His dislike of convention in morals is answered by his originality in portraiture as well as in dramatic situations. Nothing is more thrilling than to observe how in the hands of a great realist whole masses of human beings come to life. What was the background of one novelist suddenly begins in the pages of another to stir, to articulate itself, to move forward and discover a language. “The men” commanded by Captain Osborne in _Vanity Fair_ become Private Ortheris or Corporal Mulvaney in the pages of Kipling. So in Euripides the dim and familiar background of “barbarians” who existed merely to give colour and outline to Achilles and Odysseus, the women who bore the necessary children and ground the needed flour, the henchmen without whom horses would not be groomed or trees felled, suddenly awake and reveal passions of love and hatred, pathetic histories, opinions about marriage and the grave. In every age the man who points to the disregarded, the dormant, hitherto supposed securely neutral and plastic, who cries “it is alive, watching you and reflecting, waiting its time”—such a man is met in his degree with the reception given to Euripides by the elder generation of Athenians. The clamour of “crank!” “faddist!” “this is the thin end of the wedge,” and kindred watchwords, may be found translated into brilliant Attic by Aristophanes. But in virtue of these same interests Euripides became the Bible of later Greek civilization. He would have passed into a fetish had it not been that the destructively critical side of his genius prevented the most narrow-minded from reducing him to a system. To the last he remains inconclusive, provocative, refreshing. On the other side his sensitiveness to all aspects of life—his “feeling for Beauty” to use the familiar phrase—held him back from mere cynicism. The _Hippolytus_ remains as perhaps the most glorious support in literature for unflinching facing of facts—it shows triumphantly how a man may feel all the sorrow and waste which wreck happiness, yet declare the endless value and loveliness of life. We may detect two aspects in which this joy in life shows itself most markedly—his romance and his wit.