an emblematical explanation; and even of itself suggests it.

The Titans in general symbolize the dark and mysterious powers of
primaeval nature and mind; the younger gods, whatsoever enters more
immediately within the circle of consciousness. The former are more nearly
allied to original chaos, the latter belong to a world already reduced to
order. The Furies denote the dreadful powers of conscience, in so far as
it rests on obscure feelings and forebodings, and yields to no principles
of reason. In vain Orestes dwells on the just motives which urged him to
the deed, the cry of blood still sounds in his ear. Apollo is the god of
youth, of the noble ebullition of passionate indignation, of bold and
daring action. Accordingly this deed was commanded by him. Pallas is
thoughtful wisdom, justice, and moderation, which alone can allay the
conflict of reason and passion.

Even the sleep of the Furies in the temple is symbolical; for only in the
sanctuary, in the bosom of religion, can the fugitive find rest from the
torments of conscience. Scarcely, however, has he ventured forth again
into the world, when the image of his murdered mother appears, and again
awakes them. The very speech of Clytemnestra betrays its symbolical
import, as much as the attributes of the Furies, the serpents, and their
sucking of blood. The same may be said of Apollo's aversion for them; in
fact, this symbolical character runs through the whole. The equal cogency
of the motives for and against the deed is denoted by the equally divided
votes of the judges. And if at last a sanctuary within the Athenian
territory is offered to the softened Furies, this is as much as to say
that reason is not everywhere to enforce its principles against
involuntary instinct, that there are in the human mind certain boundaries
which are not to be passed, and all contact with which even every person
possessed of a true sentiment of reverence will cautiously avoid, if he