Abraham cannot speak, for he cannot utter the word which explains all (that is, not so that it is intelligible), he cannot say that it is a test, and a test of such a sort, be it noted, that the ethical is the temptation. He who is so situated is an emigrant from the sphere of the universal. But the next word he is still less able to utter. For, as was sufficiently set forth earlier, Abraham makes two movements: he makes the infinite movement of resignation and gives up Isaac (this no one can understand because it is a private venture); but in the next place, he makes the movement of faith every instant. This is his comfort, for he says: “But yet this will not come to pass, or, if it does come to pass, then the Lord will give me a new Isaac, by virtue viz. of the absurd.” The tragic hero does at last get to the end of the story. Iphigenia bows to her father’s resolution, she herself makes the infinite movement of resignation, and now they are on good terms with one another. She can understand Agamemnon because his undertaking expresses the universal. If on the other hand Agamemnon were to say to her, “In spite of the fact that the deity demands thee as a sacrifice, it might yet be possible that he did not demand it — by virtue viz. of the absurd,” he would that very instant become unintelligible to Iphigenia. If he could say this by virtue of human calculation, Iphigenia would surely understand him, but from that it would follow that Agamemnon had not made the infinite movement of resignation, and so he is not a hero, and so the utterance of the seer is a sea- captain’s tale and the whole occurrence a vaudeville.

Abraham did not speak. Only one word of his has been preserved, the only reply to Isaac, which also is sufficient proof that he had not spoken previously. Isaac asks Abraham where the lamb is for the burnt offering. “And Abraham said, God will provide Himself the lamb for the burnt offering, my son.” This last word of Abraham I shall consider a little more closely. If this word were not, the whole event would have lacked something; if it were to another effect, everything perhaps would be resolved into confusion.

I have often reflected upon the question whether a tragic hero, be the culmination of his tragedy a suffering or an action, ought to have a last rejoinder. In my opinion it depends upon the life-sphere to which he belongs, whether his life has intellectual significance, whether his suffering or his action stands in relation to spirit.

It goes without saying that the tragic hero, like every other man who is not deprived of the power of speech, can at the instant of his culmination utter a few words, perhaps a few appropriate words, but the question is whether it is appropriate for him to utter them. If the significance of his life consists in an outward act, then he has nothing to say, since all he says is essentially chatter whereby he only weakens the impression he makes, whereas the ceremonial of tragedy requires that he perform his task in silence, whether this consists in action or in suffering. Not to go too far afield, I will take an example which lies nearest to our discussion. If Agamemnon himself and not Calchas had had to draw the knife against Iphigenia, then he would have only demeaned himself by wanting at the last moment to say a few words, for the significance of his act was notorious, the juridical procedure of piety, of compassion, of emotion, of tears was completed, and moreover his life had no relation to spirit. On the other hand, if the significance of a hero’s life is in the direction of spirit, then the lack of a rejoinder would weaken the impression he makes. What he has to say is not a few appropriate words, a little piece of declamation, but the significance of his rejoinder is that in the decisive moment he carries himself through. Such an intellectual tragic hero ought to have what in other circumstances is too often striven for in ludicrous ways, he ought to have and he ought to keep the last word. One requires of him the same exalted bearing which is seemly in every tragic hero, but in addition to this there is required of him one word. So when such an intellectual tragic hero has his culmination in suffering (in death), then by his last word he becomes immortal before he dies, whereas the ordinary tragic hero on the other hand does not become immortal till after his death.