more welcome than his Orestean trilogy. The fables of these plays were common and catholic to the whole Hellenic world. The friend and protector of mankind, the long-suffering Titan, touched chords in the heart of a Greek spectator, whether he drank the water of the Meander or that of the fountain of Arethusa. The flight of Xerxes and the humiliation of the Mede were the story of his own deliverance from the dread or oppression of the great king. Even the tragi-comedy of Euripides might be more agreeable to him than the sombre grandeur of Æschylus, or the serene and perfect art of Sophocles.
But to the purely Athenian portion the innovations of Euripides were less acceptable. If we are to judge by the number of prizes he gained, at no period of his career was he so popular as Sophocles. He was rather a favourite with a party than with the Athenian public. In some respects the restless democracy was very conservative in its taste. The deeds of its forefathers it associated with Achæan legends: the gods of the commonwealth, although it laughed heartily at them when travestied by the comic poets, still were held to be the rightful tenants of Olympus; whereas the Euripidean deities were either ordinary men and women, or "airy nothings," without any "local habitation." Marriage-vows, again, were not very strictly kept by Athenian husbands, yet they did not approve of questionable connections, and thought that Euripides abused poetic licence when he made use of them in his dramas. Moreover, there may have been
