The Greek introductions to this play contain interesting criticisms: “the close of the drama is somewhat comic”; “the drama is more or less satyric, because it ends in joy and pleasure”. These remarks, coupled with the fact that the _Alcestis_ (as the last play of the tetralogy) occupied the place of the customary satyric drama, have caused much discussion. It is enough to say here: first, that the _Alcestis_ is in no sense a satyric play;[415] second, that it undoubtedly presents comic features; third, that none the less the work belongs to the sphere of tragedy. It is sometimes difficult, and often undesirable, to label dramatic poems too definitely; but we must certainly avoid the impression that this play is a comedy. It deals poignantly with the most solemn interests of humanity; the comic scenes merely show, what is almost as obvious elsewhere, that Euripides imitates actual life more closely than his two great rivals. Nothing is gained, however, by ignoring the comic element. The altercation between Apollo and Thanatos contains much that surprises us—the wit[416] and the eager, wrangling, bargaining tone of the dispute. Again the quarrel between Pheres and his son, admirable in its skilful revelation of character, jars terribly when enacted over the body of Alcestis. Heracles’ half-tipsy lecture to the slave shocks us in a demigod about to wrestle with Death himself. But the whole situation as between Alcestis and Admetus, Admetus and Heracles, is handled with dignity and extraordinary pathos. The death scene, especially Admetus’ despairing address to his wife; the even finer passage when the king returns but shrinks from the cold aspect of his widowed house; the magnificent and lovely odes, above all the song which describes the wild beasts of Othrys’ side sporting to the music of Apollo—these are thoroughly suited to tragedy. The plot is apparently[417] quite simple, but one fact should be mentioned. The rescue of Alcestis is due directly to the drunkenness of Heracles. He is prevented from learning the facts in an ordinary way by Admetus; had he behaved normally, he would have left Pheræ still unenlightened, since Admetus has forbidden[418] his slave to speak. It is his intoxication alone which goads the butler to explain.