But still the fault of the story is partly that the plot rests upon a base and ignoble fraud, and principally that our pity is appealed to by the coarse sympathy with physical pain: the rags that covered the sores, the tainted corruption of the ulcers, are brought to bear, not so much on the mind as on the nerves; and when the hero is represented as shrinking with corporeal agony--the blood oozing from his foot, the livid sweat rolling down the brow--we sicken and turn away from the spectacle; we have no longer that pleasure in our own pain which ought to be the characteristic of true tragedy. It is idle to vindicate this error by any dissimilarity between ancient and modern dramatic art. As nature, so art, always has some universal and permanent laws. Longinus rightly considers pathos a part of the sublime, for pity ought to elevate us; but there is nothing to elevate us in the noisome wounds, even of a mythical hero; our human nature is too much forced back into itself--and a proof that in this the ancient art did not differ from the modern, is in the exceeding rarity with which bodily pain is made the instrument of compassion with the Greek tragedians. The Philoctetes and the Hercules are among the exceptions that prove the rule. [374] XII. Another drawback to our admiration of the Philoctetes is in the comparison it involuntarily courts with the Prometheus of Aeschylus. Both are examples of fortitude under suffering--of the mind's conflict with its fate. In either play a dreary waste, a savage solitude, constitute the scene. But the towering sublimity of the Prometheus dwarfs into littleness every image of hero or demigod with which we contrast it. What are the chorus of mariners, and the astute Ulysses, and the boyish generosity of Neoptolemus--what is the lonely cave on the shores of Lemnos--what the high-hearted old warrior, with his torturing wound and his sacred bow--what are all these to the vast Titan, whom the fiends chain to the rock beneath which roll the rivers of hell, for whom the daughters of Ocean are ministers, to whose primeval birth the gods of Olympus are the upstarts of a day, whose soul is the treasure-house of a secret which threatens the realm of heaven, and for whose unimaginable doom earth reels to its base, all the might of divinity is put forth, and Hades itself trembles as it receives its indomitable and awful guest! Yet, as I have before intimated, it is the very grandeur of Aeschylus that must have made his poems less attractive on the stage than those of the humane and flexible Sophocles. No visible representation can body forth his thoughts--they overpower the imagination, but they do not come home to our household and familiar feelings. In the contrast between the "Philoctetes" and the "Prometheus" is condensed the contrast between Aeschylus and Sophocles. They are both poets of the highest conceivable order; but the one seems almost above appeal to our