ON THE "IPHIGENIA" OF GOETHE. AN UNFINISHED FRAGMENT. THERE is a charm of antique grace, of the majestic repose resulting from a faultless symmetry, about the whole of this composition, which inclines us to rank it as among the most consummate works of art ever achieved by the master-mind of its author. The perfection of its design and finish is analogous to that of a Grecian temple, seen as the crown of some old classic height, with all its pure outlines-all the delicate proportions of its airy pillars-brought into bold relief by the golden sunshine, and against the unclouded blue of its native heavens. Complete within itself, the harmonious edifice is thus also to the mind and eye of the beholder; they are filled, and desire no more they even feel that more would be but incumbrance upon the fine adjustment of the well-ordered parts constituting the graceful whole. It sends no vague dreams to wander through infinity, such as are excited by a Gothic minster, where the slight pinnacles striving upward, like the free but still baffled thought of the architect-the clustering pillars and high arches imitating the bold combinations of mysterious forests -the many-branching cells, and long visionary aisles, of which waving torchlight or uncertain glimpses of the noon seem the fittest illumination. ever suggest ideas of some conception in the originally moulding mind, far more vast than the means allotted to human accomplishment-of struggling endeavour, and pain FRAGMENTS FROM THE IPHIGENIA. 301 fully submitted will. Akin to the spirit of such creations is that of the awful but irregular Faust, and other works of Goethe, in which the restless questionings, the lofty aspirations, and dark misgivings of the human soul, are perpetually called up to "come like shadows, so depart," across the stormy splendours of the scene; and the mind is engaged in ceaseless conflict with the interminable mysteries of life. It is otherwise with the work before us; overshadowed, as it were, by the dark wings of the inflexible destiny which hovers above the children of Tantalus, the spirit of the imaginary personages, as well as of the reader, here moves acquiescently within the prescribed circle of events, and is seldom tempted beyond, to plunge into the abyss of general speculations upon the lot of humanity. * FRAGMENTS FROM THE IPHIGENIA. I. JOY OF PYLADES ON HEARING HIS NATIVE LANGUAGE. Он, sweetest voice! Oh, bless'd familiar sound VOL. VI. 26 II. EXCLAMATIONS OF IPHIGENIA ON SEEING HER BROTHER Oh hear me, look upon me! how my heart, After long desolation, now unfolds Unto this new delight, to kiss thy head, Thou dearest, dearest one of all on earth! To clasp thee with my arms, which were but thrown III. LOT OF MAN AND WOMAN COMPARED BY IPHIGENIA. Man by the battle's hour immortalized In passionate adjurings, vain desires, FRAGMENTS FROM THE IPHIGENIA. 303 IV. LONGING OF ORESTES FOR REPOSE. One draught from Lethe's flood! reach me One last cool goblet fill'd with dewy peace! Ye dead! Ye dwellers of the eternal cloud, one V. CONTINUATION OF ORESTES' SOLILOQUY. Hark! in the trembling leaves Mysterious whispers: hark! a rushing sound come, They throng to greet their guest! and who are they! As a king's children gather'd for the hour And kindred-like, and godlike, on they pass, THE HUGUENOT'S FAREWELL. I STAND upon the threshold stone I hear my native river moan; I see the night o'er my old forests fall. I look round on the darkening vale The low wind in its rising wail Hath a strange tone, a sound of other days. But I must rule my swelling breast: A sign is in the sky; Bright o'er yon grey rock's eagle nest Shines forth a warning star-it bids me fly. My father's sword is in my hand, His deep voice haunts mine ear; He tells me of the noble band Whose lives have left a brooding glory here. He bids their offspring guard from stain Their pure and lofty faith; And yield up all things, to maintain The cause for which they girt themselves to death. And I obey.-I leave their towers Unto the stranger's tread; Unto the creeping grass and flowers; Unto the fading pictures of the dead. |