think they have, I would hang myself for the sake of seeing Euripides.”_With this adoration of the later comic authors, the opinion of Aristophanes, his contemporary, forms a strik: ing contrast. Aristophanes persecutes him bitterly and unceasingly; he seems almost ordained to be his perpetual scourge, that none of his moral or poetical extravagances might go unpunished. Although as a comic poet Aristophanes is, generally speaking, in the relation of a parodist to the tragedians, yet he never attacks Sophocles, and even where he lays hold of Æschylus, on that side of his character which certainly may excite a smile, his reverence for him is still visible, and he takes every opportunity of contrasting his gigantic grandeur with the petty refinements of Euripides. With infinite cleverness and inexhaustible flow of wit, he has exposed the sophistical subtilty, the rhetorical and philosophical pretensions, the immoral and seductive effeminacy, and the excitations to undisguised sensuality of Euripides. As, however, modern critics have generally looked upon Aristophanes as no better than a writer of extravagant and libellous farces, and had no notion of eliciting the serious truths which he veiled beneath his merry disguises, it is no wonder if they have paid but little attention to his opinion.

But with all this we must never forget that Euripides was still a Greek, and the contemporary of many of the greatest names of Greece in politics, philosophy, history, and the fine arts. If, when compared with his predecessors, he must rank far below them, he appears in his turn great when placed by the side of many of the moderns. He has a particular strength in portraying the aberrations of a soul diseased, misguided, and franticly abandoned to its passions. He is admirable where the subject calls chiefly for emotion, and makes no higher requisitions; and he is still more so where pathos and moral beauty are united. Few of his pieces are without passages of the most ravishing beauty. It is by no means my intention to deny him the possession of the most astonishing talents ; I have only stated that these talents were not united with a mind in which the austerity of moral principles, and the sanctity of religious feelings, were held in the highest honour.

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Comparison between the Choephoræ of Æschylus, the Electra of Sophocles,

and that of Euripides. The relation in which Euripides stood to his two great predecessors, may be set in the clearest light by a comparison between their three pieces which we fortunately still possess, on the same subject, namely, the avenging murder of Clytemnestra by her son Orestes.

The scene of the Choephoræ of Æschylus is laid in front of the royal palace; the tomb of Agamemnon appears on the stage. Orestes appears at the sepulchre, with his faithful Pylades, and opens the play (which is unfortunately some what mutilated at the commencement,) with a prayer to Mercury, and with an invocation to his father, in which he promises to avenge him, and to whom he consecrates a lock of his hair. (He sees a female train in mourning weeds issuing from the palace, to bring a libation to the grave; and, as he thinks he recognises his sister among them, he steps aside with Pylades in order to observe them unperceived. The chorus, which consists of captive Trojan virgins, in a speech, accompanied with mournful gestures, reveals the occasion of their coming, namely, a fearful dream of Clytemnestra; it adds its own dark forebodings of an impending retribution of the bloody crime, and bewails its lot in being obliged to serve unrighteous masters.) Electra demands of the chorus whether she shall fulfil the commission of her hostile mother, or pour out their offerings in silence; and then, in compliance with their advice, she also offers up a prayer to the subterranean Mercury and to the sonl of her father, in her own name and that of the absent Orestes, that he may appear as the avenger. While pouring out the offering she joins the chorus in lainentations for the departed hero. Presently, finding a lock of hair resembling her own in colour, and seeing footsteps near the grave she conjectures that her brother has been there;



and when she is almost frantic with joy at the thonght, Orestes steps forward and discovers himself. He completely overcomes her doubts by exhibiting a garment woven by her own hand: they give themselves up to their joy; he adı resses a prayer to Jupiter, and makes known how A pollo, under the most dreadful threats of persecution by his father's Furies, has called on him to destroy the authors of his death in the same manner as they had destroyed him, namely, by guile and cunning. Now follow odes of the chorus and Electra; partly consisting of prayers to her father's shade and the subterranean divinities, and partly recapitulating all the motives for the deed, especially those derived from the death of Agamemnon. (Orestes inquires into the vision which induced Clytemnestra to offer the libation, and is informed that she dreamt that she had given her breast to a dragon in her son's cradle, and suckled it with her blood. ) He hereupon resolves tó become this dragon, and announces his intention of stealing into the house, disguised as a stranger, and attacking both her and Ægisthus by surprise. With this view he withdraws along with Pylades. The subject of the next choral hymn is the boundless audacity of mankind in general, and especially of women in the gratification of their unlawful passions, which it confirms by terrible examples from mythic story, and descants upon the avenging justice which is sure to overtake them at last. Orestes, in the guise of a stranger, returns with Pylades, and desires admission into the palace. Clytemnestra comes out, and being informed by him of the death of Orestes, at which tidings Electra assumes a feigned grief, she invites him to enter and partake of their hospitality. After a short prayer of the chorus, the nurse comes and mourns for her foster-child; the chorus inspires her with a hope that he yet lives, and advises her to contrive to bring Ægisthus, for whom Clytemnestra has sent her, not with, but without his body guard. As the critical moment draws near, the chorus proffers prayers to Jupiter and Mercury for the success of the plot. Ægisthus enters into conversation with the messenger; he can hardly allow himself to believe the joyful news of the death of Orestes, and hastens into the house for the purpose of ascertaining the truth, from whence, after a short prayer of the chorus, we hear the cries of the murdered. A servant rushes out, and to warn Clytemnestra gives the alarm at the




door of the women's apartment. She hears it, comes forward, and calls for an axe to defend herself; but as Orestes instantaneously rushes on her with the bloody sword, her courage fails her, and, most affectingly, she holds up to him the breast at which she had suckled him. Hesitating in his purpose, he asks the counsel of Pylades, who in a few lines exhorts him by the most cogent reasons to persist; after a brief dialogue of accusation and defence, he pursues her into the house to slay her beside the body of Ægisthus. In a solemn ode the chorus exults in the consummated retributiou. The doors of the palace are thrown open, and disclose in the chamber the two dead bodies laid side by side on one bed. Orestes orders the servants to unfold the garment in whose capacious folds his father was muffled when he was slain, that it may be seen by all; the chorus recognise on it the stains of blood, and mourn afresh the murder of Agamemnon. Orestes, feeling his mind already becoming confused, seizes the first moment to justify his acts, and having declared his intention of repairing to Delphi to purify himself from his blood-guiltiness, fies in terror from the furies of his mother, whom the chorus does not perceive, but conceives to be a mere phantom of his imagination, but who, nevertheless, will no longer allow him any repose. The chorus concludes with a reflection on the scene of murder thrice-repeated in the royal palace since the repast of Thyestes.

The scene of the Electra of Sophocles is also laid before the palace, but does not contain the grave of Agamemnon. At break of day Pylades, Orestes, and the guardian slave who had been his preserver on that bloody day, enter the stage as just arriving from a foreign country. The keeper who acts as his guide commences with a description of his native city, and he is answered by Orestes, who recounts the commission given him by Apollo, and the manner in which he intends to carry it into execution, after which the young man puts up a prayer to his domestic gods and to the honse of his fathers. Electra is heard complaining within; Orestes is desirous of greeting her without delay, but the old man leads him away to offer a sacrifice at the grave of his father. Electra then appears, and pours out her sorrow in a pathetic address to heaven, and in a prayer to the infernal deities her unconquerable desire of revenge. The chorus, which consists of native



virgins, endeavours to console her; and, interchanging hymn and speech with the chorus, Electra discloses her unabatable sorrow, the contumely and oppression under which she suffers, and her hopelessness occasioned by the many delays of Orestes, notwithstanding her frequent exhortations; and she turns a deaf ear to all the grounds of consolation which the chorus can suggest. Chrysothemis, Clytemnestra's younger, more submissive, and favourite daughter, approaches with an offering which she is to carry to the grave of her father. Their difference of sentiment leads to an altercation between the two sisters, during which Chrysothemis informs Electra that Egigthus, now absent in the country, has determined to adopt the most severe measures with her, whom, however, she sets at defiance. She then learns from her sister that Clytemnestra has had a dream that Agamemnon bad come to life again, and had planted his sceptre in the floor of the house, and it had grown up into a tree that overshadowed the whole land; that, alarmed at this vision, she had commissioned Chrysothemis to carry an oblation to his grave. ) Electra counsels her not to execute the commands of her wicked mother, but to put up a prayer for herself and her sister, and for the return of Orestes as the avenger of his father; she then adds to the oblation her own girdle and a lock of her hair. Chrysothemis goes off

, promising obedience to her wishes. The chorus augurs from the dream, that retribution is at hand, and traces back the crimes committed in this house to the primal sin of Pelops. Clytemnestra rebukes her daughter, with whom, however, probably under the influence of the dream, she is milder than usual; she defends her murder of Agamemnon, Electra condemns her for it, but without violent altercation. Upon this Clytemnestra, standing at the altar in front of the house, proffers a prayer to Apollo for health and long life, and a secret one for the death of her son. The guardian of Orestes arrives, and, in the character of a messenger from a Phocian friend, announces the death of Orestes, and minutely enumerates all the circumstances which attended his being killed in a chariot-race at the Pythian games. Clytemnestra, although visited for a moment with a mother's feelings, can scarce conceal her triumphant joy, and invites the messenger to partake of the hospitality of her house. Electra, in touching speeches and hymns, gives herself up to grief; the chorus

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