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
confined to the inculcation of hospitality to strangers, and the
inviolable sanctity of the shrine. I do not know any passages in "The
Suppliants" that equal in poetry the more striking verses of "The
Persians," or "The Seven against Thebes."

XIII. Attempts have been made to convey to modern readers a more
familiar notion of Aeschylus by comparisons with modern poets. One
critic likens him to Dante, another to Milton--but he resembles
neither. No modern language can convey a notion of the wonderful
strength of his diction--no modern poet, of the stern sublimity of his
conceptions. The French tragedians may give some weak reflection of
Euripides or even of Sophocles, but none have ventured upon the sacred