6. In the Electra, which, though much earlier than the Philoctetes, is still a work of his mature genius, our poet appears at first sight to be in unequal competition with Aeschylus. If the Theban trilogy of the elder poet had remained entire, a similar impression might have been produced by the Oedipus Tyrannus. It is best to lay such comparisons aside, and to consider the work of Sophocles simply on its own merits. The subject, as he has chosen to treat it, is the heroic endurance of a woman who devotes her life to the vindication of intolerable wrongs done to her father, and the restoration of her young brother to his hereditary rights. Hers is the human agency which for this purpose works together with Apollo. But the divine intention is concealed from her. She suffers countless indignities from her father's enemies, of whom her own mother is the chief. And, at length, all her hopes are shattered by the false tidings that Orestes is no more. Even then she does not relinquish her resolve. And the revulsion from her deep sorrow to extremity of joy, when she finds Orestes at her side and ready to perform the act of vengeance in his own person, is irresistably affecting, even when the play is only read. Sophocles is especially great in the delineation of ideal female characters. The heroic ardour of Antigone, and the no less heroic persistence and endurance of Electra, are both founded on the strength of their affection. And the affection in both cases is what some moderns too have called the purest of human feelings, the love of a sister for a brother. Another aspect of that world-old marvel, 'the love of women,' was presented in Aias' captive bride, Tecmessa. This softer type also attains to heroic grandeur in Deanira, the wronged wife of Heracles, whose fatal error is caused by the innocent working of her wounded love. It is strange that so acute a critic as A.W. Schlegel should have doubted the Sophoclean authorship of the Trachiniae. If its religious and moral lessons are even less obtrusive than those of either Oedipus and of the Antigone, there is no play which more directly pierces to the very heart of humanity. And it is a superficial judgement which complains that here at all events our sympathies are distracted between the two chief persons, Deanira and Heracles. To one passion of his, to one fond mistake of hers, the ruin of them both is due. Her love has made their fates inseparable. And the spectator, in sharing Hyllus' grief, is afflicted for them both at once. We may well recognize in this treatment of the death of Heracles the hand of him who wrote-- [Greek: su kai dikaion adikous phrenas paraspas epi loba, ..., ... amachos gar empaizei theos Aphrodita[3].]