Animus Classics Journal: Vol. 1, Issue 1

unexpected, as “Men give their lives, women give their sons.” 51 Does Iphigenia
sacrifice herself only for lack of a child to offer? Or does her self-sacrifice
move her beyond the female obligation of body and into the male obligation of
death? 52
While one may be tempted to credit the former as true, Iphigenia
can be attributed a moment of motherhood, although it is also metaphorical in
nature. The utility and essentiality of childbirth lies in the fact that it produces
citizens- and soldiers-to-be, and ensures the survival of the city. Thus,
Iphigenia’s metaphorical birth of salvation (ὡς σωτηρίαν / Ἕλλησι δώσουσ’
ἔρχομαι νικηφόρον, “since I [now] come to deliver a salvation to the people of
Hellas, crowned in victory”) 53 satisfies her parental obligation to Hellas. This
sense of population preservation comes through in the use of Ἕλλην, meaning
“of Hellas,” rather than Ἑλλάς, “Hellas,” 54 which implies that the “salvation”
or “security” which Iphigenia provides is for the collective people of Hellas
rather than the land itself. 55 However, within the future participle δώσουσα,
“delivering,” there is a sense of intention— “in order to deliver”—but an
uncertainty of success. We see aretē affirmed in scholarship as a resultdriven
concept; intention alone cannot earn it. 56 Therefore, although Iphigenia
achieves a metaphorical birth and marriage to fulfil her womanly obligations
of the body, her only true accomplishment is a death for the sake of Hellas.
Through the lens of Loraux’s analysis of gender dynamics, which
posits death as something belonging to men and the body as belonging to
women, 57 Iphigenia appears as a perfect coincidence of the male and female
obligation. She strives to accomplish the female duties with which she is
charged but accomplishes them through the male method, creating an image of
a girl with the status of a woman and the accomplishment of a man. But what
of her kleos?
Iphigenia asserts her right to kleos because of what her death enables
for Hellas: passage over the sea, the chance to sack Troy, and prevention of
future “barbarian” raids. 58 She uses the indicative future middle-passive form
of ῥύομαι, 59 which carries both an offensive and defensive connotation—to
draw for oneself (as in a sword) and to protect. Through this middle voice,
Iphigenia delivers these things for the good of Hellas, but also for her own
benefit; for when she dies, she will have kleos…makarion in exchange—”a
most blessed glory.” 60 It is a service, a trade, and an agreement. The Chorus
promises to uphold this agreement in their parting words to Iphigenia: κλέος
γὰρ οὔ σε μὴ λίπηι, “[there is] no fear that glory [κλέος] will ever leave you.” 61
With this exchange, Iphigenia ensures the third and final aspect of her aretē.
She adheres to every definition of aretē provided by the Chorus. She
is wise; shows her judgement; proves her reserve, especially in the face of her
“fiancé”; and positions herself to advance her fatherland however possible. She
satisfies her feminine obligations to her homeland while taking the masculine
measures required under the circumstances. She lives modestly but dies boldly.
Iphigenia’s adherence to these expectations proves her distinction to such an