The dramas were magnificent and also instructive pictures, but they taught, as it were, certain set lessons only: they were pictures _sui generis_, pictures marked with a certain mannerism, pictures in which the artist follows a standard which is neither original, nor general, nor truly normal. Let us try the test of an expression somewhat kindred in etymology: such a word as ἐξομηροῦν would carry upon its face a damning solecism. Again, let us mark the difference which was observed by the sagacity of Aristotle.[11] With the speeches in the Iliad, he compares the speeches in the tragedians; those most remarkable and telling compositions, which we have occasion so often to admire in Euripides. But, as he says, the Characters of the ancients, doubtless meaning Homer, speak πολιτικῶς, those of the moderns, ῥητορικῶς. I know no reason why the speeches of Achilles should not be compared with the finest passages of Demosthenes: but no one could make such a comparison between Demosthenes and the speeches, though they are most powerful and effective harangues, which we find in the Troades, or the Iphigenia in Aulide. This contrast of the earnest and practical with the artificial, runs, more or less, along the whole line which divides Homer from the tragedians, particularly from Euripides. When we consider the case in another point of view, and estimate these poets with reference to what they tell, and not to the mere manner of their telling it, the argument for assigning to Homer a greater share of the attention of our youth, becomes yet stronger. For it must be admitted that the tragedians, especially the two later of the three, teach us but very little of the Greek religion, history, manners, arts, or institutions. At the period when they wrote, the religion of the country had become political or else histrionic in its spirit, and the figures it presented were not only multiplied, but were also hopelessly confused: while morals had sunk into very gross corruption, of which, as we have it upon explicit evidence, two at least of them largely partook. The characters and incidents of their own time, and of the generations which immediately preceded it, were found to be growing less suitable for the stage. They were led, from this and other causes, to fetch their themes, in general, from the remote period of the heroic or pre-historic ages. But of the traditions of those ages they were no adequate expositors; hence the representations of them are, for the most part, couched in altered and degenerate forms. This will be most clearly seen upon examining the Homeric personages, as they appear in the plays of Euripides. Here they seem often to retain no sign of identity except the name. The ‘form and pressure,’ and also the machinery or physical circumstances of the Greek drama, were such as to keep the tragedians, so to speak, upon stilts, while its limited scope of necessity excluded much that was comprised in the wide circle