But it was as impossible for the Roman drama to reproduce the inner spirit of the noblest type of Greek tragedy as to rival its artistic excellence. Greek tragedy, in its mature glory, was not only a purely Greek creation, but was the artistic expression of a remarkable phase through which the human mind has once passed;--a phase in which the vivid fancies and emotions of a primitive age met and combined with the thought, the art, the social and political life of the greatest era of ancient civilisation. The Athenian dramatists, like the great dramatists of other times, imparted a new and living interest to ancient legends; but this was but one part, perhaps not the most important part, of their functions. They represented before the people the destiny and sufferings of national heroes and demigods, sanctified by long association in the feelings of many generations, still honoured by a vital worship, and appealed to as a present help in danger. Thus a highly idealised and profoundly religious character was imparted to the tragic representation of human passion and destiny on the Athenian stage. This view of life, represented and contemplated with solemnity of feeling in the age of Pericles, would have been altogether unmeaning to a Roman of the age of Ennius. Such a one would understand the natural heroism of a strong will, but not the new force and elevation imparted to the will by reliance on the hidden powers and laws overruling human affairs. He might be moved to sympathy with the sufferers or actors on the scene; but he would be altogether insensible to the higher consolation which overcomes the natural sorrow for the mere earthly catastrophe in a great dramatic action. The inward strength and dignity of a Roman senator might enable him to appreciate the magnanimity and kingly nature of Oedipus; but the deeper interest of the great dramas founded on the fortunes of the Theban king, especially the interest arising from his trust in final righteousness, his sense of communion with higher powers, from the thought of his elevation out of the lowest earthly state into perpetual sanctity and honour, was widely remote from the tangible objects of a Roman's desire, and the direct motives of his conduct. Or perhaps a Roman would have a fellow-feeling with the proud and soldierly bearing of Ajax; but he would be blind to the inward lesson of self-knowledge and self-mastery, which Sophocles represents as forced upon the spirit of the Greek hero through the stern visitation of Athene. Equally remote from the ordinary experience and emotions of a Roman would be the feeling of awe, gloom, and mystery, diffused through the great thoughts and imaginations of Aeschylus. Both in Aeschylus and in Sophocles the light and the gloom cast over the human story are not of this world. But in the fragments of the Roman tragedians, though there is often found the expression of magnanimous and independent sentiment, and of a