may be released from the curse. Iphigenia leaves in dismay. [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. He sees his dead forebears in the Tantalus line happily forgiven in the underworld. Arkas drängt auf Beschleunigung des Opfers und bittet Iphigenie, den König zu erhören, während Pylades Iphigenie bedrängt, den König zu betrügen. Die Geschwister erkennen einander und werden von dem zurückkehrenden Pylades gerettet. Iphigenie auf Tauris behandelt zum einen ein antikes Thema und spiegelt zum anderen das Menschenideal der Weimarer Klassik wider. und das Recht auf Betrug in … Die Themen sind: 1. When the gods came to see Tantalus in turn, he tested their omniscience by offering his own son Pelops to them as their meal. [5] Among Wright's reasons are the fact that although the plots are similar they are not identical, and that this type of escape plot may have been particularly relevant in 412 at the first Dionysia after Athens' failed Sicilian Expedition. Becoming boisterous whilst celebrating with them, he began to boast, and he stole the gods' nectar and ambrosia, their food of immortality. 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. Es spielt einige Jahre nach dem Krieg um Troja auf Tauris (Insel Krim) im Hain vor dem Tempel der Diana, Göttin des Mondes und der… Iphigenia justifies her refusal by her longing for Greece, and does her best to add other sound reasons, such as the curse that lies on her family, which condemns all the descendants of Tantalus to kill each other. Rescue me from this barbarian land, free me from this slaughterous priesthood, in which it is my office to kill strangers. Zweiter Auftritt Iphigenie. Pylades. He therefore planned to rob the statue of Diana from the temple in Tauris, and he set out with his old friend Pylades for the coast of Tauris. )[6], Roman relief carving around stone column discovered in Fittleworth, West Sussex (1st century AD. Iphigenia explains that she was tricked into going to Aulis, through the treachery of Odysseus. Goethe wrote the first version of his play in six weeks, and it was first performed on April 6, 1779, in prose form. Vielwillkommner Ton Iphigenia demands that the prisoners' bonds be loosened, because they are hallowed. 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. Goethe: ¨Iphigenie auf Tauris¨ (div.) Pylades. She believes that her father's bloodline has ended with the death of Orestes. Pylades promises to deliver the letter unless his boat is shipwrecked and the letter is lost. Scene 1: While Orestes and Pylades prepare a boat for their escape, Iphigenia is troubled by the need to deceive the King. [1] He took the manuscript of Iphigenia in Tauris with him on his famous Italian Journey. A messenger enters, shouting that the strangers have escaped. König Thoas nimmt die Eindringlinge gefangen und Orest befürchtet, geopfert zu werden. Although the trial ends in his favour, the Erinyes continue to haunt him. He becomes haunted by the Erinyes for committing the crime and goes through periodic fits of madness. 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. Scene 3: Thoas makes his suit. She asks if Helen has returned home to the house of Menelaus, and of the fates of Calchas, Odysseus, Achilles, and Agamemnon. Schauplatz: Hain vor Dianens Tempel. [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. 11, Gymnasium/FOS, Bayern 22 KB Eines Tages erreichen zwei Fremde Männer die Insel und sollen geopfert werden, doch keiner weiß, dass einer der Männer, der Bruder von Iphigenie ist. 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. Mir scheint es, dass ich eher einem Griechen Als einem Scythen dich vergleichen soll. Die Freiheit, die das Heiligtum gewährt, Ist, wie der letzte lichte Lebensblick Des schwer Erkrankten, Todesbote. Thoas agrees that this must be done, and suspects nothing. Iphigenia questions him about Greece. [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. Orestes informs Iphigenia that Agamemnon is dead, but that his son lives. J. W. von Goethe: Iphigenie auf Tauris Deutschaufsatz, 12. Und niemand, wer es sei, darf euer Haupt, Solang ich Priesterin Dianens bin, Berühren. Scene 1: Arkas reports to Thoas, who commands him to bring the priestess before him at once. Iphigenie auf Tauris ist die Fortsetzung der Ereignisse aus Iphigenie in Aulis, wie wir sie etwa in der Fassung des Euripides kennen: Iphigenie lebt als Priesterin der Diana, die sie vor dem Opfer in Aulis gerettet hat, bei den Taurern (im griechischen Verständnis "Barbaren" wie alle Nicht-Griechen). 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. The messenger explains Iphigenia's lies and that the strangers fought some of the natives, then escaped on their Hellene ship with the priestess and the statue. When the gods came to see Tantalus in turn, he tested their omniscience by offering his own son Pelops to them as their meal. The two decide to hide and make a plan to retrieve the idol without being captured. Auf der Insel dient sie König Thoas als Priesterin. Pylades entwickelt einen Fluchtplan, der auch Iphigenie zur Freiheit verhelfen soll. His account increases her homesickness and her desire to see her father Agamemnon again.