through _distance_. Secondly, The Greek actor had always the resource, under such difficulties, of averting his face a resource sanctioned in similar cases by the greatest of the Greek painters. Thirdly, The voluminous draperies of the scenic dresses, and generally of the Greek costume, made it an easy thing to muffle the features altogether by a gesture most natural to sudden horror. Fourthly, We must consider that there were no stage lights: but, on the contrary that the general light of day was specially mitigated for that particular part of the theatre; just as various architectural devices were employed to swell the volume of sound. Finally. I repeat my sincere opinion, that the general indistinctness of the expression was, on principles of taste, an advantage, as harmonizing with the stately and sullen monotony of the Greek tragedy. Grandeur in the attitudes, in the gestures, in the groups, in the processions--all this was indispensable: but, on so vast a scale as the mighty cartoons of the Greek stage, an Attic artist as little regarded the details of physiognomy, as a great architect would regard, on the frontispiece of a temple, the miniature enrichments that might be suitable in a drawing-room. With these views upon the Grecian theatre, and other views that it might oppress the reader to dwell upon in this place, suddenly in December last an opportunity dawned--a golden opportunity, gleaming for a moment amongst thick clouds of impossibility that had gathered through three-and-twenty centuries--for seeing a Grecian tragedy presented on a British stage, and with the nearest approach possible to the beauty of those Athenian pomps which Sophocles, which Phidias, which Pericles created, beautified, promoted. I protest, when seeing the Edinburgh theatre's _programme_, that a note dated from the Vatican would not have startled me more, though sealed with the seal of the fisherman, and requesting the favor of my company to take coffee with the Pope. Nay, less: for channels there were through which I might have compassed a presentation to his Holiness; but the daughter of Oedipus, the holy Antigone, could I have hoped to see her 'in the flesh?' This tragedy in an English version, [9] and with German music, had first been placed before the eyes and ears of our countrymen at Convent Garden during the winter of 1844--5. It was said to have succeeded. And soon after a report sprang up, from nobody knew where, that Mr. Murray meant to reproduce it in Edinburgh.