Hoc de Iphigenia in Aulide mactata Drama monarcharum et principum vitam ceu in tabula conspiciendam proponit: quae nimirum plena miseriarum, curae, timoris, incerto fortunae aestu perpetuo iactatur nec habet quo firma consistat. Quid enim cruciabilius Agamemnoni accidere poterat quam caedem carissimae filiae aspicere? Ea vero necessitas ipsum iam premebat ac veluti in angustias concluserat ut aut immolanda esset filia aut summum imperium Graecorum deponendum. Somnum itaque rumpit, anxie agitat, consultat cum sene, aestuat: ablegat nuntium qui iubeat domi manere uxorem cum filia: intercipitur nuntius, ipse gravissime incessitur a Menelao. Adest ex improviso cum filia Clytaemnestra, patefit crudele de occidenda Iphigenia consilium. Volvitur Agamemnon, quomodo rem instituat quidve faciat plane dubius. Quid autem miserius tali homine, in cuius animo ac intra viscera tam dira tempestas saevit? Est igitur verissime a Plutarcho in commentario περὶ εὐθυμίας* dictum: Multos ex principibus foris ac extrinsecus beatos apparere, sed revera non esse: imo miserius aetatem agere quam etiam infimi quique. Praeterea in Agamemnone typus est elegans pugnae diversarum cupiditatum ac affectuum in homine, qua nihil crudelius et miserius est: ea in sapiente locum non habet, ut qui in se totus sit teres atque rotundus. Pugnabant in Agamemnone cupiditas et amor dominandi populique timor adversus φιλοστοργίαν paternumque affectum erga longe dulcissimum pignus Iphigeniam. Sic tamen vicit illa obtinendi imperii rabies ut horrente ipsa natura propriam filiam Graecis caedendam propinaret: fit enim plerumque dum mens humana sic varie iactatur ut infames ac turpes vincant libidines.

*[Plutarch, de tranquillitate animi 471A–C]

This Drama about Iphigenia sacrificed in Aulis puts forth the life of rulers and leaders as if to be seen on a painted tablet: which life obviously is full of suffering, anxiety, fear, and is always tossed around by the uncertain tide of fortune and does not have anything upon which to stand firm. For what crueler thing could happen to Agamemnon than to watch the death of his dearest daughter? This compulsion, however, was now pressing him and, as it were, had confined him in a narrow predicament such that either his daughter must be sacrificed or the supreme leadership of the Greeks must be put aside. And so he interrupts his sleep, anxiously ponders, consults with the old man, and wavers: he sends off a messenger to order his wife to stay at home with his daughter: the messenger is intercepted, he is vehemently reproached by Menelaus. All of a sudden Clytemnestra arrives with her daughter, the cruel plan to kill Iphigenia is revealed. Agamemnon turns things over in his mind, clearly in doubt how he is to commence the matter or what he is to do. But what could be more miserable than such a man, in whose mind and heart such a dreadful storm rages? It is therefore said very truly by Plutarch in his commentary about happiness: Many of the princes appear to be happy from an outside perspective, but in fact they are not: on the contrary, they lead their life more miserably than even the very lowest. In addition in Agamemnon there is an elegant image of the battle between the various desires and emotions in man, than which nothing is more more cruel and wretched. Within Agamemnon, desire and love of ruling and fear of the people were fighting against familial love and paternal affection toward his dearest child, Iphigenia. Yet that frenzy for holding power was so overpowering that, though nature herself shuddered, he offered his own daughter to the Greeks to be slaughtered: for it happens for the most part, while the human mind is thus tossed about in various ways, that infamous and shameful passions prevail.

Ita fere agitur cum iis qui gravissima ac taeterrima multarum cupiditatum tyrannide premuntur, ut scilicet atrocia et immania audeant videantque tandem funestas rerum vices tristesque mutationes. Tales sunt maiore ex parte reges ac principes, qui quo potentiores eo sibi blandiores sunt nutriuntque istas intra se pestes ac malorum fomenta: unde postea caedes, eversiones, totaque malorum lerna pullulet. Licet autem in praesens Iphigeniae casum non statim secuta sit calamitas, tamen id factum postea extitit causa caedis Agamemnoniae, ut ipse Poeta in Electra sub persona† Clytaemnestrae testatur. Alienata enim erat isto facinore tam crudeli ab Agamemnone ac iam tum eum odisse coeperat. Ad haec notandum, spectaculo illo quo Iphigenia pro salute Graecorum et prospera ad Ilium traiectione immolatur nobis patriae amorem commendari: cui non solum res et facultates, sed liberos, propriamque vitam (si res ita postulet) impendere debemus. Praeterea nos moneri ut neglectis privatis rationibus perpetuo publicis commodis consulamus: qua sententia nihil potest praecipi salubrius. Nec illud praetereundum, pulchro exemplo in hac fabula doceri quam dubii et incerti sint humanorum consiliorum eventus. Videbatur Agamemnon pulchre cavisse missis alteris literis ne adduceretur Iphigenia. verum longe aliter evenit. Deinde cum uxorem de consilio suo celare studet, ipsa ex alio comperit Iphigeniam neci destinatam. Hinc igitur oriuntur saevi motus, querelae, iurgia, ac plane tragoedia. Sic nimirum hallucinamur ac caecutimus animo ut pleraque praeter nostras rationes eveniant nobis: ac sapienter dixisse Pindarus in Olymp.** videatur,τῶν δὲ μελλόντων τετύφλωνται φραδίαι, πολλὰ δ’ ἀνθρώποις παρὰ γνώμαν ἔπεσον.

†[personae in the original is a typographical error.]

**[Pindar, Olympian 12.9-10]

This is generally the case with those who are oppressed by the most grave and most foul tyranny of many desires, so that, namely, they dare atrocious and monstrous deeds, and see at last the deadly turns of affairs and unhappy changes. Such, for the most part, are kings and princes, who, the more powerful they are, the more flattering they are to themselves, and they nourish those plagues and the kindlings of evils within themselves: from which afterwards murders, overthrows, and the whole Lerna of evils are to sprout forth. Although, for the present, calamity did not immediately follow the death of Iphigenia, yet that deed later became the cause of Agamemnon’s murder, as the poet himself attests in the Electra under the character of Clytemnestra. For she had been estranged from Agamemnon by that so cruel crime and had already then begun to hate him. In addition it must be noted that, by that spectacle in which Iphigenia is sacrificed for the safety of the Greeks and a prosperous crossing to Troy, love of the country is commended to us: to which we should devote not only property and resources, but even children and our own lives, if need requires. Furthermore, we are advised to consult continually for the public good, neglecting our private interests: than which maxim nothing more healthy can be taught. Nor should it be overlooked that this play, by a beautiful example, teaches how doubtful and uncertain the outcomes of human plans are. Agamemnon seemed to have excellently taken precautions, by sending a second letter, that Iphigenia not be brought. But it happened far otherwise. Then, when he strives to hide his plan from his wife, she herself learned from another that Iphigenia was destined for death. From this arises fierce emotions, complaints, quarrels, and clearly a tragedy. Thus indeed we dream and are blind in mind, so that most things happen to us contrary to our plans: and so that Pindar seems to have spoken wisely in the Olympian Odes: "Understanding of future things have been blinded, and many things come about for men contrary to their judgment."

Hi aestus immanesque ausus haeque fortunae vices potissimum magnos homines ac reges persequuntur vexantque. nihil enim tam fortunae tyrannidi obnoxium est quam potentes rerumque monarchae: nisi et animum et utramque fortunam alterna velificatione sapienter moderari didicerint. Cetera in Annotationibus persequemur.

These monstrous tides and ventures and these changes of fortune especially pursue and torment great men and kings. For nothing is as subject to the tyranny of fortune as the powerful and the rulers of affairs: unless they have learned to wisely control both the mind and both kinds of fortunes by alternate sailing. We shall pursue the rest in the Annotations.

Annotationes in Eandem Iphigeniam: Gasparo Stiblino auctore.

ὦ πρέσβυ δόμων: Hoc Agamemnonis et senis colloquium est parasceue quaedam ad narrationem sequentem, quae prologi partes agit totiusque fabulae occasionem et Argumentum continet. Ceterum non putandum est poetam absque ratione regem cum sene noctu consultantem introduxisse. Nam hoc pacto docet senes in primis adhibendos ad consilium de rebus magnis, sicuti apud Stobaeum idem in Melanippe* monet: παλαιὸς αἶνος, ἔργα μὲν νεωτέρων, [345] βουλαὶ δ’ ἔχουσι τῶν γεραιτέρων κράτος. Et apud Homerum Nestor grandaevus in consiliis praecipuus est. Deinde nox propter silentium et solitudinem maxime ad considerandum et consultandum de rebus gravibus idonea est. Unde et apud Plutarchum in Symposiacis,** Lacedaemoniis olim νυκτερινὸς σύλλογος, id est nocturnus conventus gravissimorum virorum, solemnis fuisse dicitur.

ὦ πρέσβυ δόμων: Primus Actus continet Agamemnonis cum famulo sene consilium super inhibendo filiae adventu, quae sub falso nuptiarum titulo iam ad caedem accersebatur. 2. Agamemnonis narrationem sive exegesim quae etiam causas habet et principia Troiani belli. 3. Chorus catalogum ducum Graeciae qui in expeditionem ad Troiam venerant recenset.

*[Euripides, fragment 508, from one of his Melanippe plays; the original has the misprint or mistake in Melanippo]

**[Plutarch, Quaestiones conviviales 714C]

Annotations on the same Iphigenia, by Gaspar Stiblinus

"O old man, (outside) the dwelling": This conversation of Agamemnon and the old man is a certain preparation for the following narration, which performs the role of a prologue and contains the occasion and the argument of the whole play. Moreover, it should not be thought that the poet introduced a king consulting with an old man at night without reason. For in this way he teaches that old men are above all to be employed for counsel about great matters, just as in Stobaeus the same poet warns in Melanippe: [345] "An ancient maxim—deeds belong to the young, but the counsels of older men have authority." And in Homer, aged Nestor is chief in counsels. Moreover, night, because of silence and solitude, is especially suitable for considering and consulting about serious matters. From which also in Plutarch’s Symposiacs, it is said that among the Spartans of old a νυκτερινὸς σύλλογος, that is, a nocturnal meeting of the most serious men, was customary.

"O old man, (outside) the dwelling": The first act contains the counsel of Agamemnon with the old servant on the prevention of his daughter’s arrival, who was already being summoned to her slaughter under the false title of marriage. 2. The narration or explanation of Agamemnon which also contains the causes and beginnings of the Trojan war. 3. The chorus recounts the catalogue of the Greek leaders who had come to Troy on the campaign.

In Secundum Actum, cuius initium: μενέλαε τολμᾶς δεῖνα*

Menelaus senem iam iturum ad Argos comprehendit literasque vi extorquet: id quum apud Agamemnonem quereretur, oritur acerbissimum iurgium inter fratres. Exprobat Menelaus Agamemnoni inconstantiam, levitatem et ambitionem: cui Agamemnon vicissim impudentiam obiicit, qui nulla ratione ac prorsus sine fronte audeat adulterae mulierculae gratia abs se liberorum necem contendere. 2. Discedente Menelao adest qui nuntiat Clytaemnestram cum filia ad faciendas nuptias advenisse. Hinc misera Agamemnonis querela, qui eo devenerat ut qua via se ex instantibus rebus explicet plane ignoraret. 3. Menelaus redit simulatque se mutasse sententiam: dehortaturque fratrem ab immolanda filia, consultans cum eo quomodo id quam minimo periculo fieri possit. 4. Chorus habet quaedam praecepta philosophica de mediocritate rerum, de coniugio casto ac sancto, de bona institutione ac doctrina, de vita tranquilla et gloria, et ceteris; denique originem Troiani belli commemorat.

*[misprinted as τολμᾶς μενέλαε δεῖνα, although the correct word order μενέλαε τολμᾶς δεῖνα appears in Stiblinus’ following note; the actual text of ΙΑ 303 as we accent it today is μενέλαε, τολμᾷς δείν’.]

On the Second Act, who beginning is "Menelaus, you dare to do dreadful things"

Menelaus seizes the old man, who was already on his way to Argos, and by force wrests the letter from him: when he complained of this before Agamemnon, a very bitter quarrel arises between the brothers. Menelaus reproaches Agamemnon for inconstancy, fickleness, and ambition: whom Agamemnon in turn charges with shamelessness, who with no reason and entirely without shame dares for the sake of an adulterous woman to demand from himself the death of his children. 2. As Menelaus is departing, there arrives one who announces that Clytemnestra with her daughter has come to celebrate the marriage. Hence the miserable lament of Agamemnon, who had come to the point that he utterly did not know by what way he might free himself from the looming events. 3. Menelaus returns and pretends that he has changed his opinion: and he discourages his brother from sacrificing his daughter, consulting with him how that may be done with as little danger as possible. 4. The chorus contains certain philosophical rules about moderation of things, about the chaste and holy marriage, about good instruction and education, about the tranquil life and glory, and other things; finally it recalls the origin of the Trojan war.

[347] Argumentum Actus tertii.

Tertius Actus habet adventum Clytaemnestrae cum Iphigenia, quae ambae cupidissime in amplexus Agamemnonis ruunt. Is, licet humanissime acciperet Iphigeniam, tamen animum afflictum, frontem tristem, lacrimas, agitante nimirum conscientia destinati facinoris, dissimulare non poterat. Unde dum se mutua fruitione et colloquio explent, crebro quid angeretur animi* obscure insinuat. 2. Clytaemnestrae genus, patriam, educationem sponsi simulati edisserit. Deinde ut domum redeat hortatur. se enim expenditurum ea quae ad nuptias pertinerent: quo facilius et minore periculo ea quae susceperat obire posset. Poterat enim ea in re non parum obsistere uxor. 3. Chorus ominatur periculum Phrygiae et urbis Troiae excidium.

*[Translated as if a misprint for animo; but there are idioms of the form "quid animi habeo" = "what sort of feeling do I have?" and ‘quid animi fuit" = "what sort of feeling existed?", and it is perhaps possible that Stiblinus has somehow extended that to the partitive genitive used in this phrase.]

Argument of the Third Act:

The third act contains the arrival of Clytemnestra with Iphigenia, who both very eagerly rush into the embraces of Agamemnon. He, although he most affectionately receives Iphigenia, nevertheless was not able to conceal his troubled mind, his sad face, tears, clearly stirred by the consciousness of the destined crime. Wherefore, while they satisfied themselves with mutual enjoyment and conversation, he often hints obscurely at what was troubling his mind. 2. He explains to Clytemnestra the family origin, country, and education of their pretended son-in-law. Then he urges her to return home. For (he says) he will attend to the things which pertain to the wedding: (doing this) so that he may more easily and with less danger accomplish the things which he had undertaken. For in that matter the wife could offer not a little opposition. 3. The chorus forebodes the danger of Phrygia and the destruction of the city of Troy.

Argumentum Actus quarti.

In hoc Actu opportuna ad epitasim parasceue est. Nam Achilles ignarus simulatarum nuptiarum, dum Agamemnonem quaerit ut cum eo de prolixa in Aulide mora expostularet, casu incidit in Clytaemnestram: a qua gener salutatus id nominis constanter recusat nihilque se earum rerum scire quas Agamemnon scripserat profitetur. 2. Clytaemnestra sentiens dolum mox a famulo certior redditur de destinata Iphigeniae caede. 3. Implorat dolo tractata mulier opem Achillis adversus crudelitatem Agamemnonis. Pollicetur Achilles se pro virili defensurum filiam. Denique consultant qua via ac ratione commodissime consilium Agamemnonis inhiberi possit. 4. Chorus Pelei et Thetidis nuptias celebrat perque antithesim miserum ac dispar fatum Iphigeniae deflet: concluditque gravissima sententia, nullum aequitati aut honesto locum esse, ubi violentia, impietas et licentia dominetur.

Argument of the Fouth Act:

In this act there is a fitting preparation for the climax. For Achilles, unaware of the feigned marriage, while he is seeking Agamemnon so that he may protest to him about the long delay at Aulis, happens by chance upon Clytemnestra. And having been greeted by her as son-in-law, he steadfastly refuses that title and declares himself to know nothing of those things which Agamemnon had written. Clytemnestra, perceiving a trick, is soon informed by a servant about the intended killing of Iphigenia. The woman, having been treated with deception, implores the aid of Achilles against the cruelty of Agamemnon. Achilles promises he will defend her daughter to the extent of his strength. Finally they deliberate by what means and method Agamemnon’s plan might most effectively be restrained. The Chorus celebrates the marriage of Peleus and Thetis, and through contrast laments the miserable and different fate of Iphigenia: and it concludes with a most grave saying, there is no place for justice or for what is honorable where violence, impiety, and disorder rule.

[349] Argumentum Actus quinti.

Clytaemnestra certior facta consilii de occidenda Iphigenia foras egreditur maritumque nihil tale suspicantem de crudelibus coeptis arguit et tandem gravissima oratione conatur a caede filiae deterrere. 2 Mox Iphigenia admodum παθητικῶς* patrem puellari quadam simplicitate lenire cupit ne in immani perseveraret consilio, sed sineret se luce hac vitali frui qua nihil sit iucundius. Agamemnon harum precibus nihil motus culpam huius rei in exercitum Graecorum reiicit, cuius consensu poscatur ad caedam pro impetranda iuxta oraculum ad Troiam transmissione: cui resistere hac quidem in parte nec possit nec velit: hocque dicto abit. 3 Querela et planctus Iphigeniae iam certo morti destinatae. 4 Achilles turbidus e contione Graecorum rediens Clytaemnestrae narrat Iphigeniam exercitus suffragiis immolandam esse: se autem cum ipsam defendere vellet in vitae discrimen paene venisse. Pollicetur autem porro suam operam ac virtutem: nempe se vel armis, si ita necesse fuerit, filiam a caede vindicaturum. 5 Iphigenia excelso animo mortem obire pro Graecia se paratam esse praeter spem iactat: hinc enim libertatem Graeciae, sibi autem perennem gloriam venturam ait. 6 Hortatur praeterea matrem ut levius ferat casum hunc ac fati necessitatem, se hac morte immortalem, Graeciaeque liberatricis titulo inclutam fore docens. Hinc ad locum ubi immolanda erat deducitur iubetque famulas ac comites faustas ominationes et hymnos Dianae dicere. 7 Nuntius Clytaemnestrae narrat quomodo Iphigenia dum caederetur a sacrifico evanuerit et ad deos translata sit, substituta in eius locum cerva. Quod laetum nuntium et ipse Agamemnon confirmat, ne mater dubitaret. Deinde vale dicto uxori abitionem accelerat: ipsa Argos revertitur.

*[misprint παθετικῶς]

Argument of the Fifth Act:

Clytemnestra, having been informed of the plan to kill of Iphigenia, goes outside and reproaches her husband, who suspects nothing of the sort, about the cruel undertakings and at last, with a most grave speech, tries to deter him from the slaughter of their daughter. 2. Soon Iphigenia, very movingly, desires to soften her father with a certain girlish simplicity, so that he not persist in his monstrous plan, but allow her to enjoy this light of life than which nothing is more pleasant. Agamemnon, moved not at all by their prayers, shifts the blame for this matter onto the Greek army, by whose consent she is demanded for slaughter for the sake of obtaining, according to the oracle, a passage to Troy; to which, in this matter, he can neither resist nor wishes to: having said this, he departs. 3. A complaint and lament of Iphigenia, now certainly destined for death. 4. Achilles, returning agitated from the Greek assembly, tells Clytemnestra that Iphigenia is to be sacrificed by vote of the army; but he, when he wished to defend her, almost came into danger of his life. Nevertheless, he promises for the future his own aid and courage: namely, that he will defend her daughter from slaughter even by arms if necessary. 5. Iphigenia, with noble spirit, declares beyond expectation that she is ready to suffer death for Greece: for she says that from this liberty will come to Greece and everlasting glory to herself. 6. She further urges her mother to bear this misfortune and the necessity of fate more lightly, showing that by this death she will be immortal and famous with the title of the liberator of Greece. Then she is led to the place where she was to be sacrificed and orders her servants and companions to make favorable auspicious utterances and sing hymns to Diana. 7. A messenger tells Clytemnestra how Iphigenia, while she was being slain by the priest, vanished and was carried to the gods, a deer having been substituted in her place. And Agamemnon himself too confirms that joyful message, lest the mother doubt it. Then, after saying a farewell to his wife, he hastens his departure; she herself returns to Argos

Translated by Alex Xuanrui Zhu except for part of the first paragraph (beginning through "wretched"), translated by Tom Wang