This power of transfiguration belongs in varying degrees to all poetry, but it belongs in special force to Greek Tragedy; and Greek Tragedy attains it in part by all its high religious traditions and severities of form, but most fully by means of its strangest convention, the Chorus; the band of half-embodied emotions and memories, the lyric song and the dance expressing things beyond speech. It is through this power that tragedy attain its peculiar quality of encouragement and triumph. We must not forget that Aristotle, a judge whose dicta should seldom be dismissed without careful reflection, distinguishes tragedy from other forms of drama not as the form that represents human misery but as that which represents human goodness or nobleness. If his MSS. are to be trusted he even goes so far as to say that tragedy is "the representation of Eudaimonia," or the higher kind of happiness. Of course he fully recognizes the place of death and disaster in it, and he prefers the so-called "unhappy ending." The powers of evil and horror must be granted their full scope; it is only thus that we can triumph over them. Only when they have worked their uttermost will do we realize that there remains something in man's soul which is forever beyond their grasp and has power in its own right to make life beautiful. That is the great revelation, or the great illusion, of tragedy. It is achieved, apparently, by a combination of two extremes; in matter a full facing of tragic facts, and in form a resolute transfiguration of them by poetry. The weak artist shirks the truth by a feeble idealism; the prosaic artist fails to transfigure it. Euripides seems to me to have gone further than any other writer in the attempt to combine in one unity these separate poles. In this lies, for good or evil, his unique quality as a poet. To many readers it seems that his powers failed him; his mixture of real life and supernatural atmosphere, of wakeful thought and dreaming legend, remains a discord, a mere jar of overwrought conventions and violent realism. To others it is because of this very quality that he has earned the tremendous rank accorded him by Goethe, and in a more limited sense by Aristotle, and still stands out, as he stood over two thousand years ago, "even if faulty in various ways, at any rate clearly the most tragic of the poets." BIBLIOGRAPHY TEXTS.--Murray, 3 vols., 3s. 6d. each (Oxford, 1901-1913), with brief critical notes. This edition received much help from Wilamowitz and Verrall. _Wecklein-Prinz_ (Leipzig, about 1895 to 1905), edited by Dr. Wecklein from Prinz's collations of MSS.; large critical apparatus and lists of emendations. Text much altered.