1132-82 and 1187-1237). In Aeschylus’ _Seven against Thebes_ there are seven pairs of contrasted speeches, two of which are exactly equal (cf. vss. 422-36 = 437-51, and 568-96 = 597-625, and two others are nearly so; cf. vss. 375-96 ≠ 397-416 and 631-52 ≠ 653-76). If we had before us the _ipsissima verba_ of the tragic writers it is likely that these and some other minor inequalities would be resolved. Thus in Euripides’ _Medea_, Jason speaks fifty-four lines in reply to the heroine’s fifty-five (cf. vss. 465-519 ≠ 522-75); but there is some reason for believing that vs. 468 is interpolated. Again, in Sophocles’ _Antigone_ the speeches of Creon and Haemon would precisely correspond (cf. vss. 639-80 and 683-723), if we suppose a verse to have dropped out after vs. 690. In conclusion it ought to be stated that such balancing was quite congenial to the fondness for symmetry which characterized the Greek genius in every field of endeavor. Perhaps the one idea which was most fixed in the popular consciousness of ancient Greece was that of Nemesis, the goddess who punished the overweening presumption arising from long-continued prosperity and success. Herodotus’ history exemplifies the notion both in its main theme, the crushing defeat which brought Persia’s long series of victories to a close, and in numerous digressions, such as the story of Polycrates and his ring. Accordingly, when Phrynichus in his _Phoenician Women_ and afterward Aeschylus in his _Persians_ undertook to celebrate the Persian rout they were careful to avoid a display of the pride which had ruined the invading host, by laying the scene in the Orient and exhibiting the mourning of Persia, not the triumph of Greece (see p. 124, above). Again, in the seven pairs of contrasted speeches just mentioned as occurring in Aeschylus’ _Seven against Thebes_, a messenger states in turn the name of the Argive champion who is to assail each of the seven gates of Thebes, describing his actions, words, the device upon his shield, etc., and the king in a similar manner matches each enemy with a warrior of his own. It is not without significance that to a Greek mind “the boasts and blazons of the champions convict them of presumption, and doom them beforehand to failure. The answers of Eteocles are always right, take advantage of the enemy’s insolence, and secure divine favour by studied moderation.”[349] Still again, in the same playwright’s _Agamemnon_ appears an incident which to the uninitiated modern reader seems forced and unworthy of the prominence and space assigned to it. Clytemnestra has been untrue to her lord during his long absence at Troy and is now prepared by her paramour’s help to murder him. Agamemnon himself, thanks to the recent smiles of fortune, is in the sort of position which would easily expose him to the vengeance of Nemesis. In the play (vss. 905-57) Clytemnestra skilfully takes advantage of this situation in order to array the powerful goddess upon her side. She urges