The Greek drama, which is now before our C. L. S. C. students in its English rendering, presents many interesting aspects to the modern mind. We are well aware that this statement will surprise some readers; but let them consider a few facts. Is it not a remarkable thing that the Greek drama, which the world will not suffer to be forgotten, was all produced in the space of about half a century? And compare the fact with our own history, noting that English drama of the imperishable type is all gathered into a single brilliant period, of which Shakspere is the central light in dramatic poetry. Æschylus was born in 525 B. C., Sophocles in 495, and Euripides in 480. The three are nearly on a level in merit, Æschylus having the more force, and his compeers in dramatic fame more of the refinements of art. They are not three Shaksperes in one constellation, but three orbs whose combined light is less than that of our English poet. No one has satisfactorily explained why the tragic drama should so isolate itself in the centuries of a people; but it may be said to be a rule that if a people produce a great drama at all, this choice fruit will appear only in a single period. But since Greece and England are the only nations having a great tragic stage—for we do not reckon the French drama as in the first rank—the rule has no well-defined value. It is remarkable, too, that the great epic poets are more numerous than the great masters of tragedy. Greece, indeed, is known to us for one epic and three tragic poets; but every great people before ours has had a respectable epic poem, whereas in most nations tragic poetry is rare or inferior. The great tragedies are so few that one may easily know them and prize them. No other form of literature presents us with so few masterpieces.