from forced union with another; and Cleonice's assent to that step might
have been quite compatible with the purity and heroism of her character.
In this manner, moreover, a strong motive is prepared for that sentiment
of revenge on the part of Antagoras whereby the dramatic interest of the
story might be greatly heightened in the subsequent chapters. The
intended introduction of the supernatural element is also clearly
indicated. But apart from this, fine opportunities for psychological
analysis would doubtless have occurred in tracing the gradual deterio-
ration of such a character as that of Pausanias when, deprived of the
guardian influence of a hope passionate but not impure, its craving for
fierce excitement must have been stimulated by remorseful memories and
impotent despairs. Indeed, the imperfect manuscript now printed, contains
only the exposition of a tragedy. All the most striking effects, all the
strongest dramatic situations, have been reserved for the pages of the
manuscript which, alas, are either lost or unwritten.

Who can doubt, for instance, how effectually in the closing scenes of
this tragedy the grim image of Alithea might have assumed the place
assigned to it by history? All that we now see is the preparation made
for its effective presentation in the foreground of such later scenes,
by the chapter in the second volume describing the meeting between
Lysander and the stern mother of his Spartan chief. In Lysander himself,
moreover, we have the germ of a singularly dramatic situation. How would
Lysander act in the final struggle which his character and fate are
already preparing for him, between patriotism and friendship, his
fidelity to Pausanias, and his devotion to Sparta? Is Lysander's father
intended for that Ephor, who, in the last moment, made the sign that
warned Pausanias to take refuge in the temple which became his living
tomb? Probably. Would Themistocles, who was so seriously compromised in
the conspiracy of Pausanias, have appearedand played a part in those