Between this, the first act, and the second there is a short interval of time; and when we see Lysistrata again she is having some difficulty in keeping her women together and away from their husbands. ‘You long for your men,’ she says; ‘don’t you think they are longing for you? I am sure they are finding the nights very hard. Hold out, good friends, and bear it for a little while longer.’ Her arguments are successful, and soon the first man comes in, with a baby in his arms, prepared to submit to any terms. But till the peace is made, no arrangement is possible and the poor husband goes away unsatisfied. Finally, a joint deputation of Spartans and Athenians appear before Lysistrata. She, as a woman, and therefore, she says, a person of sense, has no difficulty in arranging for them terms of peace which are satisfactory to both sides; and so the play ends with a ‘necklace’ dance, men and women dancing hand in hand. But this brief summary gives little idea of all the devices of stage-craft in which the _Lysistrata_ abounds. It is eminently an acting play, and can still fill a theatre. The language is certainly gross and its heroine is entirely lacking in modest reticence, but a glance at the French adaptation by M. Donnay, of the Academy, and especially at the additional episodes there introduced, will prove that grossness is not the worst thing in the world, and that a quiet tongue does not always mean a virtuous mind. The Women in Assembly, _Ecclesiazusæ_, is much less vigorous. Written twenty years later than the _Lysistrata_, it shows plain signs of old age and failing powers. Euripides and Socrates have both passed away; the Socratic Circle has broken up. Tragedy is dead, and comedy is dying, for Aristophanes has lost most of that ‘vis comica’ which was his most wonderful possession. The influence of Plato is substituted for the influence of Euripides, and the play is a parody of feminist theories as they are developed in the Republic. The construction, however, is poor: the action halts and changes midway in the play; the first part is effective enough, but it would be more effective if we did not remember the _Lysistrata_, whose themes it repeats with less vigour.