In composing the poetical drama, “Iphigenie,” Goethe did not depart very widely from the substance of the original prose version. He gave to the entire conception, however, new dignity and beauty. The central interest attaches to the heroine, than whom there is not in all modern literature a nobler type of womanhood. Hers is a spirit of spotless purity, associated with a high serenity springing from the inward harmony of all the elements of her character. She has infinite tenderness and humanity, with an inflexible will, and a passion for truth and honour. Those who come into contact with her are overcome by a mingled feeling of love and reverence, and all that is best in their spiritual life is evoked by her presence. Iphigenie is only nominally a Greek priestess; in reality, she would have been impossible in a society in which women were supposed to be subordinate to men. In her aims, sympathies, aspirations, she is wholly modern, and it may be that some features of her character were reproduced from the character of Frau von Stein, as it revealed itself to Goethe in the happiest moments of their friendship. Orestes, Pylades, Thoas, are not less dominated by essentially modern motives. It is a striking proof of the power and subtlety of Goethe’s art that there is no conflict between the modern substance and the antique form of this splendid drama. He rigidly excludes every thought and feeling that might conflict with his chosen method. There is no austerity of sentiment, but all is measured and stately, and capable, therefore, of being brought within the scope of a severely restricted scheme. The development of the tale is not less admirable than the truth of the characters. As in the ancient statues which Goethe so warmly admired, each of the individual parts is in its proper place, and contributes what is demanded of it, and no more, to the idea as a whole. The diction and metre of the drama, always noble and harmonious, accord perfectly with its predominant spirit, and they may be said to have revealed for the first time the high capabilities of the German language as an instrument of dramatic expression. We cannot wonder that “Iphigenie” disappointed readers who expected to find in it volcanic explosions like those of his early writings. It belongs to a different period of Goethe’s development, and must be estimated by altogether different standards.