Book contents
- Frontmatter
- Contents
- PREFACE
- Ossian-Rezeption von Michael Denis bis Goethe: Ein Beitrag zur Geschichte des Primitivismus in Deutschland
- Werther, the Undead
- Who Is the Editor in Goethe's Die Leiden des jungen Werthers?
- Substitution, Self-blame, and Self-deception in Goethe's Stella: Ein Schauspiel für Liebende
- “Myth and Psychology”: The Curing of Orest in Goethe's Iphigenie auf Tauris
- Poetic Intentions and Musical Production: “Die erste Walpurgisnacht”
- Dichter, Herrscher, Natur: Die Entstehung des Ilmparks und das Bild des Parks in Goethes Dichtung
- Goethe, Rousseau, the Novel, and the Origins of Psychoanalysis
- Trauma and Memory in the Wahlverwandschaften
- Ein anderes Gretchen-Abenteuer: Das Ende der rhetorischen Poesiekonzeption und das fünfte Buch von Goethes Dichtung und Wahrheit
- Speech, Writing, and Identity in the West-Östlicher Divan
- Die Pforte entriegeln: Goethes “Urworte Orphisch”
- “Laß mich hören, laß mich fühlen”: Johann Sebastian Bach im Urteil Goethes
- Schiller the Killer: Wilhelm Tell and the Decriminalization of Murder
- Disciplining History: Schiller als Historiograph
- “Heiliger Goethe, bitt' für mich”: Friedrich Spielhagen and the Anxiety of Influence
- Goethes kleiner Vetter: Erinnerung an den Frankfurter Abenteurer Johann Konrad Friedrich
- In Memoriam, Jill Anne Kowalik (1949–2003)
- Wilhelm Meisters Lehrjahre, Book 8, Chapter 11: In Memoriam, Richard I. Brod (1933–2004)
- Book Reviews
“Myth and Psychology”: The Curing of Orest in Goethe's Iphigenie auf Tauris
Published online by Cambridge University Press: 05 February 2013
- Frontmatter
- Contents
- PREFACE
- Ossian-Rezeption von Michael Denis bis Goethe: Ein Beitrag zur Geschichte des Primitivismus in Deutschland
- Werther, the Undead
- Who Is the Editor in Goethe's Die Leiden des jungen Werthers?
- Substitution, Self-blame, and Self-deception in Goethe's Stella: Ein Schauspiel für Liebende
- “Myth and Psychology”: The Curing of Orest in Goethe's Iphigenie auf Tauris
- Poetic Intentions and Musical Production: “Die erste Walpurgisnacht”
- Dichter, Herrscher, Natur: Die Entstehung des Ilmparks und das Bild des Parks in Goethes Dichtung
- Goethe, Rousseau, the Novel, and the Origins of Psychoanalysis
- Trauma and Memory in the Wahlverwandschaften
- Ein anderes Gretchen-Abenteuer: Das Ende der rhetorischen Poesiekonzeption und das fünfte Buch von Goethes Dichtung und Wahrheit
- Speech, Writing, and Identity in the West-Östlicher Divan
- Die Pforte entriegeln: Goethes “Urworte Orphisch”
- “Laß mich hören, laß mich fühlen”: Johann Sebastian Bach im Urteil Goethes
- Schiller the Killer: Wilhelm Tell and the Decriminalization of Murder
- Disciplining History: Schiller als Historiograph
- “Heiliger Goethe, bitt' für mich”: Friedrich Spielhagen and the Anxiety of Influence
- Goethes kleiner Vetter: Erinnerung an den Frankfurter Abenteurer Johann Konrad Friedrich
- In Memoriam, Jill Anne Kowalik (1949–2003)
- Wilhelm Meisters Lehrjahre, Book 8, Chapter 11: In Memoriam, Richard I. Brod (1933–2004)
- Book Reviews
Summary
“Alle menschliche Gebrechen Sühnet reine Menschlichkeit.” Goethe, 31 March 1827
(HA 5:406)GOETHE'S DRAMA IPHIGENIE AUF TAURIS (published in final verse form in his Schriften, 1787) is not widely known to readers today outside the somewhat closed confines of German Classicism. Even the traditional legend of Iphigenia from ancient Greece—above all in the drama by Euripides that served as the model for Goethe's play, presumably in the French translation by Pierre Brumoy, Iphigénie en Tauride, contained in his Théatre des Grecs (1730)—is unfamiliar in its details to general readers. The single, most salient fact of this legend—familiar above all from the opening Chorus of Aeschylus's Agamemnon—is the sacrifice of Iphigenia at Aulis by command of her father in response to the anger of the goddess Artemis, who has raised contrary winds that prevent the Greek armies from sailing against Troy. That fact, of course, is radically revised by Euripides: Iphigenia appears at the outset of his drama to reveal that she was rescued at the last moment by Artemis and carried off to the remote barbaric kingdom of Tauris at the far end of the Black Sea to serve as priestess in the sacred grove of the goddess.
The irony in this revisionary reading of the myth resides in the fact that the intended sacrificial victim from Aulis must now officiate at the sacrificial deaths of all strangers who happen to reach the alien shores of Tauris.
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- Goethe Yearbook 12 , pp. 59 - 80Publisher: Boydell & BrewerPrint publication year: 2004