Sophocles is the most devout of the Greek tragedians, and reverence for the gods is constantly enjoined in his tragedies. One striking passage is where Antigonê is asked if she had disobeyed the laws of the country, and replies, "Yes; for they were not the laws of God. They did not proceed from Justice, who dwells with the Immortals. Nor dared I, in obeying the laws of mortal man, disobey those of the undying gods. For the gods live from eternity, and their beginning no man knows. I know that I must die for this offence, and I die willingly. I must have died at some time, and a premature death I account a gain, as finishing a life filled with sorrows."[236] This argument reminds us of the higher-law discussions of the antislavery conflict, and the religious defiance of the fugitive slave law by all honest men. Euripides represents the reaction against the religious tragedy. His is the anti-religious tragedy. It is a sneering defiance of the religious sentiment, a direct teaching of pessimism. Bunsen ("God in History") goes at length into the proof of this statement, showing that in Euripides the theology of the poets encountered and submitted to the same sceptical reaction which followed in philosophy the divine teachings of Plato.[237] After this time Greek poetry ceased to be the organ of Greek religion. It is true that we have subsequent outbreaks of devout song, as in the hymn of Cleauthes, the stoic, who followed Zeno as teacher in the Porch (B.C. 260). Though this belongs rather to philosophy than to poetry, yet on account of its truly monotheistic and also devout quality, I add a translation here:[238]--