example of want of consistency or uniformity; since she first supplicates for life, and afterwards consents to die. It is difficult to attribute much weight to the criticism, though it comes with the sanction of a great name. The part of Iphigenia throughout appears singularly natural. Her first impulse is to live; but when she clearly perceives how much depends on her voluntary death, and how Achilles, her champion, is compromised by his dangerous resolve to save her—lastly, how the Greeks are bent on the expedition, from motives of national honour—she yields herself up a willing victim. It would be quite as reasonable to object to Menelaus's sudden change of purpose, from demanding the death of the maid, to the refusing to consent to it."
IPHIGENIA AT TAURI.
Twenty years have passed since the concluding scene of "Iphigenia in Aulis" before the opening of this drama. Ten years were spent in the siege of Troy, another ten in the return of the surviving heroes to their homes. From the moment when the young daughter of Agamemnon is borne away from the altar at Aulis, she has been devoted to the service of Diana at Tauri—a goddess who, like the ferocious deities of the Mexicans, delighted in the savour of human blood. From that moment, also, Iphigenia has remained Ignorant of the great events that have taken place since her rescue. She knows not that Troy has fallen; that her father has been murdered and avenged;
