are in their unobtrusive way masterpieces of language. But it is in vain to quote specimens; the whole work is as novel and as great in linguistic skill as in dramatic art. In particular the speeches of the nurse at the opening, of Medea when rebuking and again when conciliating Jason—above all, her fearful soliloquy and address to her children, touch the summit of dramatic eloquence. The lyric passages are on the whole less remarkable, but the mystic loveliness of the ode[440] celebrating the glories of Attica, and the anapæsts[441] which give so haunting an expression to a parent’s yearning over his children, are among the most precious things this tender as well as terrible poet has bequeathed to us. The HERACLEIDÆ[442] (Ἡρακλεῖδαι) or _Children of Heracles_, is a short[443] play of uncertain date, usually referred to the early years of the Peloponnesian War (431-404) and by some to the date 422 B.C. Nothing is known as to the companion plays, or the success obtained by the tetralogy. The scene is laid before the temple of Zeus at Marathon in Attica. The young sons of Heracles are discovered with the aged Iolaus, their father’s comrade, who explains how, after Heracles departed to Heaven, Eurystheus of Argos has hunted the hero’s family through Greece. They have taken refuge in Attica; Alcmena, mother of Heracles, and the daughters are now within the temple; Hyllus, the eldest son, has gone to seek another refuge in case Athens fails them. Copreus,[444] a herald from Argos, enters and is dragging the suppliants away when the chorus of aged Athenians enter. Copreus disregards their remonstrances, but is confronted by the king, Demophon, and his brother Acamas. He insists that the Heracleidæ are Argive subjects: let not Demophon risk war with Argos. Iolaus appeals for protection, and is granted it; Copreus retires with threats of instant war. After an ode of defiance by the chorus, Demophon returns with news that a noble virgin must be sacrificed to Persephone, and he will not slay an Athenian girl. Iolaus is in despair, when Macaria, one of Heracles’ daughters, comes forth and offers herself. After a proud but melancholy farewell she goes. A serf of Hyllus arrives, bringing, he says, good news. At this Iolaus joyfully summons Alcmena, who imagines that another herald is assaulting him; but he announces that Hyllus has returned with a large host of allies. Iolaus, despite the serf’s rueful gibes, insists on going to the fray and, dressed in ancient arms from the temple, totters off. The chorus proclaim the justice of their cause, invoking Zeus and Athena. The attendant returns with news of complete victory. Iolaus was taken into Hyllus’ chariot and being (by favour of Heracles and Hebe) miraculously restored for a while to his youthful vigour, captured Eurystheus. The chorus celebrate the glory of Athens and acclaim Heracles, who is now proved (despite report) to be dwelling in Heaven. Eurystheus is led in and Alcmena gloats over