tones which befit the inhabitants of a besieged and panic-stricken city. Fear is the predominant emotion; but from time to time martial chords break out through the uncertain strain, as they describe the sound and aspect of the attacking force; and from time to time the music sinks into the tenderest notes of pathos, as the maidens call for help on each god and goddess in turn. First they call on Mars, as god of war, to look upon his own city, which once he held so dear, on all the gods who love Thebes—
"And all ye powers whose guardian care
Protects these walls, this favoured land,
O hear these pious, suppliant strains;
Propitious aid us, aid a virgin band,
And save us from the victor's chains!"
Then they appeal to Zeus, in whose hands are all events, and to his warlike offspring, Pallas, and great Poseidon, lord of the horse and the ocean, and Venus, the mother of their race. They cry to Apollo, and Artemis the goddess of the dreadful bow, and queenly Juno; beseeching them in turn, by the crash of shields, and the noise of crested warriors, and clang of bits ringing out slaughter—by the seven champions at the gates—by the heavy rumbling of chariots, and the showers of stones that rage against the battlements—to rout these alien hosts and save the sacred city.
But the prayers of maidens, beautiful as they are, are not thought the best means for nerving the energy of the citizens and promoting the defence. Eteocles, returning, rebukes them in no measured terms; and,
