“Ah, prow of Argo and the brine that flashed into whiteness! ah, my two sons!” Her talk with them towards the end is a pathetic and lovely passage equal to anything Euripides ever wrote in this kind. MELANIPPE THE WISE[809] appears to have been a drama of unusual personal interest. Æolus espoused Hippe, whose daughter Melanippe became by Poseidon mother of twin sons. The god bade her hide them from Æolus, and they were discovered by grooms in the care of a bull and a cow. They, supposing the children miraculous offspring of these animals, reported their discovery to Æolus, who decided to expiate the portent by burning the infants alive. Melanippe was instructed to shroud them for death. In order to save her children without revealing her own secret she denied the possibility of such portentous births, but seems to have found herself forced at length to confess in order to prove the natural origin of the infants. Æolus condemned her to be blinded and imprisoned, her offspring to be exposed. Her mother Hippe appeared as _dea ex machina_[810] and saved her kin. The great feature of this play was the heroine’s speech in which she sought to convince her father that such a portent was impossible. Lines from the opening of this argument are preserved: “The story is not mine—from my mother have I learned how Heaven and earth were once mingled in substance; when they separated into twain they engendered and brought into the light of day all creatures, the trees, birds, beasts, nurslings of the sea, and the race of men”. The speech was an elaborate scientific sermon to disprove the possibility of miracles. Similarly, according to a famous story, the drama opened originally with the line: “Zeus, whoever Zeus may be, for only by stories do I know of him ...”; but this open agnosticism gave such offence that Euripides produced the play again with the words: “Zeus, as Truth relates....” A different but closely-connected source of interest is the fact that here Euripides veiled his own personality less thinly than usual. That Melanippe was only his mouthpiece appears to have been a recognized fact. Dionysius of Halicarnassus[811] observes that it presents a double character, that of the poet, and that of Melanippe; and Lucian[812] selects the remark on Zeus in the prologue as a case where the poet is speaking his own views. The “mother” from whom “Melanippe” learned her philosophy has been identified with the great metaphysician and scientist Anaxagoras, who was banished from Athens in 430 B.C.; and it is natural to suppose that this _Melanippe_ is not much later than that year, perhaps much earlier[813] in view of the strongly didactic manner.[814] Hartung refers to this play the splendid fragment:—