vient; whereas in the dramas of Shakespeare the development of character constitutes the primary aim, to which he subordinates the underlying idea of the whole; accordingly we should vainly seek in the impersonations of the ancient bard that marvellous insight into the more subtle phenomena of human nature which imparts so intense an interest to the productions of Shakespeare. In Æschylus the collision between moral principles, whose harmonious action is essential to the moral order of the world, is set forth by personages, human and superhuman, whose characters are drawn in bold relief, without exhibiting that delicate shading which charms us in the delineation of the modern bard. These personages are led in obedience to one moral principle to violate another, which in its turn finds advocates and champions. The collision between these opposing interests and the various passions evoked in the struggle sustain the interest of the drama, while the dénouement exhibits the vindication of eternal order by the triumph of that principle which is of primary obligation. If we apply these principles to the Oresteia, we find that while the several members of the trilogy are linked together by a chain of ethical sequence, which resolves itself into the great doctrine of retribution, each drama is at the same time devoted to the solution of a particular problem, and constitutes accordingly a complete and independent whole.
The collision of duties set forth in the Agamemnon is of peculiar interest, as illustrating a struggle which
