The _Medea_, again, is, on the whole, Euripidean in form, though it probably owes much to the influence of Ovid.[179] It is, moreover, the least tasteless and best constructed of his tragedies. It loses comparatively little by the omission of the Aegeus episode, but suffers terribly by the insertion of a bombastic description of Medea's incantations. The love of the Silver Age for rhetoric has converted Medea into a skilful rhetorician, its love for the black art has degraded her to a vulgar sorceress. Nothing, again, can be cruder or more awkward than the manner in which the news of the death of Creon and his daughter is announced. After an interval so brief as scarcely to suffice even for the conveyance of the poisoned gifts to the palace, in rushes a messenger crying (879)-- periere cuncta, concidit regni status. nata atque genitor cinere permixto iacent. _Cho_. qua fraude capti? _Nunt_. qua solent reges capi, donis. _Cho_. in illis esse quis potuit dolus? _Nunt_. et ipse miror vixque iam facto malo potuisse fieri credo; quis cladis modus? avidus per omnem regiae partem furit ut iussus ignis: iam domus tota occidit, urbi timetur. _Cho_. unda flammas opprimat. _Nunt_. et hoc in ista clade mirandum accidit, alit unda flammas, quoque prohibetur magis, magis ardet ignis: ipsa praesidia occupat. All is lost! the kingdom's fallen! Father and daughter lie in mingled dust! _Ch_. By what snare taken? _Mess_. By gifts, the snare of kings. _Ch_. What harm could lurk in them? _Mess_. Myself I marvel, and scarce though the deed is done can I believe it possible. How died they? Devouring flames rage through all the palace as at her command. Now the whole house is fallen and men fear for the city. _Ch_. Let water quench the flames. _Mess_. Nay, in this overthrow is this added wonder. Water feeds the flames and opposition makes the fire burn fiercer. It hath seared even that which should have stayed its power.