Eleazar demurred, but the Emperor overruled his objections. The morning passed, and when the first part of the trilogy was at an end, part of the public seemed to wish to steal away; but the exits were closed, in order to avoid the fiasco of actors playing to an empty house, and the disrespect which would thereby be shown to the Emperor. But the discontent of the audience continually increased, for they were tired and hungry. They were also unpleasantly surprised by the presence of a Jew in the Emperor’s box. It was not, however, because he was a Jew, for hatred of the Jews arose much later, after the Crusades. During the first centuries after Christ, Jews were confused with Christians because people believed that the new religion came from Palestine and was a continuation of Mosaism. The hostile glances which were cast at Eleazar were therefore more on account of his mean appearance and position than of his religion. The favour shown him by the Emperor was especially a challenge to the Christians, in whose eyes he was an alien and a heathen. When, in the second part of the trilogy, Prometheus was nailed to the rock, the spectators must have thought of the Crucified as the antitype, for the actor playing that part took that posture, extended his arms, and let his head sink on his breast. The common people became more attentive, and as they neither had learnt Greek nor were acquainted with mythology, they thought that the sufferings of Christ were being represented on the stage. Since this had never been done before, they were displeased, and half-audible conversations began. The Emperor was angry, but did not move a muscle. He was generally quiet, but when he was enraged his intelligence forsook him. He sat there in silence, revolving plans against these barbarians, who had forgotten the wisdom of the ancients. It was now past noon, and the impatience of the audience increased. Then the sky began to be covered with clouds and some flakes of snow fell slowly like white feathers. Those who had mantles drew them over their heads. The actors looked towards the Emperor’s box, but he did not move, although it had no roof. He was a soldier, and would not be afraid of anything so trivial as bad weather. Now Prometheus began to prophesy to Io of the Deliverer who would be born to overthrow Zeus and deliver the fire-bringer. The educated Christians and the heathen looked at each other questioningly, when Io said, “What dost thou say? Shall my son be thy deliverer?” And when Prometheus answered, “He will be the third scion after ten generations,” a murmur broke out in the theatre. “Ten generations,” that was in round numbers 700 years--a period nearly extending to the birth of Christ, since the Christians reckoned dates from 763 A.D., the end of the mythological era, to which the drama belonged.