orded,
Who for God and the laws, for parents, women and children,
Fought and died, as together they stood with their front to the foeman.
Thou art mine own; and now what is mine, is mine more than ever.
Not with anxiety will I preserve it, and trembling enjoyment;
Rather with courage and strength. To-day should the enemy threaten,
Or in the future, equip me thyself and hand me my weapons.
Let me but know that under thy care are my house and dear parents,
Oh! I can then with assurance expose my breast to the foeman.
And were but every man minded like me, there would be an upspring
Might against might, and peace should revisit us all with its gladness."

* * * * *

INTRODUCTION TO IPHIGENIA IN TAURIS

BY ARTHUR H. PALMER, A.M., LL.D.

Professor of German Language and Literature, Yale University

To what literary genus does Goethe's _Iphigenia_ belongs? Dramatic in
form, is it a drama? For A. W. Schlegel "an echo of Greek song," and
for many German critics the best modern reproduction of Greek tragedy,
it is for others a thoroughly German work in its substitution of
profound moral struggles for the older passionate, more external
conflicts. Schiller said: "It is, however, so astonishingly modern and
un-Greek, that I cannot understand how it was ever thought to resemble
a Greek play. It is purely moral; but the sensuous power, the life,
the agitation, and everything which specifically belongs to a dramatic
work is wanting." He adds, however, that it is a marvelous production
which must forever remain the delight and wonderment of mankind. This
is the view of G. H. Lewes, whose characterization is so apt also in
other respects: "A drama it is not; it is a marvelous dramatic poem.
The grand and solemn movement responds to the large and simple ideas
which it unfolds. It has the calmness of majesty. In the limpid
clearness of its language the involved mental processes of the
characters are as transparent as the operations of bees within a
crystal hive; while a constant strain of high and lofty music makes
the reader feel as if in a holy temple. And above all witcheries of
detail there is one capital witchery, belonging to Greek statues more
than to other works of human cunning--the perfect unity of impression
produced by the whole, so that nothing in it seems _made_, but all to
_grow_; nothing is superfluous, but all is in organic dependence;
nothing is there for detached effect, but t