the main stream or from its branches, the result was the same; and the heroes who espoused the cause of Menelaus were most of them suited for transplantation to the theatre.
Two of the ten plays which have Troy for their subject, directly or indirectly, have been noticed in a previous chapter; another, the "Cyclops," will be examined presently. The "Rhesus," being of uncertain authorship, will be passed over. Of the seven that remain, only a brief sketch can be given. The Two Iphigenias, indeed, might alone suffice to show how well fitted for the genius of their poet was the Lay of Achilles or the Wanderings of Ulysses.
The fire that consumed Priam's capital is still smouldering when the action of the "Hecuba" and the "Trojan Women" begins. The scene of the former of these two tragedies is placed in the Thracian Chersonesus—now the Crimea. The Chorus is composed of Trojan captive women, a few days before the subjects, now the fellow-prisoners, of their queen. In the centre of the stage stands Agamemnon's tent, in a compartment of which Hecuba and her attendants are lodged. The prologue is spoken by her youngest son Polydorus, whom she supposes to be living, but who has been foully murdered by his guardian Polymnestor, the Thracian king. His ghost hovers over the tent, and after informing the audience of the manner of his death, he vanishes just as his aged moth-er enters on the stage. One more woe is soon imparted to Hecuba by the Chorus. The shade of Achilles has appeared in glittering armour on his tomb, and demanded a
