Finally, if this drama is composed in order to extol the nobility of Athens in espousing the cause of the weak, it is extraordinary that so dubious an example should be selected. The suppliants are ancestors of those very Spartans who, when the drama was produced, were the bitter and dangerous enemies of Athens. Was not her ancient kindness in saving the first generation of these foes a piece of folly? Eurystheus points this moral at the close.[463] Alcmena herself, in her cold ferocity[464] and her quibbling[465] over the dues of piety, is a clear prophecy of what fifth-century Athenians most detested in the Spartan character. Moreover, the plea of Copreus is perfectly just: Argos has a right to punish her own people if condemned; whether they were wrongly so condemned is no concern of Athens. The upshot seems to be that Eurystheus has a bitter quarrel with a powerful noble, so bitter that when his enemy dies the king dares not leave his children at large. Through the sentimental weakness of her ruler Athens is drawn into the dispute, and history shows that she made a frightful mistake. The HIPPOLYTUS[466] (Ἱππόλυτος Στεφανίας[467] or Στεφανηφόρος) was produced in 428 B.C. and obtained the first prize. The scene is laid in Trœzen before a house belonging to Theseus, King of Athens. Aphrodite, the goddess of love, speaks the prologue, explaining how Hippolytus, son of Theseus, scorns her and consorts always with Artemis, the virgin huntress-deity. Aphrodite therefore has caused Phædra, the wife of Theseus, to fall in love with her stepson. The king in his wrath shall bring about the death of his son. The prince enters followed by his huntsmen, and turning to the statue of Artemis with a beautiful prayer places garlands upon it, but disregards the image of Aphrodite. After the hunters have entered the palace, the chorus of Trœzenian women come to inquire after the ailing Phædra. She is borne forth, attended by her nurse, who seeks to calm the feverishness of her mistress and her passionate longing for the wild regions of the chase. She gradually learns that the queen is consumed by passion for Hippolytus. Phædra, now quite calm, describes her fight with temptation; when she saw that victory was impossible she chose death, and for this reason has refused food. The nurse offers very different counsel. Why should Phædra strive against her instincts? Even the gods have erred through love; she will cure her mistress. The remedy, she soon hints, is nothing but surrender. At this Phædra is so indignant that the other again takes refuge in ambiguity; she retires to fetch certain charms. The ode which follows proclaims the irresistible sway of love. The queen, in the meantime, has been standing near the palace-door and now recoils in horror—she has heard Hippolytus reviling the nurse; nothing, she cries, is now left to her but speedy death. Hippolytus enters in fury, followed by the nurse.