Then to each altar in the royal house She went, and crowned it, and addressed her vows, Plucking the myrtle bough: nor tear, nor sigh Came from her; neither did the approaching ill Change the fresh beauties of her vermeil cheek. Her chamber then she visits, and her bed; There her tears flowed, and thus she spoke: "O bed To which my wedded lord, for whom I die, Led me a virgin bride, farewell! to thee No blame do I impute, for me alone Hast thou destroyed: disdaining to betray Thee, and my lord, I die: to thee shall come Some other woman, not more chaste, perchance More happy." As she lay she kissed the couch, And bathed it with a flood of tears: that passed, She left her chamber, then returned, and oft She left it, oft returned, and on the couch Fondly, each time she entered, cast herself. Her children, as they hung upon her robes, Weeping, she raised, and clasped them to her breast Each after each, as now about to die. --Trans. by POTTER. Euripides died in the year 406 B.C., in Macedon, to which country he had been compelled to go on account of domestic troubles; and the then king, Archela'us honored his remains with a sumptuous funeral, and erected a monument over them. Divine Euripides, this tomb we see So fair is not a monument for thee, So much as thou for it; since all will own That thy immortal fame adorns the stone. We have now observed the transitions through which Grecian tragedy passed in the hands of its three great masters, Æschylus, Sophocles, and Euripides. As GROTE says, "The differences between these three poets are doubtless referable to the working of Athenian politics and Athenian philosophy on the minds of the two latter. In Sophocles we may trace the companion of Herodotus; in Euripides the hearer of Anaxag'oras, Socrates, and Prod'icus; in both, the familiarity with that wide-spread popularity of speech, and real, serious debate of politicians and competitors before the dikastery, which both had ever before their eyes, but which the genius of Sophocles knew how to keep in subordination to his grand poetical purpose." To properly estimate the influence which the tragedies exerted upon the Athenians, we must remember that a large number of them was presented on the stage every year; that it was rare to repeat anyone of them; that the theatre of Bacchus, in which they were represented, accommodated thirty thousand persons; that, as religious observances, they formed part of the civil establishment; and that admission to them was virtually free to every Athenian citizen. Taking these things into consideration, GROTE adds: "If we conceive of the entire population of a large city listening almost daily to those immortal compositions whose beauty first stamped tragedy as a separate department of poetry, we shall be satisfied that such powerful poetic influences were never brought to act upon any other people; and that the tastes, the sentiments, and the