inance which forbids a burial to Polynices--

"For mighty is the memory of the womb
From which alike we sprung--a wretched mother!"

The same spirit which glows through the "Seven against Thebes" is also
visible in the "Persians," which, rather picturesque than dramatic, is
tragedy brought back to the dithyrambic ode. It portrays the defeat
of Xerxes, and contains one of the most valuable of historical
descriptions, in the lines devoted to the battle of Salamis. The
speech of Atossa (the mother of Xerxes), in which she enumerates the
offerings to the shade of Darius, is exquisitely beautiful.

"The charms that sooth the dead:
White milk, and lucid honey, pure-distill'd
By the wild bee--that craftsman of the flowers;
The limpid droppings of the virgin fount,
And this bright liquid from its mountain mother
Born fresh--the joy of the time--hallowed vine;
The pale-green olive's odorous fruit, whose leaves
Live everlastingly--and these wreathed flowers,
The smiling infants o' the prodigal earth."

Nor is there less poetry in the invocation of the chorus to the shade
of Darius, which slowly rises as they conclude. But the purpose for
which the monarch returns to earth is scarcely sufficient to justify
his appearance, and does not seem to be in accordance with the power
over our awe and terror which the poet usually commands. Darius hears
the tale of his son's defeat--warns the Persians against interfering
with the Athenians--tells the mother to comfort and console her son--
bids the chorus (who disregard his advice) give themselves to mirth,
even though in affliction, "for to the dead riches are no advantage"--
and so returns to his repose, which seems very unnecessarily
disturbed.

"The Suppliants," which Schlegel plausibly conjectures to have been
the intermediate piece of a trilogy, is chiefly remarkable as a proof
of the versatility of the poet. All horror has vanished from the
scene; the language is soft when compared with the usual diction of
Aeschylus; the action is peaceful, and the plot extremely simple,
being merely the protection which the daughters of Danaus obtain at
the court of Pelasgus from the pursuit of the sons of Aegyptus. The
heroines of the play, the Danaides, make the chorus, and this serves
to render the whole, yet more than the Persians, a lyric rather than a
tragedy. The moral of the play is homely and primitive, and seems
confin