140 EURIPIDES. solution ; but for tliis there is frequently a want of room with Euri- pides. In the Troades, for instance, there is such a quantity of matter that the death of Polyxena can only be narrated in a few words. Thus, in this Tragedy, the effect of the tragic incidents is destroyed by the overabundance which makes them neutralize each, other." In accordance with these remarks the same author has very ably contrasted the feebler art of Euripides with the rude vigour of ^schylus, and the graceful dignity of Sophocles. " If," he says " we take a comparative view of the heroes of Greek Tragedy, we find that in ^schylus the mighty subject matter is not always satisfactorily developed — that in Euripides the luxu- riance of the matter often predominates over the form — that in Sophocles, on the contrary, the matter is so completely propor- tionate to the form, that, with all its abundance, it adapts itself without constraint, and, as it were of its own accord, to the law of order. With the first, nature is grand and powerful, but art is somewhat unwieldy ; with the second act is somewhat too lax and pliant ; with Sophocles, art rules over a free and beautiful nature, ^schylus pays homage to grandeur without grace, Euripides only seeks the fascinating, Sophocles combines dignity and beauty in intimate union. The first fills us with words, the second with compassion, Sophocles with noble admiration. The whole plan of their works corresponds to their different aims, ^schylus, at the very commencement, often raises himself to a height which only his own gigantic mind can hope to surmount ; Sophocles leads us on gradually ; Euripides, through successive sections, repeats the same tones of touching sorrow, -^schylus proceeds rapidly from his preparation to the catastrophe ; Sophocles, as he approaches the catastrophe retards his steps ; Euripides, with uncertain tread, pur- sues an uncertain goal, rather heaping up misfortune than rendering it more intense, ^schylus is simple without art ; with Sophocles simplicity is a result of art ; with Euripides variety often predo- minates to the injury of art. The mighty and extraordinary events, which are the focus of the action with his predecessors, are often with Euripides no more than strengthening rays, and the incidents are, not unfrequently, more tragical than the catastrophe. The im- molation of a daughter torn from her mother's arms, the murder of an innocent boy, the voluntary death of a wife on her hus- 1 Hellas, p. 236.
