espect been made to
conceal the irreparable want of poetic wholeness. Euripides is
a master in what are called effects; these, as a rule, have a
sensuously-sentimental colouring, and often moreover stimulate
the sensuous impression by a special high seasoning, such as the
interweaving of subjects relating to love with murder or incest.
The delineations of Polyxena willing to die and of Phaedra pining
away under the grief of secret love, above all the splendid picture
of the mystic ecstasies of the Bacchae, are of the greatest beauty
in their kind; but they are neither artistically nor morally pure,
and the reproach of Aristophanes, that the poet was unable to paint a
Penelope, was thoroughly well founded. Of a kindred character is the
introduction of common compassion into the tragedy of Euripides.
While his stunted heroes or heroines, such as Menelaus in the -Helena-,
Andromache, Electra as a poor peasant's wife, the sick and ruined
merchant Telephus, are repulsive or ridiculous and ordinarily both,
the pieces, on the other hand, which keep more to the atmosphere of
common reality and exchange the character of tragedy for that of the
touching family-piece or that almost of sentimental comedy, such as
the -Iphigenia in Aulis-, the -Ion-, the -Alcestis-, produce perhaps
the most pleasing effect of all his numerous works. With equal
frequency, but with less success, the poet attempts to bring into play
an intellectual interest. Hence springs the complicated plot, which
is calculated not like the older tragedy to move the feelings, but
rather to keep curiosity on the rack; hence the dialectically pointed
dialogue, to us non-Athenians often absolutely intolerable; hence the
apophthegms, which are scattered throughout the pieces of Euripides
like flowers in a pleasure-garden; hence above all the psychology of
Euripides, which rests by no means on direct reproduction of human
experience, but on rational reflection. His Medea is certainly in so
far painted from life, that she is before departure properly provided
with money for her voyage; but of the struggle in the soul between
maternal love and jealousy the unbiassed reader will not find much in
Euripides. But, above all, poetic effect is replaced in the tragedies
of Euripides by moral or political purpose. Without strictly or
directly entering on the questions of the day, and having in view
throughout social rather than political questions, Euripides in the
legitimat