Iphigenia At Aulis: Victim Of Circumstances

A person noted for feats of courage or nobility of purpose, especially one who has risked or sacrificed his or her life is considered a hero. Iphigenia is not a hero; although she did risk her life, but only for the reason that she was forced to in an act of victimization. Iphigenia portrays three qualities that make her a true victim, which are her innocence, her family and religious values, and most importantly her traumatizing acceptance of her "No Choice" faith. It can be argued that those are her qualities that make her a hero by declaring her of being brave; that she is willing to sacrifice herself, that she accepted her faith, and that she set example for other women. However, if not Iphigenia, any women given that circumstance will have acted the same way Iphigenia did, but those who do otherwise are the ones that are truly considered a hero in my opinion. Iphigenia in the play is indeed portrayed as a good, loving, dutiful, and overall a perfect daughter; a perfect candidate of a victim, and it is her innocence that starts off her "wretched faith."

Iphigenia's innocence is portrayed from the very beginning of the story, when she is told from her own father, that he has chosen a "husband" for her in Aulis, as an act of enticement. The fact that the man is no other than Achilles, the son of Peleus, a noble and courteous individual, is a strong conviction. Iphigenia idea of a perfect marriage brings her to Aulis to in her naпve mind wed a strong noble warrior. This is the first act of innocence we see from Iphigenia, as she knows nothing. Agamemnon quibbles about speaking regarding sacrifice while she speaks of marriage rites. "(Aside) How your innocence touches my heart....You are going a long way away from your home and from your father." (Ivan Dee, p32). Agamemnon realizes her daughter's innocence and begins the act, as he attempts to persuade his wife Clytemnestra to go back, and have him handle the "marriage." Iphigenia's innocence does not have any family ties, seeing that Clytemnestra, her mother, is portrayed as the exact opposite; as she speaks with Achilles and finds out the truth. "Marry? What do you mean? I do not know what to say. You must be under some misapprehension." (Ivan Dee, p39).

The second argument of her victimization occurs with the undeniable fact that she is the daughter of Agamemnon, and for that reason her family values are challenged. Iphigenia realizes this act that was put on, and instead of taking a stand, Iphigenia weeps to her mother. Clytemnestra confronts Agamemnon with Iphigenia in an act to save her life, results in a failure, as Agamemnon indirectly declares that Iphigenia has to except her "wretched fate." "If I disobey the gods' command, these men will go to Argos and kill my daughters. They will kill you. They will kill me...It is for Greece that I must offer you in sacrifice." (Ivan Dee, p54). This is clear example that her family values were challenged and Iphigenia failed to overcome an odd; showing quality of a victim. Religion values have struck Iphigenia as well, when she is told from her father, that the god Artemis has demanded this sacrifice from the daughter of a king in order for the Greek fleet to sail to Troy. Artemis, the god that protects women in childbirth and yet demands human sacrifice of a daughter, is a clear sign of Iphigenia's religious value being struck, as she clearly has no control over.

Aside from all these evidence of Iphigenia's victimization, the one that stands out the most is Iphigenia's traumatizing acceptance of her "No choice" faith. This shows how one can begin to mock a hero, by developing "hero" qualities given the following reasons: Circumstances, nothing to lose, and Traumatized emotions. This is clearly shown is Iphigenia at Aulis, as she is accepting that she is not getting married to Achilles, that she is being sacrificed by her own father, her irrelevance as a woman. Fist the acceptance of her farce marriage with Achilles, and her appreciation of Achilles support towards the circumstances. "This man deserves our praise, our thanks for his courage. But we must not let his reputation