The titles and fragments of his lost plays confirm the impression given by the extant tragedies. We have nearly a hundred names of lost plays, and barely one-fifth are called after women. Moreover, a consideration of the titles of those plays that bear one woman’s name will reveal the fact that the majority were probably rather anti-feminist than feminist. Helen, Eriphylë, Pandora, Procris, Tyro: Helen, who deserted her husband and her home; Eriphylë, who sold her husband for gold; Pandora, the incarnate cause of trouble among men; Procris, bought by a paramour; Tyro, seduced by a second lover: the legends of these ladies were arranged to please the Athenian public. Venal and fickle creatures, they show plainly how necessary it is to keep a close guard over women, and it may be suspected that Sophocles, in his treatment of the plot, did not disappoint the expectations of his audience. In five plays only is the title taken from the chorus, the _Spartan Women_, the _Lemnian Women_, the _Water-carriers_, the _Women of Scyros_, and the _Captive Women_; and it is very unlikely, considering the titles, that any one of the five was written with much sympathy with feminine ideals. ‘Spartan’ and ‘Lemnian’ women were at Athens almost proverbial for ‘unwomanly’ females; a ‘Water-carrier’ was synonymous with a gossip. Of the other two we have a little definite information. Philostratus tells us that the _Women of Scyros_ treated of the not very pleasant tale of the young Achilles, disguised as a girl in the king’s harem, and becoming there the father of Neoptolemus, by the young princess, Deidameia. Of the _Captive Women_ we know that it had the same plot as Euripides’ _Trojan Women_, but the incidents were treated—_humorously_. It is not, perhaps, impossible that an author even to-day might regard the troubles of women in war as a fit subject for a jest; but things have advanced so far that we should hardly regard him now as a flawless genius, or hold him up as the highest product of our civilisation. VII.—EURIPIDES