an inalienable attribute of Zeus; if lyric poetry, from Archilochus to Simonides and Pindar, is one long hymn of prayer and praise ever turned upward in adoring love to the Divine; we must remember that Themis was a synonyme for Earth, and that Prometheus, the original friend of humanity, for whose benefit he invented every useful art, augury included, was her son. The seeds of immortal hope were first planted in the fructifying bosom of Dêmêtêr, and life, a forsaken Ariadnê, took refuge in the mystical embraces of Dionysus from the memory of a promise that had allured her to betray. Thus, we may conjecture that between hall and farm-house, between the Olympian and the Chthonian religions, there was a constant reaction going on, during which ethical ideas were continually expanding, and extricating themselves from the superstitious elements associated with their earliest theological expression. III. This process was conceived by Aeschylus as a conflict between two generations of gods, ending with their complete reconciliation. In the _Prometheus Bound_ we have the commencement of the conflict, in the _Eumenides_ its close. Our sympathies are apparently at first intended to be enlisted on behalf of the older divinities, but at last are claimed exclusively by the younger. As opposed to Prometheus, Zeus is evidently in the wrong, and seeks to make up for his deficiencies by arbitrary violence. In the _Oresteia_ he is the champion of justice against iniquity, and through his interpreter, Apollo, he enforces a revised moral code against the antiquated claims of the Erinyes; these latter, however, ultimately consenting to become guardians of the new social order. The Aeschylean drama shows us Greek religion at the highest level it could reach, unaided by philosophical reflection. With Sophocles a perceptible decline has already begun. We are loth to say anything that may sound like disparagement of so noble a poet. We yield to none in admiration for one who has combined the two highest qualities of art—sweetness and strength—more completely than any other singer, Homer alone excepted, and who has given the primordial affections their definitive expression for all time. But we cannot help perceiving an element of superstition in his dramas, which, so far, distinguishes them unfavourably from those of his Titanic predecessor. With Sophocles, when the gods interfere, it is to punish disrespect towards themselves, not to enforce justice between man and man. Ajax perishes by his own hand because he has neglected to ask for divine assistance in battle. Laius and Jocastê come to a tragic end through disobedience to a perfectly arbitrary oracle; and as a part of the same divine purpose Oedipus encounters the most frightful calamities by no fault of his own. The gods are, moreover, exclusively objects of fear; their sole business is to enforce the fulfilment of enigmatic prophecies; they give no assistance to the pious and virtuous characters.