UNDER THE MICROSCOPE
with all its train of evils ensuing; from the sin of Arthur's youth proceeds the ruin of his reign and realm through the falsehood of his wife, a wife unloving and unloved. Remove in either case the plea which leaves the heroine less sinned against indeed than sinning, but yet not too base for tragic compassion and interest, and there remains merely the presentation of a vulgar adulteress. From the background of the one story the ignoble figure of Ægisthus starts into the foreground, and we see in place of the terrible and patient mother, perilous and piteous as a lioness bereaved, the congenial harlot of a coward and traitor. A poet undertaking to rewrite the Agamemnon, who should open his poem with some scene of dalliance or conspiracy between Ægisthus and Clytæmnestra and proceed to make of their common household intrigue the mainspring of his plan, would not more depress the design and lower the keynote of the Æschylean drama, than Mr. Tennyson has lowered the note and deformed the outline of the Arthurian story, by reducing Arthur to the level of a wittol, Guenevere to the level of a woman of intrigue, and Launcelot to the level of a "co-respondent." Treated as he has treated it, the story is rather a case for the divorce-court than for poetry. At the utmost it might serve the recent censor of his countrymen, the champion of morals so dear to President Thiers and the virtuous journalist who draws a contrast
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