84. Macrobius, II. 7. See, on the whole subject of pantomine, etc., L. Friedländer, Roman Life and Manners, New York and London, 1913; II. 99ff. Audiences were clearly very critical and convention very strong; cf. the story of the actor whose representation of Semele being consumed by the lightnings of Zeus was condemned as suggesting rather the (Euripidean) subject of Medea's rival being consumed by her poisoned robe.

85. Append. Planud., 289; cf. 290.

86. Suetonius, Nero, 21 and 46. Cass. Dio, LXIX. 9, 10, and 22.

87. It is worth comparing the version of Ennius, (Fr. 306).

88. Amm. Marcell., XXVII. 4. 8, mentions the tomb of Euripides in Macedonia as still a familiar object of pilgrimage in the fourth century A.D.

89. Clem. Alex., Protrepticus, 119; cf. 76 (attack on Apollo and Heracles with quotations from Orestes and Alcestis), 25, and numerous other passages, especially, Stromata, V. p. 688 and passim.

90. Nonnus, Dionys., XLVI.

91. Published with the Fragments of Euripides (Firmin-Didot, Paris, 1846).

91.

91.

92. Sozomen, V. 18.

93. Published in the same volume as Ezekiel above, n.

94. Published in the same volume as Ezekiel above, n.

95. Edited by Hercher in the Teubner Series, Leipzig, 1873.

96. Responsible for the curious statement that "the wise Euripides" (as he always calls him) "produced a play about the Cyclops having three eyes."

97. An absurdity introduced into Gay's burlesque "The What d'ye Call It?"

98. Aristotle, Poetics, XV. 5.

99. As an international jurist, Grotius brings a discussion of the famous Hippol. passage ("With my tongue I swore it, never with my heart") into his De Jure Belli et Pacis, II. 13. 2.

100. See F. S. Boas, University Drama in the Tudor Age, chapter III.

101. Horestes is reprinted in A. Brandl's Quellen des weltlichen Dramas in England vor Shakespeare, Strassburg, 1898.

102. John Churton Collins, Studies in Shakespeare, New York, 1904, pp. 46-91, where numerous other parallels are drawn,-e. g. All's Well that End's Well, II. 3. 1 and Fr. 913; Hamlet, I. 5. 55-7 and Fr. 213; Mid. Night's Dream, I. 1. 234 and Fr. 909, 6; Rom. and Jul., IV. 5. 35–6 and I.A., 460-1.

103. The opening of Act I (?Shakespeare's) of The Two Noble Kinsmen bears a resemblance to the corresponding scene of The Suppliants, which may not be accidental. On the other hand Spencerian allusions like the fine description of Hippolytus' end in F. Q., V. 8. 43 and of Medea and "the enchanted flame that did Creusa wed" in F. Q., II. 12. 44 need not be traced further back than Ovid. There is a curious stray allusion in Meres' consolation to Nashe on being imprisoned for his Isle of Dogs"Dogs were the death of Euripides; thine are but paper dogs."

104. Cf. too Par. Lost, V. 76 and Alcest., 18.

105. Cf. S. A., 549 and The Suppliants, 650; S. A., 982 ff. and Heracleid., 597 ff.

106. Macaulay, Essay on Milton.

107. Johnson, Preface to Shakespeare.

108. Of neo-classic German drama it is enough to mention the names of J. E. Schlegel (Hecuba, 1736, revised as Die Trojanerinnen, 1742, and Geschwister in Taurien, 1737-9: strong French influence) and von Derschau (Orestes u. Pylades, 1747: poor).

109. Similarly, Philips' Distressed Mother of 1712 was an adaptation of Andromaque. Of it the Rev. Genest remarks with angry scorn that the incongruous word "Madam" recurs 54 times.

110. See Bury, The Idea of Progress, chapters IV-V; and A. H. Rigault, Histoire de la querelle des Anciens et des Modernes, Paris, 1859.

111. Jeremy Collier, Short View of the Immortality and Profaneness of the English Stage, London, 1696.

112. See Birkbeck Hill's Johnsonian Miscellanies, Oxford, 1897; I. 191.

113. Hamb. Dram., Nos. 36–50.

114. Conversations with Eckermann, March 23, 1827 and Feb. 13, 1831.

115. The whole poem (to be found among Early Poems, in Vol. III of Lord Lytton's Poetical and Dramatic Works), though not first-rate verse, contains some excellent criticism and is worth reading through.

116. For Euripides-Ibsen parallel see H. Steiger, Euripides, Leipzig, 1912.

116. a. Cf., also, the Médée of Catulle Mendès (1898). 117. Translated by A. Symons, London, 1908.

118. There is also a paraphrase by André Chénier. 119. A fruit, perhaps, of this suggestion (at least Balaustion's words are quoted on its title page) is J. Todhunter's Alcestis (1879): as usual it makes Admetus ignorant of Alcestis' sacrifice until too late and as usual it spoils the final scene of her return.

120. Talfourd's frigid Ion of a quarter of a century before has nothing in common with Euripides' play beyond the name.

121. Gosse, Portraits and Sketches, "Swinburne."

122. "Phaedra," Poems and Ballads, First Series. 123. Similar in style is William Cory's "Phaedra's Nurse" (a rendering of Hippol. 176–197), in his Ionica (1358).

124. For Macaulay's criticisms see the Appendix to Trevelyan's Life.

125. John Henry Newman, History of my Religious Opinions, p. 294, London, 1865.

126. Ruskin, Modern Painters, Vol. V, Pt. ix, Chapter II, 15. The "idea" being that "At the close of a Greek tragedy there are far-off sounds of a divine triumph and a glory as of resurrection,"-which is more beautiful than true.

127. Walter Pater, Greek Studies, New York, 1901.

BIBLIOGRAPHY

BOAS., F. S., University Drama in the Tudor Age. Oxford, 1914.

CREIZENACH, WILHELM M. A., Geschichte des neueren Dramas. Halle a. S., 5 vols. 1893–1916.

CUNLIFFE, J. W., Early English Classical Tragedies. Oxford, 1912.

CUNLIFFE, J. W., Influence of Seneca on Elizabethan TRAGEDY. London and New York, 1893.

DECHARME, PAUL, Euripide et l'esprit de son théâtre. Paris,

1893. Translation, Euripides and the Spirit of his Dramas, by James Loeb. London and New York, 1906.

FLICKINGER, R. C., The Greek Theater and Its Drama. Chicago, 1922.

GENEST, JOHN, Some Account of the English Stage, from the Restoration in 1660 to 1830. Bath, 1832. For reference only.

GOODELL, T. D., Athenian Tragedy. New Haven, 1920. HAIGH, A. E., The Attic Theatre. Oxford, 1907.

HAIGH, A. E., The Tragic Drama of the Greeks. Oxford, 1896.

HEINEMANN, KARL, Die Tragischen Gestalten der Griechen in der Weltliteratur, in the Series Das Erbe der Alten. 2 vols. Leipzig, 1920.

Deals exclusively with the drama but is of much interest.

HUDDILSTON, J. H., Greek Tragedy in the light of Vase Paintings. London and New York, 1898.

HUDDILSTON, J. H., The Attitude of the Greek Tragedians toward Art. London and New York, 1898.

KRUMBACHER, KARL, Geschichte der Byzantinischen Litteratur. Munich, 1891.

LUCAS, F. L., Seneca and Elizabethan Tragedy. Cambridge, England, 1922.

MASQUERAY, PAUL, Euripide et Ses Idées. Paris, 1908. MURRAY, GILBERT, A History of Ancient Greek Literature, in the Series, Literatures of the World. London and New York, 1908.

MURRAY, GILBERT, The Athenian Drama. London, 1902. Cf., especially, introduction to volume II.

MURRAY, GILBERT, Euripides and his Age, in the Home University Library. London and New York, 1913. Much the best book for the general reader.

MURRAY, GILBERT, Verse translations of: Hippolytus, Troades, Bacchae, Medea, Iphigenia in Tauris, Electra, Rhesus, London, 1911.

Excellent verse, but most misleadingly romantic; in fact, as much an adaption as a translation of Euripides.

NESTLE, WILHELM, Euripides der Dichter der griechischen Aufklärung. Stuttgart, 1901.

NORWOOD, G., Euripides and Bernard Shaw. London and Boston, 1921.

NORWOOD, G., Greek Tragedy. London, 1920.

PATIN, HENRI J. G., Études sur les Tragiques Grecs. Paris,

1884.

Still good, with much interesting comparison of French classical tragedies.

PETERSEN, EUGEN, Die Attische Tragödie als Bild-und Bühnenkunst. Bonn, 1915.

RIBBECK, O., Römische Tragödie. Leipzig, 1875.

SARCEY, F., Quarante Ans de Théâtre: feuilletons dramatiques. 8 vols. Paris, 1900-02. Contains dramatic criticism of Euripides and Racine.

SHEPPARD, J. T., Greek Tragedy (Cambridge Manuals). Cambridge, England, 1911.

STACKEL, PAUL, Seneca und das deutsche Renaissancedrama. Berlin, 1907.

STEIGER, HUGO, Euripides: Seine Dichtung und Seine Persönlichkeit, in the series, Das Erbe Der Alten. Leipzig, 1912.

VERRALL, A. W., Essays on Four Plays of Euripides. Cambridge, England, 1905.