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M E E O P E 
 
 A TRAGEDY. 
 
LONDON : 
 
 FEINTED BY SPOTTISWOODE AND CO. 
 
 NEW-STEEET SQUAEE. 
 
MEKOPE. 
 
 A TEAGEDY. 
 
 I 
 
 MATTHEW AENOLD. 
 
 LONDON: 
 LONGMAN, BROWN, GREEN, LONGMANS, & ROBERTS. 
 
 MDCCCLVIII. 
 

 
^H 
 
 (piXoKaXovfjiev /jlet evreXelac. 
 
 i 
 
\f 
 
 PREFACE 
 
 I AM not about to defend myself for having taken 
 the story of the following tragedy from classical 
 antiquity. On this subject I have already said all 
 which appears to me to be necessary. For those 
 readers to whom my tragedy will give pleasure, no 
 argument on such a matter is required : one critic, 
 whose fine intelligence it would have been an honour 
 to convince, lives, alas ! no longer : there are others, 
 upon whom no arguments which I could possibly use 
 would produce any impression. The Athenians fined 
 Phrynichus for representing to them their own suf- 
 ferings : there are critics who would fine us for re- 
 presenting to them anything else. 
 
 But, as often as it has happened to me to be blamed 
 or praised for my supposed addiction to the classical 
 school in poetry, I have thought, with real humilia- 
 tion, how little any works of mine were entitled to 
 rank among the genuine works of that school ; how 
 little they were calculated to give, to readers unac- 
 
 A 4 
 
Vlll PREFACE. 
 
 quainted with the great creations of classical antiquity, 
 any adequate impression of their form or of their 
 spirit. And yet, whatever the critics may say, there 
 exists, I am convinced, even in England, even in this 
 stronghold of the romantic school, a wide though an 
 ill-informed curiosity on the subject of the so-called 
 classical school, meriting a more complete satis- 
 faction than it has hitherto obtained. Greek art 
 — the antique — classical beauty — a nameless hope 
 and interest attaches, I can often see, to these words, 
 even in +he minds of those who have been brought 
 up among the productions of the romantic school ; of 
 those who have been taught to consider classicalism 
 ' as inseparable from coldness, and the antique as an- 
 other phrase for the unreal. So immortal, so inde- 
 structible is the power of true beauty, of consum- 
 mate form : it may be submerged, but the tradition 
 of it survives : nations arise which know it not, 
 which hardly believe in the report of it ; but they, 
 too, are haunted with an indefinable interest in its 
 name, with an inexplicable curiosity as to its nature. 
 
 But however the case may be with regard 
 to the curiosity of the public, I have long had the 
 strongest desire to attempt, for my own satisfaction, to 
 come to closer quarters with the form which produces 
 such grand effects in the hands of the Greek masters ; 
 to try to obtain, through the medium of a living, 
 
PREFACE. IX 
 
 familiar language, a fuller and more intense feeling 
 of that beauty, which, even when apprehended 
 through the medium of a dead language, so power- 
 fully affected me. In his delightful Life of Goethe, 
 Mr. Lewes has most truly observed that Goethe's 
 Iphigeneia enjoys an inestimable advantage in being 
 written in a language which, being a modern lan- 
 guage, is in some sort our own. Not only is it vain 
 to expect that the vast majority of mankind will ever 
 undertake the toil of mastering a dead language, 
 above all, a dead language so difficult as the Greek ; 
 but it may be doubted whether even those, whose 
 enthusiasm shrinks from no toil, can ever so tho- 
 roughly press into the intimate feeling of works com- 
 posed in a dead language as their enthusiasm would 
 desire. 
 
 I desired to try, therefore, how much of the effec- 
 tiveness of the Greek poetical forms I could retain in 
 an English poem constructed under the conditions of 
 those forms ; of those forms, too, in their severest 
 and most definite expression, in their application to 
 dramatic poetry. 
 
 I thought at first that I might accomplish my ob- 
 ject by a translation of one of the great works of 
 ^schylus or Sophocles. But a translation is a work 
 not only inferior to the original by the whole dif- 
 ference of talent between the first composer and his 
 translator : it is even inferior to the best which the 
 
PREFACE. 
 
 m 
 
 im- I 
 
 ich f' 
 
 translator could do under more inspiring circum- 
 stances. No man can do his best with a subject which 
 does notpenetrate him : no man can be penetrated by a 
 subject which he does not conceive independently. 
 
 Should I take some subject on which we have an 
 extant work by one of the great Greek poets, and 
 treat it independently ? Something was to be said 
 for such a course : in antiquity, the same tragic stories 
 were handled by all the tragic poets : Voltaire says 
 truly that to see the same materials differently treated 
 by different poets is most interesting ; accordingly, 
 we have an CEdipus of Corneille, an (Edipus of Vol- 
 taire : innumerable are the Agamemnons, the Elec- 
 tras, the Antigones, of the French and Italian poets 
 from the sixteenth to the nineteenth century. But 
 the same disadvantage which we have in translating 
 clings to us in our attempt to treat these subjects 
 independently : their treatment by the ancient mas- 
 ters is so overwhelmingly great and powerful that we 
 can henceforth conceive them only as they are there 
 treated : an independent conception of them has be- 
 come impossible for us : in working upon them we 
 are still, therefore, subject to conditions under which 
 no man can do his best. 
 
 It remained to select a subject from among those 
 which had been considered to possess the true requi- 
 sites of good tragic subjects ; on which great works 
 had been composed, but had not survived to chill 
 
PREFACE. XI 
 
 emulation by their grandeur. Of such subjects there 
 is, fortunately, no lack. In the writings of Hyginus, ^ 
 a Latin mythographer of uncertain date, we possess a 
 large stock of them. The heroic stories in Hyginus, 
 Maffei, the reformer of the Italian theatre, imagined 
 rightly or wrongly to be the actual summaries of lost 
 Greek dramas : they are, at any rate, subjects on 
 which lost dramas were founded. Maffei counsels 
 the poets of his nation* to turn from the inferior sub- 
 jects on which they were employing themselves, to 
 this ^'^miniera di tragici argomenti^^ this rich mine 
 of subjects for tragedy. Lessing, the great German 
 critic, echoes Maffei's counsel, but adds a warning. 
 "Yes," he cries, "the great subjects are there, but 
 they await an intelligent eye to regard them : they 
 can be handled, not by the great majority of poets, 
 but only by the small minority." 
 
 Among these subjects presented in the collection 
 of Hyginus, there is one which has long attracted my 
 interest, from the testimony of the ancients to its 
 excellence, and from the results which that testimony 
 has called forth from the emulation of the moderns. 
 That subject is the story of Merope. To the effec- 
 tiveness of the situations which this story offered, 
 Aristotle and Plutarch have borne witness : a cele- 
 brated tragedy upon it, probably by Euripides, 
 existed in antiquity. " The Cresphontes of Euripides 
 is lost," exclaims the reviewer of Voltaire's Merope, a 
 Jesuit, and not unwilling to conciliate the terrible 
 
Xll PREFACE. 
 
 pupil of his order ; " the Cresphontes of Euripides 
 lost : M. de Voltaire has restored it to us." " Aristotle, 
 says Voltaire, " Aristotle, in his immortal work on 
 Poetry, does not hesitate to affirm that the recognition 
 between Merope and her son was the most interest- 
 ing moment of the Greek stage." Aristotle affirms no 
 such thing ; but he does say that the story of Merope, 
 like the stories of Iphigeneia and Antiope, supplies an 
 example of a recognition of the most affecting kind. 
 And Plutarch says ; " Look at Merope in the tragedy, 
 lifting up the axe against her own son as being the 
 murderer of her own son, and crying — 
 
 7rA7J7?jy 
 
 A more just stroke than that thou gav'st my son, 
 Take 
 
 What an agitation she makes in the theatre ! how she 
 fills the spectators with terror lest she should be too 
 quick for the old man who is trying to stop her, and 
 should strike the lad ! " 
 
 It is singular that neither Aristotle nor Plutarch 
 names the author of the tragedy : scholiasts and other 
 late writers quote from it as from a work of Euripides ; 
 but the only writer of authority who names him as 
 its author is Cicero. About fifty lines of it have 
 come down to us : the most important of these re- 
 mains are the passage just quoted, and a choral ad- 
 
 '5« 
 I IS I 
 
 e," ! 
 
PREFACE. Xlll 
 
 dress to Peace ; of these I have made use in my tra- 
 gedy, translating the former, and of the latter adopting 
 the general thought, that of rejoicing at the return of 
 peace : the other fragments consist chieJfly of detached 
 moral sentences, of which I have not made any use. 
 
 It may be interesting to give some account of the 
 more celebrated of those modern works which have 
 been founded upon this subject. But before I pro- 
 ceed to do this, I will state what accounts we have 
 of the story itself. 
 
 These proceed from three sources — Apollodorus, 
 Pausanias, and Hyginus. Of their accounts that of 
 Apollodorus is the most ancient, that of Pausanias the 
 most historically valuable, and that of Hyginus the 
 fullest. I will begin with the last-named writer. 
 
 Hyginus says : — 
 
 ** Merope sent away and concealed her infant son, 
 Polyphontes sought for him everywhere, and promised 
 gold to whoever should slay him. He, when he 
 grew up, laid a plan to avenge the murder of his 
 father and brothers. In pursuance of this plan he 
 came to king Polyphontes and asked for the promised 
 gold, saying that he had slain the son of Cresphontes 
 and Merope. The king ordered him to be hospitably 
 entertained, intending to inquire further of him. He, 
 being very tired, went to sleep, and an old man, who 
 was the channel through whom the mother and son 
 used to communicate, arrives at this moment in tears, 
 bringing word to Merope that her son had disap- 
 
XIV PREFACE. 
 
 peared from his protector's house. Merope, believing 
 that the sleeping stranger is the murderer of her son, 
 comes into the guest-chamber with an axe, not know- 
 ing that he whom she would slay was her son : the 
 old man recognised him, and withheld Merope from 
 slaying him. After the recognition had taken place, 
 Merope, to prepare the way for her vengeance, 
 affected to be reconciled with Polyphontes. The 
 king, overjoyed, celebrated a sacrifice : his guest, pre- 
 tending to strike the sacrificial victim, slew the king, 
 and so got back his father's kingdom." 
 
 Apollodorus says : — 
 
 "Cresphontes had not reigned long in Messenia 
 when he was murdered together with two of his sons. 
 And Polyphontes reigned in his stead, he, too, being 
 of the family of Hercules ; and he had for his wife, 
 against her will, Merope, the widow of the murdered 
 king. But Merope had borne to Cresphontes a third 
 son, called ^pytus : him she gave to her own father 
 to bring up. He, when he came to man's estate, 
 returned secretly to Messenia, and slew Polyphontes 
 and the other murderers of his father." 
 
 Pausanias adds nothing to the facts told by Apol- 
 lodorus, except that he records the proceedings of 
 Cresphontes which had provoked the resentment of 
 his Dorian nobles, and led to his murder. His state- 
 ments on this point will be found in the Historical 
 Introduction which follows this Preface. 
 
PREFACE. XV 
 
 The account of the modern fortunes of the story of 
 Merope is a curious chapter in literary history. In the 
 early age of the French theatre this subject attracted 
 the notice of a great man, if not a great poet, the car- 
 dinal Richelieu. At his theatre, in the Palais Royal, 
 was brought out, in 1641, a tragedy under the title 
 of TeUphonte^ the name given by Hyginus to the 
 surviving son of Merope. This piece is said by 
 Voltaire to have contained about a hundred lines by 
 the great cardinal, who had, as is well known, more 
 bent than genius for dramatic composition. There 
 his vein appears to have dried up, and the rest is by 
 an undistinguished hand. This tragedy was followed 
 by another on the same subject from the resident 
 minister, at Paris, of the celebrated Christina of 
 Sweden. Two pieces with the title of Merope, be- 
 sides others on the same story, but with different 
 names, were brought out at Paris before the Merope 
 of Voltaire appeared. It seems that none of them 
 created any memorable impression. 
 
 The first eminent success was in Italy. There too, 
 as in France, more than one Merope was early pro- 
 duced: one of them in the sixteenth century, by a 
 Count Torelli, composed with choruses : but the first 
 success was achieved by Maffei. Scipio Maffei, called 
 by Voltaire the Sophocles and Varro of Verona, 
 was a noble and cultivated person. He became in 
 middle life the historian of his native place, Verona ; 
 
XVI PREFACE. 
 
 and maj claim the honour of having partly antici- 
 pated Niebuhr in his famous discovery, in the Capi- 
 tular library of that city, of the lost works of Gains, 
 the Roman lawyer. He visited France and England, 
 and received an honorary degree at Oxford. But in 
 earlier life he signalised himself as the reviver of the 
 study of Greek literature in Italy ; and with the aim 
 to promote that study, and to rescue the Italian 
 theatre from the debasement into which it had fallen, 
 he brought out at Modena, in 1713, his tragedy of 
 Merope. 
 
 The effect was immense. " Let the Greek and 
 Roman writers give place : here is a greater pro- 
 duction than the CEdipusI" wrote, in Latin verse, an 
 enthusiastic admirer. In the winter following its 
 appearance, the tragedy kept constant possession of 
 the stage in Italy ; and its reputation travelled into 
 France and England. In England a play was produced 
 in 1731, by a writer called Jeffreys, professedly taken 
 from the 3Ierope of Maffei. But at this period a love- 
 intrigue was considered indispensable in a tragedy : 
 Voltaire was even compelled by the actors to intro- 
 duce one in his (Edipus: and although in Maffei's 
 work there is no love-intrigue, the English adapter 
 felt himself bound to supply the deficiency. Accord- 
 ingly he makes, if we may trust Yoltaire, the un- 
 known son of Merope in love with one of her maids 
 of honour: he is brought before his mother as his 
 
PREFACE. XVli 
 
 own supposed murderer : slie gives him the choice of 
 death by the dagger or by poison : he chooses the 
 latter, drinks off the poison and falls insensible : but 
 reappears at the end of the tragedy safe and sound, a 
 friend of the maid of honour having substituted a 
 sleeping-draught for the poison. Such is Voltaire's 
 account of this English Merope^ of which I have 
 not been able to obtain sight. Voltaire is apt to exag- 
 gerate ; but the work was, without doubt, sufficiently 
 absurd. A better English translation, by Ayre, ap- 
 peared in 1740. I have taken from MafFei a line in 
 my tragedy — 
 
 " Tyrants think, him they murder not, they spare.'^ 
 
 Maffei has — 
 
 " Ecco il don dei tiranni : a lor rassembra, 
 Morte non dando altrui, di dar la vita.*' 
 
 Maffei makes some important changes in the story 
 as told by its ancient relaters. In his tragedy 
 the unknown prince, Merope's son, is called Egisto : 
 Merope herself is not, as the ancients represented 
 her, at the time of her son's return the wife of 
 Polyphontes, but is repelling the importunate offer of 
 his hand by her husband's murderer : Egisto does not, 
 like Orestes, know his own parentage, and return 
 secretly to his own home in order to wreak ven- 
 geance, in concert with his mother, upon his father's 
 a 
 
XVlll PEEFACE. 
 
 murderer : lie imagines himself the son of Messenian 
 parents, but of a rank not royal, intrusted to an old 
 man, Polidoro, to be brought up ; and is driven by- 
 curiosity to quit his protector and visit his native 
 land. He enters Messenia, and is attacked by a 
 robber, whom he kills. The blood upon his dress 
 attracts the notice of some soldiers of Polyphontes 
 whom he falls in with ; he is seized and brought to 
 the royal palace. On hearing his story, a suspicion 
 siezes Merope, who has heard from Polidoro that her 
 son has quitted him, that the slain person must have 
 been her own son. The suspicion is confirmed by the 
 sight of a ring on the finger of Egisto, which had 
 belonged to Cresphontes, and which Merope sup- 
 poses the unknown stranger to have taken from her 
 murdered son : she twice attempts his life : the 
 arrival of Polidoro at last clears up the mystery for 
 her ; but at the very moment when she recognises 
 Egisto, they are separated, and no interview of re- 
 cognition takes place between the mother and son. 
 Finally, the prince is made acquainted with his 
 origin, and kills Polyphontes in the manner described 
 by Hyginus. 
 
 This is an outline of the story as arranged by Maffei. 
 This arrangement has been followed, in the main, by 
 all his successors. His treatment of the subject has, 
 I think, some grave defects, which I shall presently 
 notice : but his work has much nobleness and feeling ; 
 
PREFACE. XIX 
 
 it seems to me to possess, on tlie whole, more merit 
 of a strictly poetical kind than any of the subsequent 
 works upon the same subject. 
 
 Voltaire's curiosity, which never slumbered, was 
 attracted by the success of Maffei. It was not until 
 1736, however, when his interest in Maffei's tragedy 
 had been increased by a personal acquaintance with 
 its author, that his own Merope was composed. It 
 was not brought out upon the stage until 1743. It was 
 received, like its Italian predecessor, with an enthu- 
 siasm which, assuredly, the English Merope will not 
 excite. From its exhibition dates the practice of 
 calling for a successful author to appear at the close 
 of his piece : the audience were so much enchanted 
 with Voltaire's tragedy, that they insisted on seeing 
 the man who had given them such delight. To 
 Corneille had been paid the honour of reserving for 
 him the same seat in the theatre at all representa- 
 tions ; but neither he nor Racine were ever " called 
 for." 
 
 Voltaire, in a long complimentary letter, dedi- 
 cated his tragedy to Maffei. He had at first in- 
 tended, he says, merely to translate the Merope of 
 his predecessor, which he so greatly admired : he still 
 admired it ; above all, he admired it because it pos- 
 sessed, simplicity ; that simplicity which is, he says, 
 his own idol. But he has to deal with a Parisian 
 audience, with an audience who have been glutted 
 a 2 
 
XX PREFACE, 
 
 ■with masterpieces until their delicacy has become 
 excessive ; until they can no longer support the 
 simple and rustic air, the details of country life, which 
 Maffei had imitated from the Greek theatre. The 
 audience of Paris, of that city in which some thirty 
 thousand spectators daily witnessed theatrical per- 
 formances, and thus acquired, by constant practice, a 
 severity of taste, to which the ten thousand Athenians 
 who saw tragedies but four times a year could not 
 pretend — of that terrible city, in which 
 
 " Et pneri nasum rhinocerotis habent : " 
 
 this audience loved simplicity, indeed, but not the 
 same simplicity which was loved at Athens and im- 
 itated by Maffei. " I regret this," says Voltaire, " for 
 how fond I am of simple nature ! but, ilfaut se plier 
 au gout d'une nation, one must accommodate one- 
 self to the taste of one's countrjTuen." 
 
 He does himself less than justice. When he objects, 
 indeed, to that in Maffei's work which is truly "naif et 
 rustique," to that which is truly in a Greek spirit, he 
 is wrong. His objection, for instance, to the passage 
 in which the old retainer of CresjDhontes describes, in 
 the language of a man of his class, the rejoicings 
 which celebrated his master's accession, is, in my 
 opinion, perfectly groundless. But the wonderful 
 penetration and clear sense of Voltaire seizes, in 
 
PREFACE. XXI 
 
 general, upon really weak points in Maffei's work : 
 upon points which, to an Athenian, would have 
 seemed as weak as they seemed to Voltaire. A 
 French audience, he says, would not have borne to 
 witness Polyphontes making love to Merope, whose 
 husband he had murdered : neither would an Athenian 
 audience have borne it. To hear Polyphontes say to 
 Merope " lo famo,^^ even though he is but feigning, 
 for state purposes, a love which he has not really, 
 shocks the natural feeling of mankind. Our usages, 
 says Voltaire, would not permit that Merope should 
 twice rush upon her son to slay him, once with a 
 javelin, the next time with an axe. The French 
 dramatic usages, then, would on this point have per- 
 fectly agreed with the laws of reason and good taste : 
 this repetition of the same incident is tasteless and 
 unmeaning. It is a grave fault of art, says Voltaire, 
 that, at the critical moment of recognition, not a 
 word passes between Merope and her son. He is 
 right ; a noble opportunity is thus thrown away. 
 He objects to MaiFei's excessive introduction of con- 
 versations between subaltern personages : these con- 
 versations are, no doubt, tiresome. Other points 
 there are, with respect to which we may say that 
 Voltaire's objections would have been perfectly sound 
 had Maffei really done what is imputed to him : but 
 he has not. Voltaire has a talent for misrepresenta- 
 tion, and he often uses it unscrupulously, 
 a 3 
 
XXll PEE FACE. 
 
 He never used it more unscrupulously than on this 
 occasion. The French public, it appears, took Vol- 
 taire's expressions of obligation to Maffei somewhat 
 more literally than Voltaire liked : they imagined 
 that the French 3Ierope was rather a successful 
 adaptation of the Italian Merope than an original 
 work. It was necessary to undeceive them. A letter 
 appeared, addressed by a M. de La Lindelle to Vol- 
 taire, in which Voltaire is reproached for his exces- 
 sive praises of Maffei's tragedy, in which that work 
 is rigorously analysed, its faults remorselessly dis- 
 played. No merit is allowed to it: it is a thoroughly 
 bad piece on a thoroughly good subject. Lessing, 
 who, in 1768, in his Hamburgiscke Dramaturgies re- 
 viewed Voltaire's Merope at great length, evidently 
 has divined, what is the truth, that M. de La Lindelle 
 and Voltaire are one and the same person. It required 
 indeed but little of the great Lessing's sagacity to di- 
 vine that. An unknown M. de La Lindelle does not 
 write one letter in that style of unmatched incisive- 
 ness and animation, that style compared to which the 
 style of Lord Macaulay is tame, and the style of Iso- 
 crates is obscure, and then pass for ever from the 
 human stage. M. de La Lindelle is Voltaire ; but that 
 does not hinder Voltaire from replying to him with 
 perfect gravity. " You terrify me ! " he exclaims to 
 his correspondent — that is, to himself: "you terrify 
 me ! you are as hypercritical as Scaliger. Why not 
 
PK]^ACE. XXlll 
 
 fix your attention rather on the beauties of M. 
 Maffei's work, than on its undoubted defects ? It is 
 my sincere opinion that, in some points, M. Maffei's 
 Merope is superior to my own." The transaction is 
 one of the most signal instances of literary sharp 
 practice on record. To this day, in the ordinary 
 editions of Voltaire, M. de La Lindelle's letter figures, 
 in the correspondence prefixed to the tragedy of 
 Merope^ as the letter of an authentic person; al- 
 though the true history of the proceeding has long 
 been well known, and Voltaire's conduct in it was 
 severely blamed by La Harpe. 
 
 Voltaire had said that his Merope was occasioned 
 by that of Maffei. " Occasioned^'' says Lessing, 
 " is too weak a word : M. de Voltaire's tragedy owes 
 everything to that of M. Maffei." This is not just. 
 We have seen the faults in Maffei's work pointed out 
 by Voltaire. Some of these faults he avoids : at 
 the same time he discerns, with masterly clearness, 
 the true difficulties of the subject. "Comment se 
 prendre," he says, " pour faire penser a Merope que 
 son fils est I'assassin de son fils meme ? " That is one 
 problem ; here is another : " Comment trouver des 
 motifs necessaires pour que Polyphonte veuille epouser 
 Merope ? " Let us see which of Maffei's faults Vol- 
 taire avoids : let us see how far he solves the pro- 
 blems which he himself has enunciated. 
 
 The story, in its main outline, is the same with 
 a 4: 
 
XXIV PREFACE. 
 
 Voltaire as with MafFei ; but in some particulars it is 
 altered, so as to have more probability. Like Maffei's 
 Egisto, Voltaire's Egisthe does not know his own 
 origin : like him, youthful curiosity drives him to 
 quit his aged protector, and to re-enter Messenia. 
 Like him he has an encounter with a stranger, whom 
 he slays, and whose blood, staining his clothes, leads 
 to his apprehension. But this stranger is an emissary 
 of Poljphontes, sent to effect the young prince's 
 murder. This is an improvement upon the robber of 
 Maffei, who has no connexion whatever with the 
 action of the piece. Suspicion falls upon Egisthe on 
 the same grounds as those on which it fell upon 
 Egisto. The suspicion is confirmed in Egisthe's case 
 by the appearance of a coat of armour, as, in Egisto's 
 case, it was confirmed by the appearance of a ring. 
 In neither case does Merope seem to have sufficient 
 cause to believe the unknown youth to be her son^s 
 murderer. In Voltaire's tragedy, Merope is igno- 
 rant until the end of the third act that Polyphontes 
 is her husband's murderer ; nay, she believes that 
 Cresphontes, murdered by the brigands of Pylos, 
 has been avenged by Polyphontes, who claims her 
 gratitude on that ground. He desires to marry her 
 in order to strengthen his position. " Of interests in 
 the state," he says, 
 
 " II ne reste aujourd'hui que le votre et le mien : 
 Nous devons I'lin a J'autre un mutuel soutien.'* 
 
PREFACE. XXV 
 
 Voltaire thus departs widely from the tradition ; but 
 he can represent Merope as entertaining and discuss- 
 ing the tyrant's offer of marriage without shocking 
 our feelings. The style, however, in which Voltaire 
 makes Polyphontes urge his addresses, would some- 
 times, I think, have wounded a Greek's taste as much 
 as Maifei's lo ^amo — 
 
 *' Je sais que vos appas, encore dans le printemps, 
 Pourraient s'efFaroucher de I'hiver de mes ans." 
 
 What an address from a stern, care-haunted ruler to a 
 widowed queen, the mother of a grown-up son ! 
 The tragedy proceeds ; and Merope is about to slay 
 her son, when his aged guardian arrives and makes 
 known to her who the youth is. This is as in Maffei's 
 piece ; but Voltaire avoids the absurdity of the double 
 attempt by Merope on her son's life. Yet he, too, 
 permits Egisthe to leave the stage without exchanging 
 a word with his mother: the very fault which he 
 justly censures in Maffei. • Egisthe, indeed, does not 
 even learn, on this occasion, that Merope is his mo- 
 ther : the recognition is thus cut in half. The second 
 half of it comes afterwards, in the presence of Poly- 
 phontes ; and his presence imposes, of course, a re- 
 straint upon the mother and son. Merope is driven, 
 by fear for her son's safety, to consent to marry Po- 
 lyphontes, although his full guilt is now revealed to 
 
XXVi PREFACE. ^^^^H i 
 
 her ; but slie is saved by her son, who slays the tyrant^ 
 in the manner told in the tradition and followed by 
 Maffei. 
 
 What is the real merit of Voltaire's tragedy ? We 
 must forget the rhymed Alexandrines ; that metre, 
 faulty not so much because it is disagreeable in itself, 
 as because it has in it something which is essentially 
 unsuited to perfect tragedy ; that metre which is so 
 indefensible, and which Voltaire has so ingeniously 
 laboured to defend. He takes a noble passage from 
 Kacine's Phedre^ alters words so as to remove the 
 rhyme, and asks if the passage now produces as good 
 an effect as before. But a fine passage which we are 
 used to we like in the form in which we are used to it, 
 with all its faults. Prose is, undoubtedly, a less 
 noble vehicle for tragedy than verse ; yet we should 
 not like the fine passages in Goethe's prose tragedy of 
 Egmont the better for having them turned into 
 verse. Besides, it is not clear that the unrhymed 
 Alexandrine is a better tragic metre than the rhymed. 
 Voltaire says that usage has now established the 
 metre in France, and that the dramatic poet has no 
 escape from it. For him and his contemporaries this 
 is a valid plea ; but how much one regrets that the 
 poetical feeling of the French nation did not, at a 
 period when such an alteration was still possible, 
 change for a better this unsuitable tragic metre, as 
 the Greeks, in the early period of their tragic art, 
 
PKEFACE. XXVll 
 
 changed for the more fitting iambus their trochaic te- 
 trameter. 
 
 To return to Voltaire's Merope. It is admirably 
 constructed, and must have been most effective on 
 the stage. One feels, as one reads it, that a poet 
 gains something by living amongst a population who 
 have the nose of the rhinoceros : his ingenuity be- 
 comes sharpened. This work has, besides, that stamp 
 of a prodigious talent which none of Voltaire's works 
 are without; it has vigour, clearness, rapid move- 
 ment ; it has lines which are models of terse observa- 
 tion — 
 
 " Le premier qui fut roi fut un soldat heureux : 
 Qui sert bien son pays n'a pas besoin d'aieux." 
 
 It has lines which are models of powerful, animated, 
 rhetoric — 
 
 MEROPE. 
 
 " Courons a Polyphonte — implorons son appui." 
 
 KAEBAS. 
 
 " N'implorez que les dieux, et ne craignez que lui." 
 
 What it wants is a charm of poetical feeling, which 
 Racine's tragedies possess, and which has given to 
 them the decisive superiority over those of Voltaire. 
 He has managed his story with great adroitness ; but 
 he has departed from the original tradition yet further 
 than Maffei. He has avoided several of Maffei's 
 faults : why has he not avoided his fault of omitting 
 
XXVlll PREFACE. 
 
 to introduce, at t"he moment of recognition, a scene 
 between the mother and son? Lessing thinks that 
 he wanted the double recognition in order to enable 
 him to fill his prescribed space, that terrible " car- ' 
 riere de cinq actes " of which he so grievously com- 
 plains. I believe, rather, that he cut the recognition 
 in two, in order to produce for his audience two dis- 
 tinct shocks of surprise : for to inspire surprise, Vol- 
 taire considered the dramatic poet's true aim ; an 
 opinion which, as we shall hereafter see, sometimes 
 led him astray. 
 
 Voltaire's Merope was adapted for the English 
 stage by Aaron Hill, a singular man ; by turns, poet, 
 soldier, theatrical manager, and Lord Peterborough's 
 private secretary ; but always, and above all, an in- 
 defatigable projector. He originated a beech-oil 
 company, a Scotch timber company, and a plan to 
 colonise Florida. He published Essays on Reducing 
 the Price of Coals, on Repairing Dagenham Breach, 
 and on English Grape Wines ; an epic poem on 
 Gideon, a tragedy called The Fatal Vision, or Fall 
 of Siam, and a translation of Voltaire's Zaire. His 
 Merope was his last work. It appeared in 1749 with 
 a dedication to Lord Bolingbroke ; it was brought 
 on the stage with great success, Garrick acting in 
 it ; and Hill, who was at this time in poverty, and 
 who died soon after, received a considerable sum from 
 his benefit nights. I have not seen this work, which 
 
PREPACK XXIS 
 
 is not included in the Inchbald collection of acted 
 plays. Warton calls Aaron Hill an affected and fus- 
 tian writer, and this seems to have been his reputation 
 among his contemporaries. His Zara, which I have 
 seen, has the fault of so much of English literature 
 of the second class — an incurable defect of style. 
 
 One other Merope remains to be noticed — the 
 Merope of Alfieri. In this tragedy, which appeared 
 in 1783, Alfieri has entirely followed Maffei and Vol- 
 taire. He seems to have followed Maffei in the first 
 half of it ; Voltaire in the second. His Polyphontes, 
 however, does not make love to Merope : desiring to 
 obtain her hand, in order by this marriage to make 
 the Messenians forget their attachment to Cres- 
 phontes, he appeals to her self-interest. " You are 
 miserable," he says ; " but a throne is a great con- 
 solation. A throne is — 
 
 la sola 
 Non vile ammenda, che al fallir mio resti." 
 
 Egisto, in Alfieri's piece, falls under suspicion from 
 the blood left on his clothes in a struggle with a 
 stranger, whom he kills and throws into the river 
 Pamisus. The suspicion is confirmed by the appear- 
 ance of a girdle recognised by Merope as having 
 belonged to her son ; as it was confirmed in Maffei's 
 piece by the appearance of a ring, in Voltaire's, by 
 that of a coat of armour. The rest is, in the main, as 
 with Voltaire, except that Alfieri makes Polyphontes 
 
\ 
 
 XXX PREFACE. 
 
 perish upon the stage, under circumstances of con 
 siderable improbabilitj. 
 
 This work of Alfieri has the characteristic merit, 
 and the characteristic fault, of Alfieri's tragedies : it 
 has the merit of elevation, and the fault of narrow- 
 ness. Narroio elevation; that seems to me exactly 
 to express the quality of Alfieri's poetry: he is a I 
 noble-minded, deeply interesting man, but a monoto- 
 nous poet. 
 
 A mistake, a grave mistake it seems to me, in 
 the treatment of their subject, is common to Maffei, 
 Voltaire, and Alfieri. They have abandoned the | 
 tradition where they had better have followed it ; 
 they have followed it, where they had better have 
 abandoned it. 
 
 The tradition is a great matter to a poet ; it is an 
 unspeakable support ; it gives him the feeling that he 
 is treading on solid ground. Aristotle tells the tragic 
 poet that he must not destroy the received stories. 
 A noble and accomplished living poet, M. Manzoni, 
 has, in an admirable dissertation, developed this 
 thesis of the importance to the poet of a basis of tra- 
 dition. Its importance I feel so strongly, that, where 
 driven to invent in the false story told by Merope's son, 
 as by Orestes in the Electra, of his own death, I could 
 not satisfy myself until I discovered in Pausanias a 
 tradition, which I took for my basis, of an Arcadian 
 hunter drowned in the lake Stymphalus, down one of 
 
PREFACE. XXXI 
 
 those singular Katabothra, or chasms in the lime- 
 stone rock, so well known in Greece, in a manner 
 similar to that in which -^pytus is represented to 
 have perished. 
 
 Maffei did right, I think, in altering the ancient 
 tradition where it represents Merope as actually the 
 wife of Polyphontes. It revolts our feeling to consider 
 her as married to her husband's murderer ; and it is 
 no great departure from the tradition to represent her 
 as sought in marriage by him, but not yet obtained. 
 But why did Maffei (for he, it will be remembered, 
 gave the story its modern arrangement, which Vol- 
 taire and Alfieri have, in all its leading points, fol- 
 lowed), why did Maffei abandon that part of the 
 tradition which represents -^pytus, the Messenian 
 prince, as acquainted with his own origin? Why 
 did he and his followers prefer to attribute to curi- 
 osity a return which the tradition attributed to a 
 far more tragic motive ? Why did they compel 
 themselves to invent a machinery of robbers, as- 
 sassins, guards, rings, girdles, and I know not what, to 
 effect that which the tradition effects in a far simpler 
 manner, to place JEpytus before his mother as his 
 own murderer ? Lessing imagines that Maffei, who 
 wished to depict, above all, the maternal anxiety of 
 Merope, conceived that this anxiety would be more 
 naturally and powerfully awakened by the thought of 
 her child reared in hardship and obscurity as a 
 
XXXll PREFACE* 
 
 poor man's son, than by the thought of him reared in 
 splendour as a prince in the palace of her own father. 
 But what a conception of the sorrow of a queen, whose 
 husband has been murdered, and whose son is an 
 ■exile from his inheritance, to suppose that such a 
 sorrow is enhanced bj the thought that her child is 
 rudely housed and plainly fed; to assume that it 
 would take a less tragic complexion if she knew that 
 he lived in luxury ! No ; the true tragic motive of 
 Merope's sorrow is elsewhere : the tradition amply 
 supplied it. 
 
 Here, then, the moderns have invented amiss, be- 
 cause they have invented needlessly ; because, on this 
 point, the tradition, as it stood, afforded perfect ma- 
 terials to the tragic poet: and, by Maffei's change, 
 not a higher tragic complication, but merely a greater 
 puzile and intricacy is produced. I come now to 
 a point on which the tradition might with advan- 
 tage, as I think, have been set aside ; and that is, the 
 character of Polyphontes. 
 
 Ye't, on this point, to speak of setting aside the tra- 
 dition is to speak too strongly ; for the tradition is 
 here not complete. Neither Pausanias nor ApoUodorus 
 mention circumstances which definitely fix the cha- 
 racter of Polyphontes ; Hyginus, no doubt, represents 
 him as a villain, and, if Hyginus follows Euripides, 
 Euripides also thus represented him. Euripides may 
 .possibly have done so ; yet a purer tragic feeling, it 
 
PREFACE. 
 
 seems to me, is produced, if Polyphonies is represented 
 as not wholly black and inexcusable, than if he is 
 represented as a mere monster of cruelty and hypo- 
 crisy. Aristotle's profound remark is well known, 
 that the tragic personage whose ruin is represented, 
 should be a personage neither eminently good, nor yet 
 one brought to ruin by sheer iniquity ; nay, that his 
 character should incline rather to good than to bad, 
 but that he should have some fault which impels 
 him to his fall. For, as he explains, the two grand 
 tragic feelings, pity and terror, which it is the busi- 
 ness of tragedy to excite, will not be excited by the 
 spectacle of the ruin of a mere villain ; since pity is 
 for those who suffer undeservedly, and such a man 
 suffers deservedly : terror is excited by the fall of 
 one of like nature with ourselves, and we feel that 
 the mere villain is not as ourselves. Aristotle, no 
 doubt, is here speaking, above all, of the Protagonist, or 
 principal personage of the drama ; but the noblest 
 tragic poets of Greece rightly extended their applica- 
 tion of the truth on which his remark is based to all 
 the personages of the drama : neither the Creon of So- 
 phocles, nor the Clytemnestra of ^schylus, are wholly 
 inexcusable ; in none of the extant dramas of ^schy- 
 lus or Sophocles is there a character which is entirely 
 bad. For such a character we must go to Euripides ; 
 we must go to an art — wonderful indeed, for I 
 entirely dissent from the unreserved disparager^ of 
 b 
 
XXXIV PREFACE. 
 
 this great poet — but an art of less moral significance 
 than the art of Sophocles and ^schylus ; we must 
 go to tragedies like the Hecuba^ for villains like 
 Poljmestor. 
 
 What is the main dramatic difficulty of the story 
 of Merope, as usually treated ? It is, as Alfieri 
 rightly saw, that the interest naturally declines from 
 the moment of Merope's recognition of her son ; that 
 the destruction of the tyrant is not, after this, matter 
 of interest enough to affect us deeply. This is true, 
 if Polyphontes is a mere villain. It is not true, if he 
 is one for the ruin of whom we may, in spite of his 
 crime, feel a profound compassion. Then our in- 
 terest in the story lasts to the end : for to the very 
 end we are inspired with the powerful tragic emotions 
 of commiseration and awe. Pausanias states circum- 
 stances which suggest the possibility of representing 
 Polyphontes, not as a mere cruel and selfish tyrant, 
 but as a man whose crime was a truly tragic fault, 
 the error of a noble nature. Assume such a nature 
 in him, and the turn of circumstances in the drama 
 takes a new aspect : Merope and her son triumph, 
 but the fall of their foe leaves us awestruck and com- 
 passionate : the story issues tragically^ as Aristotle 
 has truly said that the best tragic stories ought to 
 issue. 
 
 Neither Maffei, nor Voltaire, nor Alfieri have 
 drawn Polyphontes with a character to inspire any 
 
PREFACE. XXXV 
 
 feeling but aversion, with any traits of nobleness 
 to mitigate our satisfaction at his death. His cha- 
 racter being such, it is difficult to render his anxiety 
 to obtain Merope's hand intelligible, for Merope's 
 situation is not such as to make her enmity really 
 dangerous to Polyphontes ; he has, therefore, no 
 sufficient motive of self-interest, and the nobler 
 motives of reparation and pacification could have 
 exercised, on such a character, no force. Voltaire 
 accordingly, whose keen eye no weak place of this 
 kind escaped, felt his difficulty. " Neither M. Maffei 
 nor I," he confesses, "have assigned any sufficient 
 motives for the desire of Polyphontes to marry 
 Merope." 
 
 To criticise is easier than to create ; and if I have 
 been led, in this review of the fortunes of my story, 
 to find fault with the works of others, I do not on 
 that account assume that I have myself produced a 
 work which is not a thousand times more faulty. 
 
 It remains to say something, for those who are not 
 familiar with the Greek dramatic forms, of the form 
 in which this tragedy is cast. Greek tragedy, as is 
 well known, took its origin from the songs of a 
 chorus, and the stamp of its origin remained for ever 
 impressed upon it. A chorus, or band of dancers, 
 moving around the altar of Bacchus, sang the adven- 
 tures of the god. To this band Thespis joined an 
 actor, who held dialogue with the chorus, and who 
 b 2 
 
XXSVl PREFACE. 
 
 was called viroKpmjg, the answerer, because he an- 
 swered the songs of the chorus. The drama thus 
 commenced; for the dialogue of this actor with the 
 chorus brought before the audience some action of 
 Bacchus, or of one of the heroes; this action, narrated 
 by the actor, was commented on in song, at certain 
 intervals, by the chorus alone, ^schylus added a 
 second actor, thus making the character of the repre- 
 sentation more dramatic, for the chorus was never' 
 itself so much an actor as a hearer and observer of 
 the actor: Sophocles added a third. These three 
 actors might successively personate several characters 
 in the same piece ; but to three actors and a chorus 
 the dramatic poet limited himself: only in a single 
 piece of Sophocles, not brought out until after his 
 death, was the employment of a fourth actor, it ap- 
 pears, necessary. 
 
 The chorus consisted, in the time of Sophocles, of 
 fifteen persons. After their first entrance they re- 
 mained before the spectators, without withdrawing, 
 until the end of the piece. Their place was in the 
 orchestra ; that of the actors was upon the stage. 
 The orchestra was a circular space, like the pit of 
 our theatres : the chorus arrived in it by side-en- 
 trances, and not by the stage. In the centre of the 
 orchestra was the altar of Bacchus, around which 
 the chorus originally danced; but in dramatic repre- 
 sentations their place was between this altar and 
 
PREFACE. XXXVll 
 
 the stage : here they stood, a little lower than the 
 persons on the stage, but looking towards them, 
 and holding, through their leaders, conversation with 
 them : then, at pauses in the action, the united chorus 
 sang songs expressing their feelings at what was 
 happening upon the stage, making, as they sang, cer- 
 tain measured stately movements between the stage 
 and the altar, and occasionally standing still. Steps 
 led from the orchestra to the stage, and the chorus, or 
 some members of it, might thus, if necessary, join 
 the actors on the stage ; but this seldom happened, 
 the proper place for the chorus was the orchestra. 
 The dialogue of the chorus with the actors on the 
 stage passed generally in the ordinary form of 
 dramatic dialogue ; but, on occasions where strong 
 feeling was excited, the dialogue took a lyrical form. 
 Long dialogues of this "kind sometimes took place 
 between the leaders of the chorus and one of the 
 actors upon the stage, their burden being a lamenta- 
 tion for the dead. 
 
 The Greek theatres were vast, and open to the 
 sky; the actors, masked, and in a somewhat stiff 
 tragic costume, were to be regarded from a consider- 
 able distance : a solemn, clearly marked style of 
 gesture, a sustained tone of declamation, were thus 
 rendered necessary. Under these conditions, intri- 
 cate by-play, rapid variations in the action, requiring 
 great mobility, ever-changing shades of tone and 
 b 3 
 
XXXVIU PREFACE. 
 
 gesture in the actor, were impossible. Broad and 
 simple effects were, under these conditions, above all 
 to be aimed at ; a profound and clear impression 
 was to be effected. Unity of plan in the action, and 
 symmetry in the treatment of it, were indispensable. 
 The action represented, therefore, was to be a single, 
 rigorously developed action ; the masses of the com- 
 position were to be balanced, each bringing out the 
 other into stronger and distincter relief. In the best 
 tragedies, not only do the divisions of the full choral 
 songs accurately correspond to one another, but 
 the divisions of the lyrical dialogue, nay, even the 
 divisions of the regular dramatic dialogue, form cor- 
 responding members, of which one member is the 
 answer, the counter-stroke to the other ; and an 
 indescribable sense of distinctness and depth of im- 
 pression is thus produced. 
 
 From what has been said, the reader will see that 
 the Greek tragic forms were not chosen as being, in 
 the nature of things, the best tragic forms ; such 
 would be a wholly false conception of them. They 
 are an adaptation to dramatic purposes, under cer- 
 tain theatrical conditions, of forms previously ex- 
 isting for other purposes ; that adaptation at which 
 the Greeks, after several stages of improvement, 
 finally rested. The laws of Greek tragic art, there- 
 fore, are not exclusive ; they are for Greek drama- 
 tic art itself, but they do not pronounce other 
 modes of dramatic art unlawful ; they are, at most. 
 
PREFACE. XXXIX 
 
 prophecies of the improbability of dramatic success 
 under other conditions. " Tragedy," says Aristotle, 
 in a remarkable passage, " after going through many 
 changes, got the nature which suited it, and there 
 it stopped. Whether or no the kinds of tragedy 
 are yet exhausted," he presently adds, " tragedy being 
 considered either in itself, or in respect to the stage, 
 I shall not now inquire." Travelling in a certain 
 path, the spirit of man arrived at Greek tragedy; 
 travelling in other paths, it may arrive at other 
 kinds of tragedy. 
 
 But it cannot be denied that the Greek tragic 
 forms, although not the only possible tragic forms, 
 satisfy, in the most perfect manner, some of the most 
 urgent demands of the human spirit. If, on the one 
 hand, the human spirit demands variety and the 
 widest possible range, it equally demands, on the 
 other hand, depth and concentration in its impressions. 
 Powerful thought and emotion, flowing in strongly 
 marked channels, make a stronger impression : this 
 is the main reason why a metrical form is a more 
 effective vehicle for them than prose : in prose there 
 is more freedom, but, in the metrical form, the very 
 limit gives a sense precision and emphasis. This sense 
 of emphatic distinctness in our impressions rises, as the 
 thought and emotion swell higher and higher without 
 overflowing their boundaries, to a lofty sense of the 
 mastery of the human spirit over its own stormiest 
 b 4 
 
Xl PREFACE. 
 
 agitations ; and this, again, conducts us to a state of 
 feeling wliich it is the highest aim of tragedy to 
 produce, to a sentiment of sublime acquiescence in the 
 course of fate, and in the dispensations of human life. 
 
 What has been said explains, I think, the reason 
 of the effectiveness of the severe forms of Greek 
 tragedy, with its strongly marked boundaries, with 
 its recurrence, even in the most agitating situations, 
 of mutually replying masses of metrical arrangement. 
 Sometimes the agitation becomes overwhelming, and 
 the correspondence is for a time lost, the torrent of 
 feeling flows for a space without check : this disorder 
 amid the general order produces a powerful effect; 
 but the balance is restored before the tragedy closes : 
 the final sentiment in the mind must be one not of 
 trouble, but of acquiescence. 
 
 This sentiment of acquiescence is, no doubt, a sen- 
 tim ent of repose ; and, therefore, I cannot agree with 
 Mr. Lewes when he says, in his remarks on Goethe's 
 Iphigeneia, that " the Greek Drama is distinguished 
 by its absence of repose ; by the currents of passion 
 being for ever kept in agitation." I entirely agree, 
 however, in his criticism of Goethe's tragedy ; of that 
 noble poem which Schiller so exactly characterised 
 when he said that it was " full of soul : " I entirely 
 agree with him when he says that " the tragic situa- 
 tion in the story of Iphigeneia is not touched by 
 Goethe ; that his tragedy addresses the conscience 
 rather than the emotions." But Goethe does not err 
 
PKEFACE. Xli 
 
 from Greek ideas wlien lie thinks tliat there is repose 
 in tragedy : he errs from Greek practice in the mode 
 in which he strives to produce that repose. Sopho- 
 cles does not produce the sentiment of repose, of 
 acquiescence, by inculcating it, by avoiding agitating 
 circumstances : he produces it by exhibiting to us 
 the most agitating matter under the conditions 
 of the severest form. Goethe has truly recognised 
 that this sentiment is the grand final effect of Greek 
 tragedy : but he produces it, not in the manner of 
 Sophocles, but, as Mr. Lewes has most ably pointed 
 out, in a manner of his own ; he produces it by 
 inculcating it ; by avoiding agitating matter ; by 
 keeping himself in the domain of the soul and con- 
 science, not in that of the passions. 
 
 I have now to speak of the chorus ; for of this, 
 as of the other forms of Greek tragedy, it is not 
 enough, considering how Greek tragedy arose, to 
 show that the Greeks used it; it is necessary to 
 show that it is effective. Johnson says, that "it 
 could only be by long prejudice and the bigotry of 
 learning that Milton could prefer the ancient tra- 
 gedies, with their encumbrance of a chorus, to the 
 exhibitions of the French and English stages :" and 
 his tragedy of Irene sufiiciently proves that he him- 
 self, in his practice, adopted Greek art as arranged at 
 Paris, by those 
 
 " Juges plus eclaires que ceux qui dans Athene 
 Fh'ent naitre et fieurir les lois de Melpomene ; " 
 
Xlii PREFACE. 
 
 as Voltaire calls them in tlie prologue to his Eryphile. 
 Johnson merely calls the chorus an encumbrance. 
 Voltaire, who, in his (Edipus, had made use of the 
 chorus in a singular manner, argued, at a later period, 
 against its introduction. Voltaire is always worth 
 listening to, because his keenness of remark is al- 
 ways suggestive. " In an interesting piece the in- 
 trigue generally requires," says Voltaire, " that the 
 principal actors should have secrets to tell one 
 another — Eh ! le moyen de dire son secret a tout ten 
 peiiple. And, if the songs of the chorus allude to 
 what has already happened, they must," he says, " be 
 tiresome; if they allude to what is about to happen, 
 their effect will be to deroher le plaisir de la sur- 
 prise" How ingenious, and how entirely in Vol- 
 taire's manner ! The sense to be appealed to in 
 tragedy is curiosity ; the impression to be awakened 
 in us is surprise. But the Greeks thought differently. 
 For them, the aim of tragedy was profound moral 
 impression : and the ideal spectator, as Schlegel and 
 Miiller have called the chorus, was designed to enable 
 the actual spectator to feel his own impressions more 
 distinctly and more deeply. The chorus was, at each 
 stage in the action, to collect and weigh the impres- 
 sions which the action would at that stage naturally 
 make on a pious and thoughtful mind ; and was at 
 last, at the end of the tragedy, when the issue of the 
 action appeared, to strike the final balance. If the 
 
PREFACE. Xliii 
 
 feeling with which the actual spectator regarded the 
 course of the tragedy could be deepened by remind- 
 ing him of what was past, or by indicating to him 
 what was to come, it was the province of the ideal 
 spectator so to deepen it. To combine, to harmonise, 
 to deepen for the spectator the feelings naturally 
 excited in him by the sight of what was passing 
 upon the stage — this is one grand effect produced by 
 the chorus in Greek tragedy. 
 
 There is another. Coleridge observes that Shak- 
 speare, after one of his grandest scenes, often plunges, 
 as if to relax and relieve himself, into a scene of 
 buffoonery. After tragic situations of the greatest 
 intensity, a desire for relief and relaxation is no 
 doubt natural, both to the poet and to the spectator ; 
 but the finer feeling of the Greeks found this relief, 
 not in buffoonery, but in lyrical song. The noble and 
 natural relief from the emotion produced by tragic 
 events is in the transition to the emotion produced by 
 lyric poetry, not in the contrast and shock of a totally 
 opposite order of feelings. The relief afforded to ex- 
 cited feeling by lyrical song every one has experienced 
 at the opera : the delight and facility of this relief 
 renders so universal the popularity of the opera, of this 
 " beau monstre^^ which still, as in Voltaire's time, 
 " etouffe Melpomene" But in the opera, the lyrical 
 element, the element of feeling and relaxation, is in 
 excess: the dramatic element, the element of intellect 
 
Xliv PREFACE. 
 
 and labour, is in defect. In the best Greek tragedy, 
 the lyrical element occupies its true place ; it is the 
 relief and solace in the stress and conflict of the 
 action; it is not the substantive business. 
 
 Few can have read the Samson Agonistes of 
 Milton without feeling that the chorus imparts a 
 peculiar and noble effect to that poem; but I regret 
 that Milton determined, induced probably by his 
 preference for Euripides, to adopt, in the songs of 
 the chorus, " the measure," as he himself says, " called 
 by the Greeks Monostrophic, or rather Apolelymenon, 
 without regard had to Strophe, Antistrophe, or Epode." 
 In this relaxed form of the later Greek tragedy, the 
 means are sacrificed by which the chorus could pro- 
 duce, within the limits of a single choric song, the 
 same effect which it was their business, as we have 
 seen, to produce in the tragedy as a whole. The regular 
 correspondence of part with part, the antithesis, in 
 answering stanzas, of thought to thought, feeling to 
 feeling, with the balance of the whole struck in one 
 independent final stanza or epode, is lost; something 
 of the peculiar distinctness and symmetry, which con- 
 stitute the vital force of the Greek tragic forms, is thus 
 forfeited. The story of Samson, although it has no 
 mystery or complication, to inspire, like tragic stories 
 of the most perfect kind, a foreboding and anxious 
 gloom in the mind of him who hears it, is yet a truly 
 dramatic and noble one ; but the forms of Greek tra- 
 
PREFACE. X\V 
 
 gedy, whicli are founded on Greek manners^ on the 
 practice of chorus-dancing, and on the ancient habi- 
 tual transaction of affairs in the open air in front of 
 the dwellings of kings, are better adapted to Greek 
 stories than to Hebrew or any other. These reserves 
 being made, it is impossible to praise the Samson 
 Agonistes too highly : it is great with all the great- 
 ness of Milton. Goethe might well say to Eckermann, 
 after re-reading it, that hardly any work had been 
 composed so entirely in the spirit of the ancients. 
 
 Milton's drama has the true oratorical flow of ancient 
 tragedy, produced mainly, I think, by his making it, 
 as the Greeks made it, the rule, not the exception, to 
 put the pause at the end of the line, not in the middle. 
 Shakspeare has some noble passages, particularly in 
 his Richard the Third, constructed with this, the 
 true oratorical rhythm; indeed, that wonderful poet, 
 who has so much besides rhetoric, is also the greatest 
 poetical rhetorician since Euripides : still, it is to the 
 Elizabethan poets that we owe the bad habit, in dra- 
 matic poetry, of perpetually dividing the line in the 
 middle. Italian tragedy has the same habit : in Al- 
 fieri's plays it is intolerable. The constant occurrence 
 of such lines produces, not a sense of variety, but a 
 sense of perpetual interruption. 
 
 Some of the measures used in the choric songs 
 of my tragedy are ordinary measures of English 
 verse : others are not so ; but it must not be supposed 
 
xlvi PREFACE. 
 
 that these last are the reproduction of any Greek 
 choric measures. So to adapt Greek measures to 
 English verse is impossible : what I have done is to 
 try to follow rhythms which produced on my own 
 feeling a similar impression to that produced on it 
 by the rhythms of Greek choric poetry. In such an 
 endeavour, when the ear is guided solely by its own 
 feeling, there is, I know, a continual risk of failure 
 and of offence. I believe, however, that there are 
 no existing English measures which produce the same 
 effect on the ear, and therefore on; the mind, as 
 that produced by many measures indispensable to the 
 nature of Greek lyric poetry. He, therefore, who 
 would obtain certain effects obtained by that poetry, 
 is driven to invent new measures, whether he will 
 or no. 
 
 Pope and Dryden felt this. Pope composed two 
 choruses for the Duke of Buckingham's Brutus, a 
 tragedy altered from Shakspeare, and performed at 
 Buckingham-house. A short specimen will show 
 what these choruses were — 
 
 " Love's purer flames the Gods approve : 
 The Gods and Brutus bend to love : 
 Brutus for absent Portia sighs, 
 And sterner Cassius melts at Junia's eyes." 
 
 In this style he proceeds for eight lines more, and 
 then the antistrophe duly follows. Pope felt that the 
 
PREFACE. Xlvii 
 
 peculiar effects of Greek lyric poetry were here 
 missed ; the measure in itself makes them impossible : 
 in his ode on St. Cecilia's day, accordingly, he tries 
 to come nearer to the Greeks. Here is a portion of 
 his fourth stanza ; of one of those stanzas in which 
 Johnson thinks that "we have all that can be per- 
 formed by sweetness of diction, or elegance of versi- 
 fication : " — 
 
 " Dreadful gleams, 
 
 Dismal screams, 
 
 Fires that glow, 
 
 Shrieks of woe. 
 
 Sullen moans, 
 
 Hollow groans, 
 
 And cries of tortured ghosts." 
 
 Horrible ! yet how dire must have been the neces- 
 sity, how strong the feeling of the inadequacy of 
 existing metres to produce effects demanded, which 
 could drive a man of Pope's taste to such prodigies 
 of invention ! Dryden in his Alexandei^'s Feast de- 
 viates less from ordinary English measures -, but to 
 deviate from them in some degree he was compelled. 
 My admiration for Dryden's genius is warm : my 
 delight in this incomparable ode, the mighty son of 
 his old age, is unbounded : but it seems to me that in 
 only one stanza and chorus of the Alexander's Feast, 
 the fourth, does the rhythm from first to last com- 
 pletely satisfy the ear. 
 
Xlviii PREFACE. 
 
 I must have wearied my reader's patience : but I 
 was desirous, in laying before liim my tragedy, that 
 it should not lose what benefit it can derive from the 
 foregoing explanations. To his favourable reception 
 of it there will still be obstacles enough, in its 
 unfamiliar form, and in the incapacity of its author. 
 
 How much do I regret that the many poets of the 
 present day who possess that capacity which I have 
 not, should not have forestalled me in an endeavour 
 far beyond my powers ! How gladly should I have 
 applauded their better success in the attempt to enrich 
 with what, in the forms of the most perfectly -formed 
 literature in the world, is most perfect, our noble 
 English literature ; to extend its boundaries in the 
 one direction, in which, with all its force and variety, 
 it has not yet advanced ! They would have lost 
 nothing by such an attempt, and English literature 
 would have gained much. 
 
 Only their silence could have emboldened to under- 
 take it one with inadequate time, inadequate know- 
 ledge, and a talent, alas ! still more inadequate : one 
 who brings to the task none of the requisite qualifica- 
 tions of genius or learning : nothing but a passion 
 for the great Masters, and an effort to study them 
 without fancifulness. 
 
 London: December, 1857. 
 
HISTORICAL INTRODUCTION. 
 
 In the foregoing Preface * the story of Merope is detailed : what 
 is here added may serve to explain allusions which occur in the 
 course of the tragedy, and to illustrate the situation of its chief 
 personages at the moment when it commences. 
 
 The events on which the action turns belong to the period of 
 transition from the heroic and fabulous to the human and his- 
 toric age of Greece. The hero Hercules, the ancestor of the Mes- 
 senian ^JEpytus, belongs to fable : but the invasion of Peloponnesus 
 by the Dorians under chiefs claiming to be descended from 
 Hercules, and their settlement in Argos, Lacedsemon, and Mes- 
 senia, belong to history. jEpytus is descended on the father's 
 side from Hercules, Perseus, and the kings of Argos : on the 
 mother's side from Pelasgus, and the aboriginal kings of Arcadia. 
 Callisto, the daughter of the wicked Lycaon, and the mother, by 
 Z^us, of Areas, from whom the Arcadians took their name, was 
 the grand-daughter of Pelasgus. The birth of Areas brought 
 upon Callisto the anger of the virgin- Goddess Artemis, whose 
 service she followed : she was changed into a she-bear, and in 
 this form was chased by her own son, grown to manhoojd. 
 At the critical moment Zeus interposed, and the mother and son 
 were removed from the earth, and placed among the stars : Cal- 
 listo became the famous constellation of the Great Bear ; her 
 son became Arcturus, Arctophylax, or Bootes. From him, Cyp- 
 selus, the maternaljgrandfather of -^pytus, and the children of 
 Cypselus, Laias and Merope, were lineally descended. 
 
 The events of the life of Hercules, the paternal ancestor of 
 ^pytus, are so well known that it is hardly necessary to record 
 them. It is sufficient to remind the reader, that, although entitled 
 to the throne of Argos by right of descent from Perseus and Da- 
 naus, and to the thrones of Sparta and Messenia by right of con- 
 
 * Page xiii. 
 C 
 
1 HISTORICAL INTRODUCTION. 
 
 quest, he yet passed his life in labours and wanderings, subjected 
 by the decree of fate to the commands of his far inferior kinsman, 
 the feeble and malignant Eurystheus. Hercules, who is repre- 
 sented with the violence as well as the virtues of an adventurous 
 ever-warring hero, attacked and slew Eurytus, an Euboean king, 
 with whom he had a quarrel, and carried off the daughter of 
 Euiytus, the beautiful lole. The wife of Hercules, Deianeira, 
 seized with jealous anxiety, remembered that long ago the 
 centaur Nessus, dying by the poisoned arrows of Hercules, had 
 assured her that the blood flowing from his mortal wound 
 would prove an infallible love-charm to win back the affections 
 of her husband, if she should ever lose them. With this philtre 
 Deianeira now anointed a robe of triumph, which she sent to 
 her victorious husband : he received it when about to offer public 
 sacrifice, and immediately put it on : but the sun's rays called into 
 activity the poisoned blood with which the robe was smeared : it 
 clung to the flesh of the hero and consumed it. In dreadful agonies 
 Hercules caused himself to be transported from Euboea to Mount 
 (Eta : there, under the crags of Trachis, an immense funeral pile 
 was constructed. Eecognising the divine will in the fate which had 
 overtaken him, the hero ascended the pile, and called on his chil- 
 dren and followers to set it on fire. They refused ; but the office was 
 performed by Poeas, the father of Philoctetes, who, passing near, 
 was attracted by the concourse round the pile, and who received 
 the bow and arrows of Hercules for his reward. The flames 
 arose, and the apotheosis of Hercules was consummated. 
 
 He bequeathed to his offspring, the Heracleidee, his own claims 
 to the kingdoms of Peloponnesus, and to the persecution of 
 Eurystheus. They at first sought shelter with Ceyx, king of 
 Trachis : he was too weak to protect them ; and they then took 
 refuge at Athens. The Athenians refused to deliver them up at the 
 demand of Eurystheus : he invaded Attica, and a battle was 
 fought near Marathon, in which, after Macaria, a daughter of 
 Hercules, had devoted herself for the preservation of her house, 
 Eurystheus fell, and the Heracleidas ajid their Athenian pro- 
 tectors were victorious. The memory of Macaria's self-sacrifice 
 was perpetuated by the name of a spring of water on the plain 
 of Marathon, the spring Macaria. The Heracleidte then en- 
 deavoiu'ed to effect their retm-n to Peloponnesus. Hyllus, the 
 eldest of them, inquired of the oracle at Delphi respecting their 
 
HISTOKICAL INTRODUCTION. ll 
 
 return ; he was told to return by the narrow passage, and in the 
 third harvest. Accordingly, in the third year from that time, 
 Hyllus led an army to the Isthmus of Corinth ; but there he 
 was encountered by an army of Achaians and Arcadians, and 
 fell in single combat with Echemus, king of Tegea. Upon this 
 defeat the Heracleid^ retired to Northern Greece : there, after 
 much wandering, they finally took refuge with -^gimius, king 
 of the Dorians, who appears to have been the fastest friend of their 
 house, and whose Dorian warriors formed the army which at last 
 achieved their return. But, for a hundred years from the date of 
 their first attempt, the Heracleidas were defeated in then- successive 
 invasions of Peloponnesus. Cleolaus and Aristomachus, the son 
 and grandson of Hyllus, fell in unsuccessful expeditions. At 
 length the sons of Aristomachus, Temenus, Cresphontes, and 
 Aristodemus, when grown up, repaired to Delphi and taxed 
 the oracle with the non-fulfilment of the promise made to their 
 ancestor Hyllus, Biit Apollo replied that his oracle had been 
 misunderstood ; for that by the third harvest he had meant the 
 third generation, and by the narrow passage he had meant the 
 straits of the Corinthian Gulf. After this explanation the sons of 
 Aristomachus built a fleet at Naupactus ; and finally, in the 
 hundredth year from the death of Hyllus, and the eightieth from 
 the fall of Troy, the invasion was again attempted, and was this 
 time successful. The son of Orestes, Tisamenus, who ruled 
 both Argos and Lacedeemon, fell in battle ; many of his van- 
 quished subjects left their homes and retired to Achaia. 
 
 The spoil was now to be divided among the conquerors. 
 Aristodemus, the youngest of the sons of Aristomachus, did not 
 survive to enjoy his share. He was slain at Delphi by the sons 
 of Pylades and Electra, the kinsmen of the house of Agamemnon, 
 that house which the Heracleidse with their Dorian army dis- 
 possessed. The claims of Aristodemus descended to his two 
 sons, Procles and Eurysthenes, children under the guardianship 
 of their maternal uncle, Theras. Temenus, the eldest of the 
 sons of Aristomachus, took the kingdom of Argos ; for the 
 two remaining kingdoms, that of Sparta and that of Messenia, 
 his two nephews, who were to rule jointly, and their uncle Cres- 
 phontes, were to cast lots. Cresphontes wished to have the fertile 
 Messenia, and induced his brother to acquiesce in a trick which 
 secured it to Mm. The lot of Cresphontes and that of his two 
 
Hi HISTORICAL INTRODUCTION. 
 
 nephews were to be placed in a water-jar, and thrown out. 
 Messenia was to belong to him whose- lot came out first. 
 With the connivance of Temenus, Cresphontes marked as his 
 own lot a pellet composed of baked clay ; as the lot of his 
 nephews, a pellet of unbaked clay : the unbaked pellet was of 
 course dissolved in the water, while the brick pellet fell out 
 alone. Messenia, therefore, was assigned to Cresphontes. 
 
 Messenia was at this time ruled by Melanthus, a descendant 
 of Neleus. This ancestor, a prince of the great house of ^olus, 
 had come from Thessaly, and succeeded to the Messenian throne 
 on the failure of the previous dynasty. Melanthus and his race 
 were thus foreigners in Messenia, and were unpopular. His sub- 
 jects offered little or no opposition to the invading Dorians : 
 Melanthus abandoned his kingdom to Cresphontes, and retired 
 to Athens. 
 
 Cresphontes married Merope, whose native country, Arcadia, 
 was not affected by the Dorian invasion. This marriage, the issue 
 of which was three sons, connected him with the native population 
 of Peloponnesus. He built a new capital of Messenia, Steny- 
 claros, and transferred thither, from Pylos, the seat of govern- 
 ment : he at first proposed, it is said by Pausanias, to divide 
 Messenia into five states, and to confer on the native Messenians 
 equal privileges with their Dorian conquerors. The Dorians 
 complained that his administration unduly favoured the van- 
 quished people : his chief magnates, headed by Polyphontes, 
 himself a descendant of Hercules, formed a cabal against him, 
 in which he was slain with his two eldest sons. The youngest 
 son of Cresphontes, -^pytus, then an infant, was saved by his 
 mother, who sent him to her father, Cypselus, the king of 
 Arcadia, under whose protection he was brought up. 
 
 The drama begins at the moment when JEpytus, grown to 
 manhood, returns secretly to Messenia to take vengeance on 
 his father's murderers. At this period Temenus was no longer 
 reigning at Argos : he had been murdered by his sons, jealous 
 of their brother-in-law, Deiphontes : the sons of Aristodemus, 
 Procles and Eurysthenes, at variance with their guardian, were 
 reigning at Sparta. 
 
ME ROPE 
 
 A TRAGEDY. 
 
PEESONS or THE DKAMA. 
 
 Laias, uncle 0/ JEpytus, brother of Merope. 
 
 iEPYTUS, son 0/ Merope and Cresphontes. 
 
 PoLYPHONTES, king of Messenia. 
 
 Merope, widow of Cresphontes, tJie murdered king of Messenia. 
 
 The Chorus, o/Messeniam maidens. 
 
 Arcas, an old man o/Merope's household. 
 
 Messenger. * 
 
 Guards, Attendants, &c. 
 
 The Scene is before the royal palace in Stenyclaros, the capital of Messenia. 
 In the foreground is the tomb of Cresphontes. The action commences at 
 day-break. 
 
MEROPE. 
 
 LAIAS. ^PYTUS. 
 
 LAIAS. 
 
 Son of Cresphontes, we have reacli'd the goal 
 Of our night-journey, and thou see'st thy home. 
 Behold thy heritage, thy father's realm ! 
 This is that fruitful, fam'd Messenian land. 
 Wealthy in corn and flocks, which, when at last 
 The late-relenting Gods with victory brought 
 The Heracleidee back to Pelops' isle. 
 Fell to thy father's lot, the second prize. 
 Before thy feet this recent city spreads 
 
 b2 
 
4 MEROPE. 
 
 Of Stenjclaros, wMcli he built, and made 
 
 Of liis fresh-conquer'd realm the royal seat. 
 
 Degrading Pylos from its ancient rule. 
 
 There stands the temple of thine ancestor, 
 
 Great Hercules ; and, in that public place, 
 
 Zeus hath his altar, where thy father fell. 
 
 Thence to the south, behold those snowy peaks, 
 
 Taygetus, Laconia's border -wall : 
 
 And, on this side, those confluent streams which 
 
 make 
 Pamisus watering the Messenian plain : 
 Then to the north, Lycaeus and the hills 
 Of pastoral Arcadia, where, a babe 
 Snatch'd from the slaughter of thy father's house, 
 Thy mother's kin receiv'd thee, and rear'd up. — 
 Our journey is well made, the work remains 
 Which to perform we made it ; means for that 
 Let us consult, before this palace sends 
 Its inmates on their daily tasks abroad. 
 Haste and advise, for day comes on apace. 
 
MEROPE. 
 
 ^PYTUS. 
 
 O brother of my mother, guardian true. 
 And second father from that hour when first 
 My mother's faithful servant laid me down, 
 An infant, at the hearth of Cypselus, 
 My grandfather, the good Arcadian king — 
 Thy part it were to advise, and mine to obey. 
 But let us keep that purpose, which, at home, 
 We judg'd the best ; chance finds no better way 
 Go thou into the city, and seek out 
 Whate'er in the Messenian city stirs 
 Of faithful fondness towards their former king 
 Or hatred to their present ; in this last 
 WiU lie, my grandsire said, our fairest chance. 
 For tyrants make man good beyond himself; 
 Hate to their rule, which else would die away, 
 Their daily-practis'd chafings keep alive. 
 Seek this ; revive, unite it, give it hope ; 
 Bid it rise boldly at the signal given. 
 Meanwhile within my father's palace I, 
 b3 
 
6 MEROPE. 
 
 An unknown guest, will enter, bringing word 
 
 Of mj own death ; but, Laias, Avell I hope 
 
 Through that pretended death to live and reign. 
 
 [The Chorus comes forth. 
 
 Softly, stand back ! — see, tow'rd the palace gates 
 
 What black procession slowly makes approach ? — 
 
 Sad-chanting maidens clad in mourning robes, 
 
 With pitchers in their hands, and fresh-pulfd flowers : 
 
 Doubtless, they bear them to my father's tomb. — 
 
 [Merope comes forth. 
 
 And see, to meet them, that one, grief-plung'd Form, 
 
 Severer, paler, statelier than they all, 
 
 A golden circlet on her queenly brow 
 
 O Laias, Laias, let the heart speak here ! 
 
 Shall I not greet her ? shall I not leap forth ? 
 
 [PoLTPHONTES comes forth, following Merope. 
 
 LAIAS. 
 
 Not so : thy heart would pay its moment's speech 
 
 By silence ever after ; for, behold ! 
 
 The King (I know him, even through many years) 
 
MEROPE. 7 
 
 Follows the issuing Queen, who stops, as call'd. 
 
 No lingering now ! straight to the city I : 
 
 Do thou, till for thine entrance to this house 
 
 The happy moment comes, lurk here unseen 
 
 Behind the shelter of thy father's tomb : 
 
 Remove yet further off, if aught comes near. 
 
 But, here while harbouring, on its margin lay. 
 
 Sole offering that thou hast, locks from thy head : 
 
 And fill thy leisure with an earnest prayer 
 
 To his avenging Shade, and to the Gods 
 
 Who under earth watch guilty deeds of men, 
 
 To guide our effort to a prosperous close. 
 
 [Laias goes out. Polyphontes, Merope, and The 
 Chorus come-forward. As they advance, ^pytus, 
 who at first conceals himself behind the tomb, moves 
 off the stage, 
 
 POLYPHONTES. (To The Chorus.) 
 Set down your pitchers, maidens ! and fall back ; 
 Suspend your melancholy rites awhile : 
 Shortly ye shaU resume them with your Queen — 
 
 B 4 
 
MEKOPE. 
 
 n 
 
 (To Merope.) 
 
 1 sought thee, Merope ; I find thee thus. 
 As I have ever found thee ; bent to keep, 
 By sad observances and public grief, 
 
 A mournful feud alive, which else would die. 
 I blame thee not, I do thy heart no wrong : 
 Thy deep seclusion, thine unyielding gloom, 
 Thine attitude of cold, estrang'd reproach. 
 These punctual funeral honours, year by year 
 Repeated, are in thee, I well believe, 
 Courageous, faithful actions, nobly dar*d. 
 But, Merope, the eyes of other men 
 Read in these actions, innocent in thee, 
 Perpetual promptings to rebellious hope. 
 War-cries to faction, year by year renew'd, 
 Beacons of vengeance, not to be let die. 
 And me, believe it, wise men gravely blame, 
 And ignorant men despise me, that I stand 
 Passive, permitting thee what course thou wilt. 
 Yes, the crowd mutters that remorseful fear 
 
 1 
 
MEEOPE. 
 
 And paralysing conscience stop my arm, 
 
 When it should pluck thee from thy hostile way. 
 
 All this I bear, for, what I seek, I know ; 
 
 Peace, peace is what I seek, and public calm : 
 
 Endless extinction of unhappy hates : 
 
 Union cemented for this nation's weal. 
 
 And even now, if to behold me here. 
 
 This day, amid these rites, this black-rob'd train, 
 
 Wakens, O Queen ! remembrance in thy heart 
 
 Too wide at variance with the peace I seek — 
 
 I will not violate thy noble grief. 
 
 The prayer I came to urge I will defer. 
 
 MEROPE. 
 
 This day, to-morrow, yesterday, alike 
 I am, I shall be, have been, in my mind 
 Towards thee ; towards thy silence as thy speech. 
 Speak, therefore, or keep silence, which thou wilt. 
 
10 MEROPE. 
 
 POLTPHONTES. 
 
 Hear me, then, speak ; and let this mournful day. 
 
 The twentieth anniversary of strife, 
 
 Henceforth be honour'd as the date of peace. 
 
 Yes, twenty years ago this day beheld 
 
 The king Cresphontes, thy great husband, fall : 
 
 It needs no yearly offerings at his tomb 
 
 To keep alive that memory in my heart ; 
 
 It lives, and, while I see the light, will live. 
 
 For we were kinsmen — more than kinsmen — friends 
 
 Together we had sprung, together liv'd ; 
 
 Together to this isle of Pelops came 
 
 To take the inheritance of Hercules ; 
 
 Together won this fair Messenian land — 
 
 Alas, that, how to rule it, was our broil ! 
 
 He had his counsel, party, friends — I mine ; 
 
 He stood by what he wish'd for — I the same ; 
 
 I smote him, when our wishes clash'd in arms ; 
 
 He had smit me, had he been swift as I. 
 
 But while I smote him, Queen, I honour'd him ; 
 
MEROPE. 1 1 
 
 Me, too, had he prevail' d, he had not scorn'd. 
 
 Enough of this ! — since then, I have maintain'd 
 
 The sceptre — not remissly let it fall — 
 
 And I am seated on a prosperous throne : 
 
 Yet still, for I conceal it not, ferments 
 
 In the Messenian people what remains 
 
 Of thy dead husband's faction ; vigorous once, 
 
 Now crush'd but not quite lifeless by his fall. 
 
 And these men look to thee, and from thy grief — 
 
 Something too studiously, forgive me, shown — 
 
 Infer thee their accomplice ; and they say 
 
 That thou in secret nurturest up thy son. 
 
 Him whom thou hiddest when thy husband fell, 
 
 To avenge that fall, and bring them back to power. 
 
 Such are their hopes — I ask not if by thee 
 
 Willingly fed or no — their most vain hopes ; 
 
 For I have kept conspiracy fast-chain'd 
 
 Till now, and I have strength to chain it still. 
 
 But, Merope, the years advance ; — I stand 
 
 Upon the threshold of old age, alone, 
 
12 MEROPE. 
 
 Always in arms, always in face of foes. 
 
 The long repressive attitude of rule 
 
 Leaves me austerer, sterner, than I would ; 
 
 Old age is more suspicious than the free 
 
 And valiant heart of youth, or manhood's firm, 
 
 Unclouded reason ; I would not decline 
 
 Into a jealous tyrant, scourg'd with fears, 
 
 Closing, in blood and gloom, his sullen reign. 
 
 The cares which might in me with time, I feel. 
 
 Beget a cruel temper, help me quell 
 
 The breach between our parties help me ciOse ; 
 
 Assist me to rule mildly : let us join 
 
 Our hands in solemn union, making friends 
 
 Our factions with the friendship of their chiefs. 
 
 Let us in marriage. King and Queen, unite 
 
 Claims ever hostile else ; and set thy son — 
 
 No more an exile fed on empty hopes. 
 
 And to an unsubstantial title heir. 
 
 But prince adopted by the will of power, 
 
 And future king — before this people's eyes. 
 
MEROPE. 13 
 
 Consider him ; consider not old hates : 
 
 Consider, too, this people, who were dear 
 
 To their dead king, thy husband — yea, too dear, 
 
 For that destroy'd him. Give them peace ; thou 
 
 can'st. 
 O Merope, how many noble thoughts. 
 How many precious feelings of man's heart, 
 How many loves, how many gratitudes, 
 Do twenty years wear out, and see expire ! 
 Shall they not wear one hatred out as well ? 
 
 MEROPE. 
 
 Thou hast forgot, then, who I am who hear, 
 
 And who thou art who speakest to me ? I 
 
 Am Merope, thy murder'd master's wife . . . 
 
 And thou art Polyphontes, first his friend, 
 
 And then . . . his murderer. These offending tears 
 
 That murder draws . . . this breach that thou would 'st 
 
 close 
 Was by that murder open'd . . . that one child 
 
14 MEEOPE. 
 
 (If still, indeed, he lives) wliom thou would'st seat 
 Upon a throne not thine to give, is heir 
 
 Because thou slew'st his brothers with their father 
 
 Who can patch union here ? . . . What can there be 
 But everlasting horror 'twixt us two. 
 Gulfs of estranging blood? . . . Across that chasm 
 Who can extend their hands ? . . . Maidens, take back 
 These offerings home ! our rites are spoil'd to-day. 
 
 POLTPHONTES. 
 
 Not so : let these Messenian maidens mark 
 
 The fear'd and blacken'd ruler of their race. 
 
 Albeit with lips unapt to self-excuse, 
 
 Blow off the spot of murder from his name. — 
 
 Murder I — but what is murder ? When a wretch 
 
 For private gain or hatred takes a life. 
 
 We call it murder, crush him, brand his name : 
 
 But when, for some great public cause, an arm 
 
 Is, without love or hate, austerely rais'd 
 
 Against a Power exempt from common checks. 
 
L 
 
 MEROPE. 15 
 
 Dangerous to all, to be but thus annull'd — 
 
 Banks any man with, murder such an act ? 
 
 With grievous deeds, perhaps ; with murder — no ! 
 
 Find then such cause, the charge of murder falls : 
 
 Be judge thyself if it abound not here, — 
 
 All know how weak the Eagle, Hercules, 
 
 Soaring from his death-pile on QEta, left 
 
 His puny, callow Eaglets ; and what trials — 
 
 Infirm protectors, dubious oracles 
 
 Construed awry, misplann'd invasions — us'd 
 
 Two generations of his offspring up ; 
 
 Hardly the third, with grievous loss, regain'd 
 
 Their fathers' realm, this isle, from Pelops nam'd. — 
 
 Who made that triumph, though deferr'd, secure ? 
 
 Who, but the kinsmen of the royal brood 
 
 Of Hercules, scarce Heracleidse less 
 
 Than they ? these, and the Dorian lords, whose king 
 
 ^gimius gave our outcast house a home 
 
 When Thebes, when Athens dar'd not ; who in arms 
 
 Thrice issued with us from their pastoral vales. 
 
16 MEROPE. 
 
 And shed their blood like water in our cause ?— 
 
 Such, were the dispossessors : of what stamp 
 
 Were they we dispossessed? — of us I speak, 
 
 Who to Messenia with thy husband came — 
 
 I speak not now of Argos, where his brother, 
 
 Not now of Sparta, where his nephews reign'd : — 
 
 What we found here were tribes of fame obscure. 
 
 Much turbulence, and little constancy, 
 
 Precariously rul'd by" foreign lords 
 
 From the ^olian stock of Neleus sprung, 
 
 A house once great, now dwindling in its sons. 
 
 Such were the conquer'd, such the conquerors : who 
 
 Had most thy husband's confidence ? Consult 
 
 His acts ; the wife he chose was — full of virtues — 
 
 But an Arcadian princess, more akin 
 
 To his new subjects than to us ; his friends 
 
 Were the Messenian chiefs ; the laws he fram'd 
 
 Were aim'd at their promotion, our decline ; 
 
 And, finally, this land, then half-subdued. 
 
 Which from one central city's guarded seat 
 
MEROPE. 17 
 
 As from a fastness in the rocks our scant 
 Handful of Dorian conquerors might have curb'd, 
 He parcell'd out in five confederate states, 
 Sowing his victors thinly through them all, 
 Mere prisoners, meant or not, among our foes. 
 If this was fear of them, it sham'd the king : 
 If jealousy of us, it sham'd the man. — . 
 Long we refrain'd ourselves, submitted long, 
 Construed his acts indulgently, rever'd, 
 Though found perverse, the blood of Hercules : 
 Reluctantly the rest ; but, against all, 
 One voice preach'd patience, and that voice was mine. 
 At last it reach'd us, that he, still mistrustful. 
 Deeming, as tyrants deem, our silence hate, 
 TJnadulating grief conspiracy, 
 Had to this city, Stenyclaros, call'd 
 A general assemblage of the realm. 
 With compact in that concourse to deliver, 
 For death, his ancient to his new-made friends. 
 Patience was thenceforth self-destruction. I, 
 C 
 
18 MEROPE. 
 
 I his chief kinsman, I his pioneer 
 
 And champion to the throne, I honouring most 
 
 Of men the line of Hercules, preferr'd 
 
 The many of that lineage to the one : 
 
 What his foes dar'd not, I, his lover, dar'd : 
 
 I, at that altar, where mid shouting crowds 
 
 He sacrific'd, our ruin in his heart, 
 
 To Zeus, before he struck his blow, struck mine : 
 
 Struck once, and aw'd his mob, and sav'd this realm. 
 
 Murder let others call this, if they will ; 
 
 I, self-defence and righteous execution. 
 
 MEROPE. 
 
 Alas, how fair a colour can his tongue, 
 Who self-exculpates, lend to foulest deeds. 
 Thy trusting lord didst thou, his servant, slay ; 
 Kinsman, thou slew'st thy kinsman; friend, thy friend; 
 This were enough j but let me tell thee, too. 
 Thou hadst no cause, as feign'd, in his misrule. 
 For ask at Argos, ask in Lacedsemon, 
 
MEROPE. 19 
 
 Whose people, when the Heracleidse came, 
 
 Were hunted out, and to Achaia fled, 
 
 Whether is better, to abide alone, 
 
 A wolfish band, in a dispeopled realm, 
 
 Or conquerors with conquer'd to unite 
 
 Into one puissant folk, as he design'd ? 
 
 These sturdy and unworn Messenian tribes. 
 
 Who shook the fierce Neleidse on their throne, 
 
 Who to the invading Dorians stretch'd a hand. 
 
 And half bestow'd, half yielded up their soil — 
 
 He would not let his savage chiefs alight, 
 
 A cloud of vultures, on this vigorous race ; 
 
 Ravin a little while in spoil and blood. 
 
 Then, gorg'd and helpless, be assail'd and slain. 
 
 He would have sav'd you from your furious selves. 
 
 Not in abhorr'd estrangement let you stand ; 
 
 He would have mix'd you with your friendly foes. 
 
 Foes dazzled with your prowess, well inclin'd 
 
 To reverence your lineage, more, to obey : 
 
 So would have built you, in a few short years, 
 
 C2 
 
20 MEROPE. 
 
 A just, therefore a safe, supremacy. 
 
 For well lie knew, what you, his chiefs, did not — 
 
 How of all human rules the over-tense 
 
 Are apt to snap ; the easy-stretch'd endure. — 
 
 gentle wisdom, little understood ! 
 
 O arts, above the vulgar tyrant's reach ! 
 
 O policy too subtle far for sense 
 
 Of heady, masterful, inj urious men ! 
 
 This good he meant you, and for this he died. 
 
 Yet not for this — else might thy crime in part 
 
 Be error deem'd — but that pretence is vain. 
 
 For, if ye slew him for suppos'd misrule, 
 
 Injustice to his kin and Dorian friends. 
 
 Why with the offending father did ye slay 
 
 Two unoffending babes, his innocent sons ? 
 
 Why not on them have plac'd the forfeit crown, 
 
 Rul'd in their name, and train 'd them to your will 
 
 Had they misrul'd ? had they forgot their friends ? 
 
 Forsworn their blood ? ungratefully had they 
 
 Preferr'd Messenian serfs to Dorian lords ? 
 
I 
 
 MEROPE. 21 
 
 No : but to thy ambition their poor lives 
 
 Were bar ; and this, too, was their father's crime. 
 
 That thou might'st reign he died, not for his fault 
 
 Even fancied ; and his death thou wroughtest chief. 
 
 For, if the other lords desir'd his fall 
 
 Hotlier than thou, and were by thee kept back, 
 
 Why dost thou only profit by his death ? 
 
 Thy crown condemns thee, while thy tongue absolves. 
 
 And now to me thou tenderest friendly league, 
 
 And to my son reversion to thy throne : 
 
 Short answer is sufficient ; league with thee. 
 
 For me I deem such impious ; and for him, 
 
 Exile abroad more safe than heirship here. 
 
 POLYPHONTES. 
 
 I ask thee not to approve thy husband's death, 
 No, nor expect thee to admit the grounds, 
 In reason good, which justified my deed : 
 With women the heart argues, not the mind. 
 But, for thy children's death, I stand assoil'd : 
 c 3 
 
22 MEROPE. 
 
 I sav'd them, meant them honour : but thy friends 
 Rose, and with fire and sword assailed my house 
 By night ; in that blind tumult they were slain. 
 To chance impute their deaths, then, not to me. 
 
 MEROPE. 
 
 Such chance as kill'd the father, kill'd the sons. 
 
 POLYPHONTES. 
 
 One son at least I spar'd, for still he lives. 
 
 MEROPE. 
 
 Tyrants think him they murder not they spare. 
 
 POLYPHONTES. 
 
 Not much a tyrant thy free speech displays me. 
 
 MEROPE. 
 
 Thy shame secures my freedom, not thy will. 
 
MEROPE. 23 
 
 POLYPHONTES. 
 
 Jhame rarely checks the genuine tyrant's will. 
 
 MEROPE. 
 
 )ne merit, then, thou hast : exult in that. 
 
 POLYPHONTES. 
 
 'hou standest out, I see, repellest peace. 
 
 MEROPE. 
 
 'hy sword repell'd it long ago, not I. 
 
 POLYPHONTES. 
 
 Doubtless thou reckonest on the hope of friends. 
 
 MEROPE. 
 
 Not help of men, although, perhaps, of Gods. 
 
 POLYPHONTES. 
 
 What Gods ? the Gods of concord, civil weal ? 
 C4 
 
24 MEROPE. 
 
 MEROPE. 
 
 No : the avenging Gods, who punish crime. 
 
 POLYPHONTES. 
 
 Beware ! from thee upbraidings I receive 
 With pity, nay, with reverence ; yet, beware I 
 I know, I know how hard it is to think 
 That right, that conscience pointed to a deed. 
 Where interest seems to have enjoin'd it too. 
 Most men are led by interest ; and the few 
 Who are not, expiate the general sin, 
 Involv'd in one suspicion with the base. 
 Dizzy the path and. perilous the way 
 Which in a deed like mine a just man treads. 
 But it is sometimes trodden, oh ! believe it. 
 Yet how canst thou believe it ? therefore thou 
 Hast all impunity. Yet, lest thy friends, 
 Embolden'd by my lenience, think it fear. 
 And count on like impunity, and rise, 
 And have to thank thee for a fall, beware ! 
 
MEROPE. 25 
 
 To rule this kingdom I intend : with sway 
 
 Clement, if may be, but to rule it : there 
 
 Expect no wavering, no retreat, no change. — 
 
 And now I leave thee to these rites, esteem'd 
 
 Pious, but impious, surely, if their scope 
 
 Be to foment old memories of wrath. 
 
 Pray, as thou pour'st libations on this tomb, 
 
 To be delivered from thy foster'd hate. 
 
 Unjust suspicion, and erroneous fear. 
 
 [PoLTPHONTES goes into the palace. The Chorus and 
 Merope approach the tomb with their offerings. 
 
 THE CHORUS. 
 
 Draw, draw near to the tomb. strophe. 
 
 Lay honey-cakes on its marge, 
 
 Pour the libation of milk. 
 
 Deck it with garlands of flowers. 
 
 Tears fall thickly the while ! 
 
 Behold, King, from the dark 
 
 House of the grave, what we do. 
 
26 MEROPE. 
 
 O Arcadian hills, ontistrophe. 
 
 Send us the Youth whom ye hide, 
 Girt with his coat for the chase, 
 With the low broad hat of the tann'd 
 Hunter o'er shadowing his brow : 
 Grasping firm, in his hand 
 Advanc'd, two javelins, not now 
 Dangerous alone to the deer. 
 
 MEKOPE. 
 
 What shall I bear, lost str. i. 
 
 Husband and King, to thy grave ? — 
 
 Pure libations, and fresh 
 
 Flowers ? But thou, in the gloom, 
 
 Discontented, perhaps, 
 
 Demandest vengeance, not grief ? 
 
 Sternly requirest a man. 
 
 Light to spring up to thy race ? 
 
MEROPE. 27 
 
 THE CHORUS. 
 
 Vengeance, Queen, is his due, str. 2. 
 
 His most just prayer : yet his race — 
 
 If that might soothe him below — 
 
 Prosperous, mighty, came back 
 
 In the third generation, the way 
 
 Order'd by Fate, to their home. 
 
 And now, glorious, secure, 
 
 Fill the wealth-giving thrones 
 
 Of their heritage, Pelops' isle. 
 
 MEROPE. 
 
 Suffering sent them. Death ' ant i . 
 
 March'd with them. Hatred and Strife 
 
 Met them entering their halls. 
 
 For from the day when the first 
 
 Heracleidag receiv'd 
 
 That Delphic hest to return. 
 
 What hath involv'd them but blind 
 
 Error on error, and blood ? 
 
28 MEROPE. 
 
 THE CHORUS. 
 
 Truly I hear of a Maid ' ant 2. 
 
 Of that stock bom, who bestow'd 
 
 Her blood that so she might make 
 
 Victory sure to her race, 
 
 When the fight hung in doubt : but she now, 
 
 Honour'd and sung of by all, 
 
 Far on Marathon plain 
 
 Gives her name to the spring 
 
 Macaria, blessed Child. 
 
 MEROPE. 
 
 She led the way of death. str. 3 
 
 And the plain of Tegea, 
 And the grave of Orestes — 
 Where, in secret seclusion 
 Of his unreveal'd tomb, 
 Sleeps Agamemnon's unhappy, 
 Matricidal, world-fam'd, 
 Seven-cubit-statur'd son — 
 
MEROPE. 29 
 
 Sent forth Ecliemus, the victor, the king, 
 
 By whose hand, at the Isthmus, 
 
 At the Fate-denied Straits, 
 
 Fell the eldest of the sons of Hercules 
 
 Hyllus, the chief of his house. — 
 
 Brother follow'd sister 
 
 The all-wept way. 
 
 THE CHORUS. 
 
 Yes ; but his son's seed, wiser-counsell'd, 
 Sail'd by the Fate-meant Gulf to their conquest ; 
 Slew their enemies' king, Tisamenus. 
 Wherefore accept that happier omen ! 
 Yet shall restorers appear to the race. 
 
 MEROPE. 
 
 Three brothers won the field, ant. s. 
 
 And to two did Destiny 
 
 Give the thrones that they conquer'd. 
 
 But the third, what delays him 
 
30 MEEOPE. 
 
 From his unattain'd crown ? . . . 
 
 Ah Pylades and Electra, 
 
 Ever faithful, untir'd, 
 
 Jealous, blood-exacting friends ! 
 
 Ye lie watching for the foe of your kin. 
 
 In the passes of Delphi, 
 
 In the temple-built gorge. — 
 
 There the youngest of the band of conquerors 
 
 Perish'd, in sight of the goal. 
 
 Grandson follow'd sire 
 
 The all-wept way. 
 
 THE CHORUS. 
 
 Thou tellest the fate of the last -^tr. 4. 
 
 Of the three Heracleidae. 
 
 Not of him, of Cresphontes thou shared'st the lot. 
 
 A king, a king was he while he liv'd, 
 
 Swaying the sceptre with predestin'd hand. 
 
 And now, minister lov'd. 
 
 Holds rule 
 
MEKOPE. 
 
 31 
 
 MEROPE. 
 
 Ah me . . . Ah 
 
 THE CHORUS. 
 
 For the awful Monarchs below. 
 
 MEROPE. 
 
 Thou touchest the worst of my ills. 
 
 Oh had he fallen of old 
 
 At the Isthmus, in fight with his foes, 
 
 By Achaian, Arcadian spear ! 
 
 Then had his sepulchre risen 
 
 On the high sea-bank, in the sight 
 
 Of either Gulf, and remain'd 
 
 All-regarded afar. 
 
 Noble memorial of worth 
 
 Of a valiant Chief, to his own. 
 
 str. 5. 
 
 THE CHORUS. 
 
 There rose up a cry in the streets 
 From the terrified people. 
 
 ani 4. 
 
32 IIEROPE. 
 
 I 
 
 From the altar of Zeus, from the crowd, came a 
 
 wail. 
 A blow, a blow was struck, and he fell, 
 Sullying his garment with dark-streaming blood : 
 While stood o'er him a Form — 
 Some Form 
 
 MEROPE. 
 
 Ah me . . .Ah . . , 
 
 THE CHORUS. 
 
 Of a dreadful Presence of fear. 
 
 MEROPE. 
 
 More piercing the second cry rang, ant. 5. 
 
 Wail'd from the palace within. 
 
 From the Children. . . . The Fury to them, 
 
 Fresh from their "father, draws near. 
 
 Ah bloody axe ! dizzy blows ! 
 
 In these ears, they thunder, they ring, 
 
 These poor ears, still: — and these eyes 
 
 Night and day see them fall. 
 
MEROPE. 66 
 
 Fiery phantoms of death, 
 
 On the fair, curl'd heads of my sons. 
 
 THE CHORUS. 
 
 Not to thee only hath come sir. 6. 
 
 Sorrow, Queen, of mankind. 
 
 Had not Electra to haunt 
 
 A palace defil'd by a death unaveng'd, 
 
 For years, in silence, devouring her heart ? 
 
 But her nursling, her hope, came at last. 
 
 Thou, too, rearest in joy, 
 
 Far 'mid Arcadian hills. 
 
 Somewhere, in safety, a nursling, a light. 
 
 Yet, yet shall Zeus bring him home ! 
 
 Yet shall he dawn on this land ! 
 
 MEROPE. 
 
 Him in secret, in tears, sir. 7. 
 
 Month after month, through the slow- dragging year, 
 Longing, listening, I wait, I implore. 
 But he comes not. What dell, 
 
 D 
 
n 
 
 34 MEROPE. 
 
 O Erymantlius ! from sight 
 
 Of his mother, which of thy glades^ 
 
 O Lyca3us ! conceals 
 
 The happy hunter ? He basks 
 
 In youth's pure morning, nor thinks 
 
 On the blood -stain'd home of his birth. 
 
 THE CHORUS. 
 
 Give not thy heart to despair. ant 6. 
 
 No lamentation can loose 
 
 Prisoners of death from the grave : 
 
 But Zeus, who accounteth thy quarrel his own, 
 
 Still rules, still watches,, and numbers the hours 
 
 Till the sinner, the vengeance, be ripe. 
 
 Still, by Acheron stream, 
 
 Terrible Deities thron'd 
 
 Sit, and make ready the serpent, the scourge. 
 
 Still, still the Dorian boy, 
 
 Exil'd, remembers his home. 
 
 MEROPE. 
 
 Him if high-ruling Zeus ant. 7. 
 
I 
 
 MEROPE. 35 
 
 Bring to his mother, the rest I commit. 
 
 Willing, patient, to Zeus, to his care. 
 
 Blood I ask not. Enough 
 
 Sated, and more than enough, 
 
 Are mine eyes with blood. But if this, 
 
 my comforters ! strays 
 
 Amiss from Justice, the Gods 
 
 Forgive my folly, and work 
 
 What they will ! — but to me give my son ! 
 
 THE CHORUS. 
 
 Hear us and help us, Shade of our King ! str. 8, 
 
 MEROPE. 
 
 A return, O Father ! give to thy boy ! str. 9. 
 
 THE CHORUS. 
 
 Send an avenger, Gods of the dead ! ant 8. 
 
 MEROPE. 
 
 An avenger I ask not : send me my son ! ant 9., 
 
 d2 
 
36 MEROPE. 
 
 THE CHORUS. 
 
 O Queen, for an avenger to appear, 
 Thinking that so I pray'd aright, I pray'd : 
 If I pray'd wrongly, I revoke the prayer. 
 
 MEROPE. 
 
 Forgive me, maidens, if I seem too slack 
 In calling vengeance on a murderer's head. 
 Impious I deem the alliance which he asks ; 
 Requite him words severe, for seeming kind ; 
 And righteous, if he falls, I count his fall. 
 With this, to those unbrib'd inquisitors, 
 Who in man's inmost bosom sit and j udge, 
 The true avengers these, I leave his deed, 
 By him shown fair, but, I believe, most fouL 
 If these condemn him, let them pass his doom ! 
 That doom obtain effect, from Gods or men ! 
 So be it ! yet will that more solace bring 
 To the chaf 'd heart of Justice than to mine. — 
 To hear another tumult in these streets, 
 
MEEOPE. 
 
 37 
 
 fTo have another murder in these halls, 
 To see another mighty victim bleed — 
 • There is small comfort for a woman here. 
 A woman, O my friends, has one desire — 
 To see secure, to live with, those she loves. 
 Can Vengeance give me back the murdered ? no ! 
 Can it bring home my child ? Ah, if it can, 
 I pray the Furies' ever-restless band. 
 And pray the Gods, and pray the all-seeing Sun — 
 " Sun, who careerest through the height of Heaven, 
 When o'er the Arcadian forests thou art come. 
 And seest my stripling hunter there afield. 
 Put tightness in thy gold-embossed rein. 
 And check thy fiery steeds, and, leaning back, 
 Throw him a pealing word of summons down. 
 To come, a late avenger, to the aid 
 Of this poor soul who bore him, and his sire." 
 If this will bring him back, be this my prayer ! — 
 But Vengeance travels in a dangerous way, 
 d3 
 
38 
 
 MEROPE. 
 
 Double of issue, full of pits and snares 
 
 For all who pass, pursuers and pursued — 
 
 That way is dubious for a mother's prayer. 
 
 Rather on thee I call, Husband belov'd ! — 
 
 May Hermes, herald of the dead, convey 
 
 Mj words below to thee, and make thee hear. — 
 
 Bring back our son ! if may be, without blood ! 
 
 Install him in thy throne, still without blood ! 
 
 Grant him to reign there wise and just like thee, 
 
 More fortunate than thee, more fairly judged ! 
 
 This for our son : and for myself I pray. 
 
 Soon, having once beheld him, to descend 
 
 Into the quiet gloom, where thou art now. 
 
 These words to thine indulgent ear, thy wife, 
 
 I send, and these libations pour the while. 
 
 [ They make their offerings at the tomb. Merope 
 then goes towards the palace. 
 
 THE CHOEUS. 
 
 The dead hath now his oiFerings duly paid. 
 But whither go'st thou hence, O Queen, away ? 
 
I 
 
 MEROPE. 39 
 
 MEROPE. 
 
 To receive Areas, who to-day should come, 
 Bringing me of my boy the annual news. 
 
 THE CHORUS. 
 
 No certain news if like the rest it run. 
 
 MEROPE. 
 
 Certain in this, that 'tis uncertain still. 
 
 THE CHORUS. 
 
 What keeps him in Arcadia from return ? 
 
 MEROPE. 
 
 His grandsire and his uncles fear the risk. 
 
 THE CHORUS. 
 
 Of what ? it lies with them to make risk none. 
 
 MEROPE, 
 
 Discovery of a visit made by stealth. 
 d4 
 
I 
 
 40 
 
 MEROPE. 
 
 THE CHORUS. 
 
 With arms then they should send him, not by stealth. 
 
 MEROPE. 
 
 With arms they dare not, and by stealth they fear. 
 
 THE CHORUS. 
 
 I doubt their caution little suits their ward, 
 
 MEROPE. 
 
 The heart of youth I know ; that most I fear. 
 
 THE CHORUS. 
 
 I augur thou wilt hear some bold resolve. 
 
 MEROPE. 
 
 I dare not wish it; but, at least, to hear 
 That my son still survives, in health, in bloom ; 
 To hear that still he loves, still longs for, me ; 
 Yet, with a light uncareworn spirit, turns 
 
MEROPE. 41 
 
 Quick from distressful thought, and floats in joy — 
 Thus much from Areas, my old servant true, 
 Who sav'd him from these murderous halls a babe, 
 And since has fondly watch'd him night and day 
 Save for this annual charge, I hope to hear. 
 If this be all, I know not ; but I know, 
 These many years I live for this alone. 
 
 [Merope goes in. 
 
 THE CHOEUS. 
 
 Much is there which the Sea str. l. 
 
 Conceals from man, who cannot plumb its depths. 
 
 Air to his unwing'd form denies a way. 
 
 And keeps its liquid solitudes unscal'd. 
 
 Even Earth, whereon he treads. 
 
 So feeble is his march, so slow, 
 
 Holds countless tracts untrod. 
 
 But, more than all unplumb'd, ant i. 
 
 Unscal'd, untrodden, is the heart of Man. 
 
42 MEKOPE. 
 
 More than all secrets liid, the way it keeps. 
 Nor any of our organs so obtuse, 
 Inaccurate, and frail, 
 As those with which we try to test 
 Feelings and motives there. 
 
 Yea, and not only have we not explor'd str. 2. 
 
 That wide and various world, the heart of others. 
 But even our own heart, that narrow world 
 Bounded in our own breast, we hardly know, 
 Of our own actions dimly trace the causes. 
 Whether a natural obscureness, hiding 
 That region in perpetual cloud, 
 Or our own want of effort, be the bar. 
 
 Therefore — while acts are from their motives 
 judg'd, ant. 2, 
 
 And to one act many most unlike motives. 
 This pure, that guilty, may have each impell'd — 
 Power fails us to try clearly if that cause 
 Assign'd us by the actor be the true one : 
 
MEROPE. 43 
 
 Power fails the man himself to fix distinctly 
 The cause which drew him to his deed, 
 And stamp himself, thereafter, bad or good. 
 
 The most are bad^ wise men have said. str. 3. 
 
 Let the best rule, they say again. 
 
 The best, then, to dominion have the right. 
 
 Rights unconceded and denied. 
 
 Surely, if rights, may be by force asserted — 
 
 May be, nay should, if for the general weal. 
 
 The best, then, to the throne may carve his way, 
 
 And hew opposers down, 
 
 Free from all guilt of lawlessness, 
 
 Or selfish lust of personal power : 
 
 Bent only to serve Virtue, 
 
 Bent to diminish wrong. 
 
 And truly, in this ill-rul'd world, ant, 3, 
 
 Well sometimes may the good desire 
 To give to Virtue her dominion due. 
 
44 MEEOPE. 
 
 Well may they long to interrupt 
 
 The reign of Folly, usurpation ever, 
 
 Though fenc'd by sanction of a thousand years. 
 
 Well thirst to drag the wrongful ruler down. 
 
 Well purpose to pen back 
 
 Into the narrow path of right, 
 
 The ignorant, headlong multitude. 
 
 Who blindly follow ever 
 
 Blind leaders, to their bane. 
 
 But who can say, without a fear, str. 4. 
 
 That best, who ought to rule, am /; 
 
 The mob, who ought to obey, are these; 
 
 I the one righteous, they the many bad ? — 
 
 Who, without check of conscience, can aver 
 
 That he to power makes way by arms. 
 
 Sheds blood, imprisons, banishes, attaints, 
 
 Commits all deeds the guilty oftenest do. 
 
 Without a single guilty thought, 
 
 Arm'd for right only, and the general good ? 
 
MEKOPE. 45 
 
 Therefore, with censure unallay'd, ant 4. 
 
 Therefore, with unexcepting ban, 
 
 Zeus and pure-thoughted Justice brand 
 
 Imperious self-asserting Violence. 
 
 Sternly condemn the too bold man, who dares 
 
 Elect himself Heaven's destin'd arm. 
 
 And, knowing well man's inmost heart infirm, 
 
 However noble the committer be. 
 
 His grounds however specious shown. 
 
 Turn with averted eyes from deeds of blood. 
 
 Thus, though a woman, I was schooled 
 
 By those whom I revere. 
 
 Whether I learnt their lessons well. 
 
 Or, having learnt them, well apply 
 
 To what hath in this house befall'n. 
 
 If in the event be any proof. 
 
 The event will quickly show. 
 
46 • MEEOPE. 
 
 [^PTTUS comes in. 
 ^PYTUS. 
 Maidens, assure me if they told me true 
 Who told me that the royal house was here. 
 
 THE CHORUS. 
 
 Rightly they told thee, and thou art arriv'd. 
 
 iEPTTUS. 
 
 Here, then, it is, where Polyphontes dwells ? 
 
 THE CHORUS. 
 
 He doth : thou hast both house and master right. 
 
 ^PYTUS. 
 
 Might some one straight inform him he is sought ? 
 
 THE CHORUS, 
 
 liiform him that thyself, for here he comes. 
 
MEROPE. 47 
 
 [PoLYPHONTES comes forth, with Attendants arid Guards. 
 ^PYTUS. 
 
 King, all hail ! I come with weighty news : 
 Most likely, grateful ; but, in all case, sure. 
 
 POLYPHONTES. 
 
 Speak them, that I may judge their kind myself. 
 
 I 
 
 T ^PYTUS. 
 
 Accept them, in one word, for good or bad : 
 ^pytus, the Messenian prince, is dead ! 
 
 POLYPHONTES. 
 
 Dead! — and when died he? where? and by what 
 P hand ? 
 
 And who art thou, who bringest me such news ? 
 
 I 
 
 ^PYTUS. 
 
 He perish'd in Arcadia, where he liv'd 
 With Cypselus ; and two days since he died. 
 One of the train of Cypselus am I. 
 
48 MEROPE. 
 
 POLYPHONTES. 
 
 Instruct me of the manner of his death. 
 
 JEPYTUS. 
 
 That will I do, and to this end I came. 
 
 For, being of like age, of birth not mean, 
 
 The son of an Arcadian noble, I 
 
 Was chosen his companion from a boy ; 
 
 And on the hunting-rambles which his heart. 
 
 Unquiet, drove him ever to pursue, 
 
 Through all the lordships of the Arcadian dales. 
 
 From chief to chief, I wander'd at his side. 
 
 The captain of his squires, and his guard. 
 
 On such a hunting-journey, three morns since. 
 
 With beaters, hounds, and huntsmen, he and I 
 
 Set forth from Tegea, the royal town. 
 
 The prince at start seem'd sad, but his regard 
 
 Clear'd with blithe travel and the morning air. 
 
 We rode from Tegea, through the woods of oaks, 
 
 Past Arne spring, where Ehea gave the babe 
 
MEROPE. 49 
 
 Poseidon to the sheplierd-boys to hide 
 
 From Saturn's search among the new-yean'd lambs, 
 
 To Mantinea, with its unbak'd walls ; 
 
 Thence, by the Sea- God's Sanctuary, and the tomb 
 
 Whither from wintry Maenalus were brought 
 
 The bones of Areas, whence our race is nam'd. 
 
 On, to the marshy Orchomenian plain, 
 
 And the Stone CofBns ; — then, by Caphyse Cliffs, 
 
 To Pheneos with its craggy citadel. 
 
 There, with the chief of that hill-town, we lodg'd 
 
 One night ; and the next day, at dawn, far'd on 
 
 By the Three Fountains and the Adder's Hill 
 
 To the Stymphalian Lake, our journey's end, 
 
 To draw the coverts on Cyllene's side. 
 
 There, on a grassy spur which bathes its root 
 
 Far in the liquid lake, we sate, and drew 
 
 Gates from our hunters' pouch, Arcadian fare. 
 
 Sweet chestnuts, barley-cakes, and boar's-flesh dried : 
 
 And as we ate, and rested there, we talk'd 
 
 Of places we had pass'd, sport we had had, 
 
 E 
 
50 MEROPE. 
 
 ^ 
 
 Of beasts of chase that haunt the Arcadian hills, 
 
 Wild hog, and bear, and mountain-deer, and roe : 
 
 Last, of our quarters with the Arcadian chiefs. 
 
 For courteous entertainment, welcome warm, 
 
 Sad, reverential homage, had our prince 
 
 From all, for his great lineage and his woes : 
 
 All which he own'd, and prais'd with grateful mind. 
 
 But still over his speech a gloom there hung, 
 
 As of one shadow'd by impending death ; 
 
 And strangely, as we talk'd, he would apply 
 
 The story of spots mention'd to his own : 
 
 Telling us, Arne minded him, he too 
 
 Was sav'd a babe, but to a life obscure. 
 
 Which he, the seed of Hercules, dragg'd on 
 
 Inglorious, and should drop at last unknown, 
 
 Even as those dead unepitaph'd, who lie 
 
 In the stone coffins at Orchomenus. 
 
 And, then, he bade remember how we pass'd 
 
 The Mantinean Sanctuary, forbid 
 
 To foot of mortal, where his ancestor, 
 
MEROPE. 51 
 
 Nam'd iEpytus like him, having gone in, 
 Was blinded by the outgushing springs of brine. 
 Then, turning westward to the Adder's Hill — 
 Another ancestor, nam'd, too, like me, 
 Died of a snake-bite, said he, 07i that brow : 
 Still at his mountain tomb men marvel, built 
 Where, as life ebVd, his bearers laid him down. 
 So he play'd on ; then ended, with a smile — 
 This region is not happy for my race. 
 We cheer'd him ; but, that moment, from the copse 
 By the lake-edge, broke the sharp cry of hounds ; 
 The prickers shouted that the stag was gone : 
 We sprang upon our feet, we snatch'd our spears, 
 We bounded down the swarded slope, we plung'd 
 Through the dense ilex-thickets to the dogs. 
 Far in the woods ahead their music rang ; 
 And many times that morn we cours'd in ring 
 The forests round which belt Cyllene's side ; 
 Till I, thrown out and tired, came to halt 
 On the same spur where we had sate at morn. 
 
 E 2 
 
52 MEROPE. 
 
 And resting there to breathe, I saw below 
 
 Rare, straggling hunters, foil'd by brake and crag, 
 
 And the prince, single, pressing on the rear 
 
 Of that unflagging quarry and the hounds. 
 
 Now, in the woods far down, I saw them cross 
 
 An open glade ; now he was high aloft 
 
 On some tall scar fring'd with dark feathery pines, 
 
 Peering to spy a goat-track down the cliff. 
 
 Cheering with hand, and voice, and horn his dogs. 
 
 At last the cry drew to the water's edge — 
 
 And through the brushwood, to the pebbly strand, 
 
 Broke, black with sweat, the antler'd mountain stag, 
 
 And took the lake : two hounds alone pursued ; 
 
 Then came the prince — he shouted and plung'd in.— 
 
 There is a chasm rifted in the base 
 
 Of that unfooted precipice, whose rock 
 
 Walls on one side the deep Stymphalian Lake : 
 
 There the lake -waters, which in ages gone 
 
 Wash'd, as the marks upon the hills still show. 
 
 All the Stymphalian plain, are now suck'd down. 
 
I 
 
 MEROPE. 53 
 
 A headland, with one aged plane-tree crown'd, 
 Parts from the cave-pierc'd cliff the shelving bay 
 Where first the chase plung'd in : the bay is smooth, 
 But round the headland's point a current sets, 
 Strong, black, tempestuous, to the cavern-mouth. 
 Stoutly, under the headland's lee, they swam : 
 But when they came abreast the point, the race 
 Caught them, as wind takes feathers, whirl'd them 
 
 round 
 Struggling in vain to cross it, swept them on. 
 Stag, dogs, and hunter, to the yawning gulph. 
 All this, O King, not piecemeal, as to thee 
 Now told, but in one flashing instant pass'd : 
 While from the turf whereon I lay I sprang. 
 And took three strides, quarry and dogs were gone ; 
 A moment more — I saw the prince turn round 
 Once in the black and arrowy race, and cast 
 One arm aloft for help ; then sweep beneath 
 The low-brow'd cavern-arch, and disappear. 
 And what I could, I did — to call by cries 
 E 3 
 
54 MEEOPE. 
 
 Some straggling hunters to my aid, to rouse 
 
 Fisliers who live on the lake-side, to launch 
 
 Boats, and approach, near as we dar'd, the chasm. 
 
 But of the prince nothing remain' d, save this, 
 
 His boar-spear's broken shaft, back on the lake 
 
 Cast by the rumbling subterranean stream ; 
 
 And this, at landing spied by us and sav'd. 
 
 His broad-brimm'd hunter's hat, which, in the bay, 
 
 Where first the stag took water, floated still. 
 
 And I across the mountains brought with haste 
 
 To Cypselus, at Basilis, this news : 
 
 Basilis, his new city, which he now 
 
 Near Lycosura builds, Lycaon's town. 
 
 First city founded on the earth by men. 
 
 He to thee sends me on, in one thing glad 
 
 While all else grieves him, that his . grandchild's 
 
 death 
 Extinguishes distrust 'twixt him and thee. 
 But I from our deplor'd mischance learn this — 
 The man who to untimely death is doom'd, ,; 
 
MEROPE. 55 
 
 Vainly you hedge him from the assault of harm ; 
 He bears the seed of ruin in himself. 
 
 THE CHORUS. 
 
 So dies the last shoot of our royal tree ! 
 Who shall tell Merope this heavy news ? 
 
 POLTPHONTES. 
 
 Stranger, the news thou bringest is too great 
 For instant comment, having many sides 
 Of import, and in silence best receiv'd, 
 Whether it turn at last to joy or woe. 
 But thou, the zealous bearer, hast no part 
 In what it has of painful, whether now. 
 First heard, or in its future issue shown. 
 Thou for thy labour hast deserv'd our best 
 Refreshment, needed by thee, as I judge, 
 With mountain-travel and night-watching spent. — 
 To the guest-chamber lead him, some one ! give 
 All entertainment which a traveller needs, 
 e4 
 
56 MEROPE. 
 
 And such as fits a royal house to show : 
 
 To friends, still more, and labourers in our cause. 
 
 [Attendants conduct JEpttus within the palace. 
 
 THE CHORUS. 
 
 The youth is gone within ; alas ! he bears 
 
 A presence sad for some one through those doors. 
 
 POLTPHONTES. 
 
 Admire then, maidens, how in one short hour 
 The schemes, pursued in vain for twenty years. 
 Are by a stroke, though undesir'd, complete, 
 Crown'd with success, not in my way, but Heaven's ! 
 This at a moment, too, when I had urg'd 
 A last, long-cherish'd project, in my aim 
 Of concord, and been baffled with disdain. 
 Fair terms of reconcilement, equal rule, 
 I ofier'd to my foes, and they refus'd : 
 Worse terms than mine they have obtain'd from 
 Heaven. 
 
 1 
 
MEROPE. 57 
 
 Dire is this blow for Merope ; and I 
 Wish'd, truly wish'd, solution to our broil 
 Other than by this death : but it hath come ! 
 I speak no word of boast, but this I say, 
 A private loss here founds a nation's peace. 
 
 [POLTPHONTES yoes out. 
 
 THE CHOEUS. 
 
 Peace, who tarriest too long ; str.b. 
 
 Peace, with Delight in thy train ; 
 
 Come, come back to our prayer ! 
 
 Then shall the revel again 
 
 Visit our streets, and the sound 
 
 Of the harp be heard with the pipe. 
 
 When the flashing torches appear 
 
 In the marriage-train coming on, 
 
 With dancing maidens and boys : 
 
 While the matrons come to the doors, 
 
 And the old men rise from their bench, 
 
 When the youths bring home the bride. 
 
58 MEROPE. 
 
 Not decried by my voice ant. 
 
 He who restores thee shall be, 
 
 Not unfavour'd by Heaven. 
 
 Surely no sinner the man, 
 
 Dread though his acts, to whose hand 
 
 Such a boon to bring hath been given. 
 
 Let her come, fair Peace ! let her come ! 
 
 But the demons long nourish'd here, 
 
 Murder, Discord, and Hate, 
 
 In the stormy desolate waves 
 
 Of the Thracian Sea let her leave, 
 
 Or the howling outermost Main. 
 
 [Meeope comes forth. 
 
 MEROPE. 
 
 A whisper through the palace flies of one 
 
 Arriv'd from Tegea with weighty news ; 
 
 And I came, thinking to find Areas here. 
 
 Ye have not left this gate, which he must pass : 
 
 Tell me — hath one not come ? or, worse mischance. 
 
 Come, but been intercepted by the King ? 
 
MEEOPE. 59 
 
 THE CHORUS. 
 
 A messenger, sent from Arcadia here, 
 Arriv'd, and of the King had speech but now. 
 
 MEKOPEo 
 
 Ah me ! the wrong expectant got his news. 
 
 THE CHORUS. 
 
 The message brought was for the King design'd. 
 
 ■ MEROPE. 
 
 How so ? was Areas not the messenger ? 
 
 THE CHORUS. 
 
 A younger man, and of a different name. 
 
 MEROPE. 
 
 And what Arcadian news had he to tell ? 
 
 THE CHORUS. 
 
 Learn that from other lips, Queen, than mine. 
 
60 MEEOPE. 
 
 MEROPE. 
 
 He kept his tale, then, for the King alone ? 
 
 THE CHORUS. 
 
 His tale was meeter for that ear than thine. 
 
 MEROPE. 
 
 Why dost thou falter, and make half reply ? 
 
 THE CHORUS. 
 
 O thrice unhappy, how I groan thy fate ! 
 
 MEROPE. 
 
 Thou frightenest and confound'st me by thy words. 
 were but Areas come, all would be well ! 
 
 THE CHORUS. 
 
 If so, all's well : for look, the old man speeds 
 Up from the city tow'rds this gated hill. 
 
 [Arcas comes in. 
 
MEEOPE. 61 
 
 MEROPE. 
 
 Not with the failing breath and foot of age 
 
 My faithful follower comes. Welcome, old friend ! 
 
 AECAS. 
 
 Faithful, not welcome, when my tale is told. 
 that my over-speed and bursting grief 
 Had on the journey chok'd my labouring breath, 
 And lock'd my speech for ever in my breast ! 
 Yet then another man would bring this news. — 
 honour'd Queen, thy son, my charge, is gone. 
 
 THE CHORUS. 
 
 Too suddenly thou tellest such a loss. 
 
 Look up, Queen ! look up, O mistress dear ! 
 
 Look up, and see thy friends who comfort thee. 
 
 MEEOPE. 
 
 Ah . . . Ah . . . Ah me ! 
 
62 MEROPE. 
 
 THE CHORUS. 
 
 And I, too, say, ah me ! 
 
 ARCAS. 
 
 Forgive, forgive the bringer of such news ! 
 
 MEROPE. 
 
 Better from thine than from an enemy's tongue. 
 
 THE CHORUS. 
 
 And yet no enemy did this, Queen: 
 
 But the wit-baffling will and hand of Heaven. 
 
 ARCAS. 
 
 No enemy ! and what hast thou, then, heard ? 
 Swift as I came, hath Falsehood been before ? 
 
 THE CHORUS. 
 
 A youth arriv'd but now, the son, he said, 
 Of an Arcadian lord, our prince's friend, 
 
MEROPE. 63 
 
 Jaded with travel, clad in hunter's garb.. 
 
 He brought report that his own eyes had seen 
 
 The prince, in chase after a swimming stag, 
 
 Swept down a chasm broken in the cliiF 
 
 Which hangs o'er the Stjmphalian Lake, and drown'd. 
 
 ARCAS. 
 
 Ah me ! with what a foot doth Treason post, 
 While Loyalty, with all her speed, is slow ! 
 Another tale, I trow, thy messenger 
 For the King's private ear reserves, like this 
 In one thing only, that the prince is dead. 
 
 THE CPIORTJS. 
 
 And how then runs this true and private tale ? 
 
 ARCAS. 
 
 As much to the King's wish, more to his shame. 
 This young Arcadian noble, guard and mate 
 To ^pytus, the king seduc'd with gold, 
 
64 MEROPE. 
 
 And had him at the prince's side in leash, 
 Ready to slip on his unconscious prey. 
 He on a hunting party three days since, 
 Among the forests on Cyllene's side, 
 Perform'd good service for his bloody wage ; 
 The prince, his uncle Laias, whom his ward 
 Had in a father's place, he basely murder'd. 
 Take this for true, the other tale for feign'd. 
 
 THE CHORUS. 
 
 And this perfidious murder who reveal'd ? 
 
 AR'JAS. 
 
 The faithless murderer's own, no other tongue. 
 
 THE CHORUS. 
 
 Did conscience goad him to denounce himself ? 
 
 ARCAS. 
 
 To Cypselus at Basilis he brought 
 
 This strange unlikely tale, the prince was drown'd. 
 
I 
 
 I 
 
 MEROPE. 65 
 
 THE CHORUS. 
 
 But not a word appears of murder here. 
 
 ARCAS. 
 
 Examin'd close, he own'd this story false. 
 Then evidence came — his comrades of the hunt. 
 Who saw the prince and Laias last with him, 
 Never again in life — next, agents, fee'd 
 To ply 'twixt the Messenian king and him, 
 Spoke, and reveal'd that traffic, and the traitor. 
 So charg'd, he stood dumb-founder'd : Cypselus, 
 On this suspicion, cast him into chains. 
 Thence he escap'd — and next I find him here. 
 
 THE CHORUS. 
 
 His presence with the King, thou mean'st, implies 
 
 ARCAS. 
 
 He comes to tell his prompter he hath sped. 
 
66 MEROPE. 
 
 THE CHORUS. 
 
 Still he repeats the drowning story here. 
 
 ARCAS. 
 
 To thee — that needs no CEdipus to explain. ' 
 
 THE CHORUS. 
 
 Interpret, then ; for we, it seems, are dull. 
 
 ARCAS. 
 
 Your King desir'd the profit of his death, 
 
 Not the black credit of his murderer. 
 
 That sterji word " murder " had too dread a sound 
 
 For the Messenian hearts, who lov'd the prince. 
 
 THE CHORUS. 
 
 Suspicion grave I see, but no clear proof. 
 
 MEROPE. 
 
 Peace ! peace ! all's clear. — The wicked watch and 
 
 work 
 While the good sleep : the workers have the day. 
 
jLt MEKOPE. 67 
 
 He who was sent hath sped, and now comes back, 
 To chuckle with his sender o'er the game 
 Which foolish innocence plays with subtle guilt. 
 Ah ! now I comprehend the liberal grace 
 Of this far-scheming tyrant, and his boon 
 Of heirship to his kingdom for my son : 
 He had his murderer ready, and the sword 
 Lifted, and that unwish'd-for heirship void — 
 A tale, meanwhile, forg'd for his subjects' ears : 
 And me, henceforth sole rival with himself 
 In their allegiance, me, in my son's death-hour, 
 When all turn'd tow'rds me, me he would have shown 
 To my Messenians, dup'd, disarm' d, despis'd. 
 The willing sharer of his guilty rule, 
 All claim to succour forfeit, to myself 
 Hateful, by each Messenian heart abhorr'd. — 
 His offers I repelled — but what of that ? 
 If with no rage, no fire of righteous hate. 
 Such as ere now hath spurr'd to fearful deeds 
 Weak women with a thousandth part my wrongs, 
 
 I 
 
 F 2 
 
68 MEEOPE. 
 
 But calm, but unresentful, I endur'd 
 
 His offers, coldly heard them, cold repell'd ? 
 
 While all this time I bear to linger on 
 
 In this blood-delug'd palace, in whose halls 
 
 Either a vengeful Furj I should stalk, 
 
 Or else not live at all — but here I haunt, 
 
 A pale, unmeaning ghost, powerless to fright 
 
 Or harm, and nurse my longing for my son, 
 
 A helpless one, I know it : — but the Gods 
 
 Have temper'd me e'en thus ; and, in some souls. 
 
 Misery, which rouses others, breaks the spring. 
 
 And even now, my son, ah me 1 my son, 
 
 Fain would I fade away, as I have liv'd. 
 
 Without a cry, a struggle, or a blow. 
 
 All vengeance unattempted, and descend 
 
 To the invisible plains, to roam with thee. 
 
 Fit denizen, the lampless under-world 
 
 But with what eyes should I encounter there 
 My husband, wandering with his stern compeers, 
 Amphiaraos, or Mycense's king. 
 
» 
 
 MEKOPE. 69 
 
 Who led the Greeks to Ilium, Agamemnon, 
 Betray'd like him, but, not like him, aveng'd ? 
 Or with what voice shall I the questions meet 
 Of my two elder sons, slain long ago. 
 Who sadly ask me, what, if not revenge, 
 Kept mOj their mother, from their side so long ? 
 Or how reply to thee, my child, last-born, 
 Last-murder'd, who reproachfully wilt say — 
 Mother^ I well believ'd thou lived' st on 
 In the detested palace of thy foe. 
 With patience on thy face, death in thy heart, 
 Counting, till I grew up, the laggard years, 
 That our joint hands might then together pay 
 To one unhappy house the debt we owe. 
 My death makes my debt void, and doubles thine — 
 But down thoufleest here, and leav'st our scourge 
 Triumphant, and condemnest all our race 
 To lie in gloom for ever unappeas d. 
 What shall I have to answer to such words ? — 
 No, something must be dar'd ; and, great as erst 
 f3 
 
70 MEROPE. 
 
 Our dastard patience, be our daring now ! 
 Come, ye swift Furies, who to liim ye haunt 
 Permit no peace till your behests are done ; 
 Come Hermes, who dost watch the unjustly kill'd, 
 And can'st teach simple ones to plot and feign ; 
 Come, lightning Passion, that with foot of fire 
 Advancest to the middle of a deed 
 Almost before 'tis plann'd ; come, glowing Hate ; 
 Come, baneful Mischief, from thy murky den 
 Under the dripping black Tartarean cliff 
 Which Styx's awful waters trickle down — 
 Inspire this coward heart, this flagging arm ! 
 How say ye, maidens, do ye know these prayers ? 
 Are these words Merope's — is this voice mine ? 
 Old man, old man, thou had'st my boy in charge, 
 And he is lost, and thou hast that to atone. 
 Fly, find me on the instant where confer 
 The murderer and his impious setter-on : 
 And ye, keep faithful silence, friends, and mark 
 What one weak woman can achieve alone. 
 
I 
 
 MEEOPE. 71 
 
 ARCAS. 
 
 mistress, by the Gods, do nothing rash ! 
 
 MEEOPE. 
 
 Unfaithful servant, dost thou, too, desert me ? 
 
 AECAS. 
 
 1 go ! I go ! — yet. Queen, take this one word : 
 Attempting deeds beyond thy power to do. 
 Thou nothing profitest thy friends, but mak'st 
 Our misery more, and thine own ruin sure. 
 
 [Arcas goes out. 
 
 THE CHOEUS. 
 
 I have heard, Queen, how a prince, str, i. 
 
 Agamemnon's son, in Mycenae, 
 Orestes, died but in name, 
 Liv'd for the death of his foes. 
 
 F 4 
 
72 
 
 MEROPE. 
 
 Peace I 
 
 MEROPE. 
 
 THE CHORUS. 
 
 What is it ? 
 
 MEROPE. 
 
 Thou destroyest me t 
 
 THE CHORUS. 
 
 How ? 
 
 MEROPE. 
 
 Whispering hope of a life 
 Which no stranger unknown, 
 But the faithful servant and guard. 
 Whose tears warrant his truth, 
 Bears sad witness is lost. 
 
 Alas, 
 
 THE CHORUS. 
 
 Wheresoe'er men are, there is grief. 
 
 ant. 1. 
 
MEROPE. 73 
 
 In a thousand countries, a thousand 
 Homes, e'en now is there wail ; 
 Mothers lamenting their sons. 
 
 I 
 
 Yes 
 
 MEROPE. 
 
 THE CHORUS. 
 
 Thou knowest it ? 
 
 MEROPE. 
 
 This. 
 
 Who lives, witnesses. 
 
 THE CHORUS. 
 
 True. 
 
 MEROPE. 
 
 But, is it only a fate 
 Sure, all-common, to lose 
 
74 MEROPE. 
 
 In a land of friends, by a friend, 
 One last, murder-sav'd child ? 
 
 THE CHORUS. 
 
 Ah me ! sir, 2. 
 
 MEROPE. 
 
 Thou confessest the prize 
 
 In the rushing, thundering, mad, 
 
 Cloud-envelop'd, obscure, 
 
 Unapplauded, unsung 
 
 Race of calamity, mine ? 
 
 THE CHORUS. 
 
 None can truly claim that 
 Mournful preeminence, not 
 Thou. 
 
 MEROPE. 
 
 Fate gives it, ah me ! 
 
r 
 
 MEROPE. 75 
 
 THE CHOEUS. 
 
 Not, above all, in the doubts, 
 Double and clashing, that hang — 
 
 MEEOPE. 
 
 What then ? ant 2. 
 
 Seems it lighter, my loss, 
 
 If, perhaps, unpierc'd by the sword, 
 
 My child lies in a jagg'd 
 
 Sunless prison of rocks, 
 
 On the black wave borne to and fro ? 
 
 THE CHORUS. 
 
 Worse, far worse, if his friend, 
 If the Arcadian within, 
 If- 
 
 MEROPE (^with a start). 
 How say'st thou ? within ? . . . 
 
MEROPE. 
 
 THE CHORUS. 
 
 He in the guest-chamber now, 
 Faithlessly murder'd his friend. 
 
 MEROPE. 
 
 Ye, too, je, too, join to betray, then, 
 Your Queen ! 
 
 THE CHORUS. 
 
 What is this ? 
 
 MEROPE. 
 
 Ye knew, 
 O false friends ! into what 
 Haven the murderer had dropp'd ? 
 Ye kept silence ? 
 
 THE CHORUS. 
 
 Jn fear, 
 
MEEOPE. 77 
 
 lov'd mistress ! in fear, 
 Dreading thine over-wrought mood. 
 What I knew, I conceal'd. 
 
 MEROPE. 
 
 Swear by the Gods henceforth to obey me ! 
 
 THE CHORUS. 
 
 Unhappy one, what deed 
 Purposes thy despair ? 
 
 1 promise ; but I fear. 
 
 i 
 
 ^ MEROPE. 
 
 From the altar, the unaveng'd tomb, 
 
 Fetch me the sacrifice-axe ! 
 
 [The Chorus goes towards the tomb of Cresphontes, and 
 their leader brings back the axe. 
 
 Husband, cloth'd 
 
 With the grave's everlasting, 
 
 All-covering darkness ! O King, 
 
 Well monrn'd, but ill-aveng'd I 
 
MEROPE. 
 
 Approv'st thou thy wife now ? 
 
 The axe ! — who brings it ? 
 
 THE CHORUS. 
 
 'Tis here ! 
 But thy gesture, thy look. 
 Appals me, shakes me with awe. 
 
 MEROPE. 
 
 Thrust back now the bolt of that door ! 
 
 THE CHORUS. 
 
 Alas ! alas ! — ■ 
 
 Behold the fastenings withdrawn 
 Of the guest-chamber door ! — 
 Ah ! I beseech thee — with tears— 
 
 MEROPE. 
 
 Throw the door open 
 
 THE CHORUS. 
 
 'Tis done! 
 
MEEOPE. 79 
 
 [The door of the house is thrown open : the interior of the 
 guest-chamber is discovered, with ^pytus asleep on a couch. 
 
 MEROPE. 
 
 He sleeps — sleeps calm. ye all-seeing Gods ! 
 Thus peacefully do ye let sinners sleep, 
 While troubled innocents toss, and lie awake ? 
 What sweeter sleep than this could I desire 
 For thee, my child, if thou wert yet alive ? 
 How often have I dream'd of thee like this. 
 With thy soil'd hunting-coat, and sandals torn, 
 Asleep in the Arcadian glens at noon, 
 Thy head droop'd softly, and the golden curls 
 Clustering o'er thy white forehead, like a girl's ; 
 The short proud lip showing thy race, thy cheeks 
 Brown'd with thine open-air, free, hunter's life. 
 Ah me ! . . . 
 
 And where dost thou sleep now, my innocent boy ? — 
 In some dark fir-tree's shadow, amid rocks 
 Untrodden, on Cyllene's desolate side ; 
 
80 MEEOPE. 
 
 Where travellers never pass, where only come 
 Wild beasts, and vultures sailing overhead. 
 There, there thou liest now, my hapless child ! 
 Stretch'd among briars and stones, the slow, black 
 
 gore 
 Oozing through thy soak'd hunting-shirt, with limbs ' 
 Yet stark from the death-struggle, tight-clench'd 
 
 hands. 
 And eyeballs staring for revenge in vain. 
 Ah miserable ! . . . 
 
 And thou, thou fair-skinn'd Serpent ! thou art laid 
 In a rich chamber, on a happy bed, 
 In a king's house, thy victim's heritage ; 
 And drink'st untroubled slumber, to sleep off 
 The toils of thy foul service, till thou wake 
 Refresh'd, and claim thy master's thanks and gold. — 
 Wake up in hell from thine unhallow'd sleep, 
 Thou smiling Fiend, and claim thy guerdon there ! 
 Wake amid gloom, and howling, and the noise 
 Of sinners pinion'd on the torturing wheel, 
 
MEROPE. 81 
 
 I 
 
 And the stanch Furies' never-silent scourge. 
 
 And bid the chief-tormentors there provide 
 
 For a grand culprit shortly coming down. 
 
 Go thou the first, and usher in thy lord ! 
 
 A more just stroke than that thou gav'st my son, 
 
 Take 
 
 [Merope advances towards the sleeping ^pytus, with the 
 axe uplifted. At the ?ame moment Arc as returns. 
 
 ARCAS (to the Chorus). 
 Not with him to council did the King 
 Carry his messenger, but left him here. 
 Il \_Sees Merope and ^pytus. 
 
 Gods! . . . 
 
 I 
 
 W MEROPE. 
 
 Foolish old man, thou spoil's t my blow ! 
 
 ARCAS. 
 
 What do I see ? . . . 
 
82 
 
 MEROPE. 
 
 Therefore no words ! 
 
 MEROPE. 
 
 A murderer at death's door. 
 
 ARCAS. 
 
 A murderer ? . . . 
 
 MEROPE. 
 
 And a captive 
 To the dear next-of-kin of him he murder'd. 
 Stand, and let vengeance pass ! 
 
 ARCAS. 
 
 Hold, Queen, hold ! 
 Thou know'st not whom thou strik'st. ... 
 
 MEROPE. 
 
 I know his crime. 
 
 ARCAS. 
 
 Unhappy one I thou strik'st — 
 
MEROPE. 83 
 
 MEROPE. 
 
 A most just blow. 
 
 f 
 
 ARC AS. 
 
 No, bj the Gods, thou shiy'st- 
 
 MEROPE. 
 
 Stand off ! 
 
 ARCAS. 
 
 Thy son ! 
 
 MEROPE. 
 Ah ! . . . . l^She lets the axe drop, and falls insensiblt. 
 
 ^PYTUS {awaking). 
 Who are these ? What shrill, ear-piercing scream 
 Wakes me thus kindly from the perilous sleep 
 Wherewith fatigue and youth had bound mine eyes, 
 Even in the deadly palace of my foe ? — 
 Areas ! Thou here ? 
 
84 MEROPE. 
 
 AKCAS (emhracing him). 
 
 O my dear master ! O 
 My child, my charge belov'd, welcome to life ! 
 As dead we held thee, mourn'd for thee as dead. 
 
 -^PYTUS. 
 
 In word I died, that I in deed might live. 
 But who are these ? 
 
 ARCAS. 
 
 Messenian maidens, friends. 
 
 ^PYTUS. 
 
 And, Areas ! — but I tremble ! 
 
 ARCAS. 
 
 Boldly ask. 
 
 ^PYTUS. 
 
 That black-rob'd, swooning figure ? . . . 
 
MEROPE. 85 
 
 
 
 ARCAS. 
 
 
 
 
 
 
 ^ 
 
 Merope. 
 
 ^PYTUS. 
 
 
 
 
 
 mother ! 
 
 ^ mother ! 
 
 MEROPE. 
 
 
 
 
 
 
 
 Who upbraids 
 
 me 
 
 ? Ah 
 
 Iseeing 
 
 } 
 
 the 
 
 axe. 
 
 
 
 ^PYTUS. 
 
 
 
 
 
 Upbraids thee ? no one. 
 
 
 
 
 
 MEROPE 
 
 Thou dost well : but take . . . 
 
 ^PYTUS. 
 
 What wav'st thou oiF ? 
 
 MEROPE. 
 
 That murderous axe away ! 
 g3 
 
86 SIEROPE. 
 
 ^PTTUS. 
 
 Thy son is here. 
 
 MEROPE. 
 
 One said so, sure, but now. 
 
 ^PTTUS. 
 
 Here, here thou hast him ! 
 
 MEROPE. 
 
 Slaughter'd by this hand I 
 
 ^PYTUS. 
 
 No, by the Gods, ahve and like to live ! 
 
 MEROPE. 
 
 What, thou ? — I dream 
 
 ^PYTUS. 
 
 May'st thou dream ever so ! 
 
MEROPE. b (, 
 
 MEROPE (^advancing towards hirn). 
 My child ? unhurt ? . . . 
 
 ^PYTUS. 
 
 Only by overjoy. 
 
 MEROPE. 
 
 Art thou, then, come ? . . .' 
 
 JEPYTUS. 
 
 Never to part again. 
 \_They fall into one another'' s arms. Then Merope, holding 
 j^PYTUs by the hand, turns to The Chorus. 
 
 MEROPE. 
 
 O kind Messenian maidens, O my friends, 
 Bear witness, see, mark well, on what a head 
 My first stroke of revenge had nearly fallen ! 
 
 THE CHORUS. 
 
 We see, dear mistress : and we say, the Gods, 
 As hitherto they kept him, keep him now. 
 
 G4 
 
88 MEROPE. 
 
 MEROPE. 
 
 my son ! str^ 
 
 1 have, I have thee .... the years 
 Fly back, my child ! and thou seem'st 
 Ne'er to have gone from these eyes, 
 Never been torn from this breast. 
 
 ^PTTUS. 
 
 Mother, my heart runs over : but the time 
 Presses me, chides me, will not let me weep. 
 
 MEROPE. 
 
 Fearest thou now ? 
 
 ^PYTUS. 
 
 I fear not, but I think on my design. 
 
 MEROPE. 
 
 At the undried fount of this breast, 
 A babe, thou smilest again. 
 
I 
 
 MEROPE. 89 
 
 Thy brothers play at my feet, 
 Early-slain innocents ! near, 
 Thy kind-speaking father stands. 
 
 ^PYTUS. 
 
 Remember, to revenge his death I come ! 
 
 MEEOPE. 
 
 Ah , . . revenge ! a?**- 
 
 That word ! it kills me ! I see 
 Once more roll back on my house. 
 Never to ebb, the accurs'd 
 All-flooding ocean of blood. 
 
 JEPYTUS. 
 
 Mother, sometimes the justice of the Gods 
 Appoints the way to peace through shedding blood. 
 
 MEROPE. 
 
 Sorrowful peace ! 
 
1 
 
 90 MEROPE. 
 
 ^PTTUS. 
 
 And yet the only peace to us allow'd. 
 
 MEROPE. 
 
 From the first-wrought vengeance is born 
 
 A long succession of crimes. 
 
 Fresh blood flows, calling for blood : 
 
 Fathers, sons, grandsons, are all 
 
 One death-dealing vengeful train. 
 
 iEPTTTJS. 
 
 Mother, thy fears are idle : for I come 
 
 To close an old wound, not to open new. 
 
 In all else willing to be taught, in this 
 
 Instruct me not ; I have my lesson clear. — 
 
 Areas, seek out my uncle Laias, now 
 
 Concerting in the city with our friends ; 
 
 Here bring him, ere the king come back from 
 
 council : 
 That, how to accomplish what the Gods enjoin, 
 
MEROPE, 91 
 
 And the slow -ripening time at last prepares, 
 We two with thee, my mother, may consult : 
 For whose help dare I count on if not thine ? 
 
 P ■■ MEROPE. 
 
 Approves my brother Laias this design ? 
 
 ^PYTUS. 
 
 Yes, and alone is with me here to share. 
 
 MEROPE. 
 
 And what of thine Arcadian mate, who bears 
 Suspicion from thy grandsire of thy death, 
 For whom, as I suppose, thou passest here ? 
 
 ^PYTUS. 
 
 Sworn to our plot he is : but, that surmise 
 Fix'd him the author of my death, I knew not. 
 
 MEROPE. 
 
 Proof, not surmise, shows him in commerce close 
 
92 MEROPE. 
 
 ^PYTUS. 
 
 With this Messenian tyrant — that I know. 
 
 MEROPE. 
 
 And entertain'st thou, child, such dangerous friends ? 
 
 ^PTTUS. 
 
 This commerce for my best behoof he plies. 
 
 MEROPE. 
 
 That thou may'st read thine enemy's counsel plain ? 
 
 uEPYTUS. 
 
 Too dear his secret wiles have cost our house. 
 
 MEROPE. 
 
 And of his leisure agent what demands he ? 
 
 ^PYTUS. 
 
 News of my business, pastime, temper, friends. 
 
k 
 
 MEROPE. 93 
 
 MEROPE. 
 
 His messages, then, point not to thy murder ? 
 
 iEPTTUS. 
 
 Not yet ; though such, no doubt, his final aim. 
 
 MEROPE. 
 
 And what Arcadian helpers bring'st thou here ? 
 
 ^PYTUS. 
 
 Laias alone ; no errand mine for crowds. 
 
 MEROPE. 
 
 On what relying, to crush such a foe ? 
 
 ^PTTUS. 
 
 One sudden stroke, and the Messenians' love. 
 
 MEROPE. 
 
 O thou long-lost, long seen in dreams alone, 
 But now seen face to face, my only child ! 
 
94 MEROPE. 
 
 Why wilt thou fly to lose as soon as found 
 My new-won treasure, thy beloved life ? 
 Or how expectest not to lose, who com'st 
 With such slight means to cope with such a foe ? 
 Thine enemy thou know'st not, nor his strength. 
 The stroke thou purposest is desperate, rash — 
 Yet grant that it succeeds ;° — thou hast behind 
 The stricken king a second enemy 
 Scarce dangerous less than him, the Dorian lords. 
 These are not now the savage band who erst 
 Follow'd thy father from their northern hills, 
 Mere ruthless and uncounsell'd tools of war, 
 Good to obey, without a leader nought. 
 Their chief hath train'd them, made them like him- 
 self. 
 Sagacious, men of iron, watchful, firm, 
 Against surprise and sudden panic proof : 
 Their master fall'n, these will not flinch, but band 
 To keep their master's power : thou wilt find 
 Behind his corpse their hedge of serried spears. 
 
» 
 
 MEROPE. 95 
 
 But, to match tliese, thou hast the people's love ? 
 
 On what a reed, mj child, thou leanest there ! 
 
 Knowest thou not how timorous, how unsure, 
 
 How useless an ally a people is 
 
 Against the one and certain arm of power ? 
 
 Thy father perish'd in this people's cause, 
 
 Perish'd before their eyes, yet no man stirr'd : 
 
 For years, his widow, in their sight I stand, 
 
 A never-changing index to revenge — 
 
 What help, what vengeance, at their hands have I ? — 
 
 At least, if thou wilt trust them, try them first : 
 
 Against the King himself array the host 
 
 Thou countest on to back thee 'gainst his lords : 
 
 First rally the Messenians to thy cause, 
 
 Give them cohesion, purpose, and resolve, 
 
 Marshal them to an army — then advance. 
 
 Then try the issue ; and not, rushing on 
 
 Single and friendless, throw to certain death 
 
 That dear-belov'd, that young, that gracious head. 
 
 Be guided, O my son ! spurn counsel not : 
 
96 MEROPE. 
 
 For know thou this, a violent heart hath been 
 Fatal to all the race of Hercules. 
 
 THE CHOKUS. 
 
 With sage experience she speaks ; and thou, 
 O ^pytus, weigh well her counsel given. 
 
 ^PYTUS. 
 
 Ill counsel, in my judgment, gives she here. 
 Maidens, and reads experience much amiss ; 
 Discrediting the succour which our cause 
 Might from the people draw, if rightly us'd : 
 Advising us a course which would, indeed. 
 If followed, make their succour slack and null. 
 A people is no army, train'd to fight, 
 A passive engine, at their general's will ; 
 And, if so us'd, proves, as thou say'st, unsure. 
 A people, like a common man, is dull, 
 Is lifeless, while its heart remains untouch'd ; 
 A fool can drive it, and a fly may scare : 
 
MEROPE. 97 
 
 When it admires and loves, its heart awakes ; 
 
 Then irresistibly it lives, it works : 
 
 A people, then, is an ally indeed ; 
 
 It is ten thousand fiery wills in one. 
 
 Now I, if I invite them to run risk 
 
 Of life for my advantage, and myself, 
 
 Who chiefly profit, run no more than they — 
 
 How shall I rouse their love, their ardour so ? 
 
 But, if some signal, unassisted stroke. 
 
 Dealt at my own sole risk, before their eyes. 
 
 Announces me their rightful prince return'd — ■ 
 
 The undegenerate blood of Hercules — 
 
 The daring claimant of a perilous throne — 
 
 How might not such a sight as this revive 
 
 Their loyal passion tow'rd my father's house ? 
 
 Electrify their hearts ? make them no more 
 
 A craven mob, but a devouring fire ? 
 
 Then might I use them, then, for one who thus 
 
 Spares not himself, themselves they will not spare. 
 
 H 
 
98 MEROPE. 
 
 Haply, had but one daring soul stood forth 
 
 To rally them and lead them to revenge, 
 
 When my great father fell, they had replied : — 
 
 Alas ! our foe alone stood forward then. 
 
 And thou, my mother, hadst thou made a sign — 
 
 Hadst thou, from thy forlorn and captive state 
 
 Of widowhood in these polluted halls. 
 
 Thy prison-house, rais'd one imploring cry — 
 
 Who knows but that avengers thou hadst found ? 
 
 But mute thou sat'st, and each Messenian heart 
 
 In thy despondency desponded too. 
 
 Enough of this ! — though not a finger stir 
 
 To succour me in my extremest need ; 
 
 Though all free spirits in this land be dead, 
 
 And only slaves and tyrants left alive — 
 
 Yet for me, mother, I had liefer die 
 
 On native ground, than drag the tedious hours 
 
 Of a protected exile any more. 
 
 Hate, duty, interest, passion call one way : 
 
 Here stand I now, and the attempt shall be. 
 
MEEOPE. 99 
 
 THE CHORUS. 
 
 Prudence is on the other side ; but deeds 
 Condemn'd by prudence have sometimes gone well. 
 
 MEROPE. 
 
 Not till the ways of prudence all are tried, 
 And tried in vain, the turn of rashnefs comes. 
 Thou leapest to thy deed, and hast not ask'd 
 Thy kinsfolk and thy father's friends for aid. 
 
 ^PYTUS. 
 
 And to what friends should I for aid apply ? 
 
 MEROPE. 
 
 The royal race of Temenus, in Argos 
 
 -^PYTUS. 
 
 That house, like ours, intestine murder maims. 
 
 MEROPE. 
 
 Thy Spartan cousins, Procles and his brother- 
 h2 
 
100 
 
 MEROPE. 
 
 ^PYTUS. 
 
 Love a won cause, but not a cause to win. 
 
 MEROPE. 
 
 My father, then, and his Arcadian chiefs. 
 
 ' ^PTTUS. 
 
 Mean still to keep aloof from Dorian broil. 
 
 MEROPE. 
 
 Wait, then, until sufficient help appears. 
 
 ^PTTUS. 
 
 Orestes in Mycenae had no more. 
 
 MEROPE. 
 
 He to fulfil an order rais'd his hand. 
 
 w^EPYTUS. 
 
 What order more precise had he than I ? 
 
MEROPE. 101 
 
 MEKOPE. 
 
 Apollo peal'd it from his Delphian cave. 
 
 ^PYTUS. 
 
 A mother's murder needed hest divine. 
 
 MEROPE. 
 
 He had a hest, at least, and thou hast none. 
 
 ^PYTUS. 
 
 The Gods command not where the heart speaks clear. 
 
 MEROPE. 
 
 Thou wilt destroy, I see, thyself and us. 
 
 ^PYTUS. 
 
 O suffering ! calamity ! how ten. 
 How twentyfold worse are ye, when your blows 
 Not only wound the sense, but kill the soul, 
 The noble thought, w^hich is alone the man ! 
 
 H 3 
 
102 
 
 MEEOPE. 
 
 That I, to-day returning, find myself 
 
 Orphan'd of both my parents — by his foes 
 
 My father, by your strokes my mother slain ! — 
 
 For this is not my mother, who dissuades, 
 
 At the dread altar of her husband's tomb, 
 
 His son from vengeance on his murderer ; 
 
 And not alone dissuades him, but compares 
 
 His just revenge to an unnatural deed, 
 
 A deed so awful, that the general tongue 
 
 Fluent of horrors, falters to relate it — 
 
 Of darkness so tremendous, that its author, 
 
 Though to his act empower'd, nay, impell'd. 
 
 By the oracular sentence of the Gods, 
 
 Fled, for years after, o'er the face of earth, 
 
 A frenzied wanderer, a God-driven man. 
 
 And hardly yet, some say, hath found a grave — 
 
 With such a deed as this thou matchest mine, 
 
 Which Nature sanctions, which the innocent blood 
 
 Clamours to find fulfill'd, which good men praise, 
 
 And only bad men joy to see undone ? 
 
MEROPE. 103 
 
 O honour'd father ! hide thee in thy grave 
 Deep as thou canst, for hence no succour comes ; 
 Since from thy faithful subjects what revenge 
 Canst thou expect, when thus thy widow fails ? 
 Alas ! an adamantine strength indeed, 
 Past expectation, hath thy murderer built : 
 For this is the true strength of guilty kings. 
 When they corrupt the souls of those they rule. 
 
 THE CHORUS. 
 
 Zeal makes him most unjust : but, in good time, 
 Here, as I guess, the noble Laias comes. 
 
 LAIAS. 
 
 Break off, break off your talking, and depart 
 Each to his post, where the occasion calls ; 
 Lest from the council-chamber presently 
 The King return, and find you prating here. 
 A time will come for greetings ; but to-day 
 The hour for words is gone, is come for deeds. 
 
 h4 
 
104 MEEOPE. 
 
 ^PTTUS. 
 
 princely Laias ! to what purpose calls 
 The occasion, if our chief confederate fails ? 
 My mother stands aloof, and blames our deed. 
 
 LAIAS. 
 
 My royal sister ? . . . but, without some cause, 
 
 1 know, she honours not the dead so ill. 
 
 MEKOPE, 
 
 Brother, it seems thy sister must present. 
 
 At this first meeting after absence long. 
 
 Not welcome, exculpation to her kin : 
 
 Yet exculpation needs it, if I seek, 
 
 A woman and a mother, to avert 
 
 Risk from my new-restor'd, my only son ? — 
 
 Sometimes, when he was gone, I wish'd him back, 
 
 Risk what he might ; now that I have him here, 
 
 Now that I feed mine eyes on that young face. 
 
 Hear that fresh voice, and clasp that gold lock'd head, 
 
\ 
 
 MEROPE. 105 
 
 I shudder, Laias, to commit my child 
 
 To Murder's dread arena, where I saw 
 
 His father and his ill-starr'd brethren fall : 
 
 I loathe for him the slippery way of blood ; 
 
 I ask if bloodless means may gain his end. 
 
 In me the fever of revengeful hate, 
 
 Passion's first furious longing to imbrue 
 
 Our own right hand in the detested blood 
 
 Of enemies, and count their dying groans — 
 
 If in this feeble bosom such a fire 
 
 Did ever burn — is long by time allay'd. 
 
 And I would now have Justice strike, not me. 
 
 Besides — for from my brother and my son 
 
 I hide not even this — the reverence deep, 
 
 Remorseful, tow'rd my hostile solitude, 
 
 By Polyphontes never fail'd-in once 
 
 Through twenty years ; his mournful anxious zeal 
 
 To efface in me the memory of his crime — 
 
 Though it efface not that, yet makes me wish 
 
 His death a public, not a personal act. 
 
106 MEKOPE. 
 
 Treacherously plotted 'twixt my son and me ; 
 To whom this day he came to proffer peace, 
 Treaty, and to this kingdom for my son 
 Heirship, with fair intent, as I believe : — 
 For that he plots thy death, account it false ; 
 
 [to iEPTTUS. 
 
 Number it with the thousand rumours vain. 
 Figments of plots, wherewith intriguers fill 
 The enforced leisure of an exile's ear : — 
 Immers'd in serious state-craft is the King, 
 Bent above all to pacify, to rule. 
 Rigidly, yet in settled calm, this realm ; 
 Not prone, all say, to useless bloodshed now. — 
 So much is due to truth, even tow'rds our foe. 
 
 [to Lai AS. 
 Do I, then, give to usurpation grace. 
 And from his natural rights my son debar ? 
 Not so : let him — and none shall be more prompt 
 Than I to help — raise his Messenian friends j 
 Let him fetch succours from Arcadia, gain 
 
MEROPE. 107 
 
 His Argive or his Spartan cousins' aid ; 
 
 Let him do this, do aught but recommence 
 
 Murder's uncertain, secret, perilous game — 
 
 And I, when to his righteous standard down 
 
 Flies Victory wing'd, and Justice raises then 
 
 Her sword, will be the first to bid it fall. 
 
 If, haply, at this moment, such attempt 
 
 Promise not fair, let him a little while 
 
 Have faith, and trust the future and the Gods. 
 
 He may — for never did the Gods allow 
 
 Fast permanence to an ill-gotten throne. — 
 
 These are but woman's words ; — yet, Laias, thou 
 
 Despise them not ! for, brother, thou, like me, 
 
 Wert not among the feuds of warrior- chiefs, 
 
 Each sovereign for his dear-bought hour, born ; 
 
 But in the pastoral Arcadia rear'd. 
 
 With Cypselus our father, where we saw 
 
 The simple patriarchal state of kings, 
 
 Where sire to son transmits the unquestion'd crown, 
 
 Unhack'd, unsmirch'd, unbloodied, and hast learnt 
 
108 MEROPE. 
 
 That spotless hands unshaken sceptres hold. 
 Having learnt this, then, use thy knowledge now. 
 
 THE CHORUS. 
 
 "Which way to lean I know not : bloody strokes 
 Are never free from doubt, though sometimes due. 
 
 LAIAS. 
 
 O Merope, the common heart of man 
 Agrees to deem some deeds so horrible, 
 That neither gratitude, nor tie of race. 
 Womanly pity, nor maternal fear, 
 Nor any pleader else, shall be indulg'd 
 To breathe a syllable to bar revenge. 
 All this, no doubt, thou to thyself hast urg'd — 
 Time presses, so that theme forbear I now : 
 Direct to thy dissuasions I reply. 
 Blood-founded thrones, thou say'st, are insecure ; 
 Our father's kingdom, because pure, is safe. 
 True ; but what cause to our Arcadia gives 
 
MEROPE. 109 
 
 Its privileg'd immunity from blood, 
 
 But that, since first the black and fruitful Earth 
 
 In the primeval mountain -forests bore 
 
 Pelasgus, our forefather and mankind's. 
 
 Legitimately sire to son, with us, 
 
 Bequeaths the allegiance of our shepherd-tribes, 
 
 More loyal, as our line continues more ? — 
 
 How can your Heracleidan chiefs inspire 
 
 This awe which guards our earth-sprung, lineal kings? 
 
 What permanence, what stability like ours, 
 
 Whether blood flows or no, can yet invest 
 
 The broken order of your Dorian thrones, 
 
 Fix'd yesterday, and ten times chang'd since then ? — 
 
 Two brothers, and their orphan nephews, strove 
 
 For the three conquer'd kingdoms of this isle : 
 
 The eldest, mightiest brother, Temenus, took 
 
 Argos: a juggle to Cresphontes gave 
 
 Messenia : to those helpless Boys, the lot 
 
 Worst of the three, the stony Sparta, fell. 
 
 August, indeed, was the foundation here ! 
 
1 10 MEROPE. 
 
 What followed ? — His most trusted kinsman slew 
 Cresphontes in Messenia ; Temenus 
 Perish'd in Argos by Ms jealous sons ; 
 The Spartan Brothers with their guardian strive:- 
 Can houses thus ill-seated — thus embroil'd — 
 Thus little founded in their subjects' love, 
 Practise the indulgent, bloodless policy 
 Of dynasties long-fix'd, and honour'd long ? 
 No ! Vigour and severity must chain 
 Popular reverence to these recent lines ; 
 If their first-founded order be maintain'd — 
 Their murder'd rulers terribly aveng'd — 
 Ruthlessly their rebellious subjects crush' d. — 
 Since policy bids thus, what fouler death 
 Than thine illustrious husband's to avenge 
 Shall we select ? — than Polyphontes, what 
 More daring and more grand offender find ? 
 Justice, my sister, long demands this blow. 
 And Wisdom, now thou see'st, demands it too : 
 To strike it, then, dissuade thy son no more ; 
 
MEROPE. ill 
 
 For to live disobedient to these two, 
 Justice and Wisdom, is no life at all. 
 
 THE CHORUS. 
 
 The Gods, mistress dear ! the hard-soul'd man, 
 Who spar'd not others, bid not us to spare. 
 
 MEROPE. 
 
 Alas ! against my brother, son, and friends, 
 One, and a woman, how can I prevail? — 
 brother ! thou hast conquer'd ; yet, I fear. . . . 
 Son ! with a doubting heart thy mother yields . . . 
 May it turn happier than my doubts portend ! 
 
 LAIAS. 
 
 Meantime on thee the task of silence only 
 Shall be impos'd ; to us shall be the deed. 
 Now, not another word, but to our act ! 
 Nephew ! thy friends are sounded, and prove true : 
 Thy father's murderer, in the public place, 
 
112 MEROPE. 
 
 Performs, this noon, a solemn sacrifice : 
 
 Go with him — choose the moment — strike thy blow ! 
 
 If prudence counsels thee to go unarm'd, 
 
 The sacrificer's axe will serve thj turn. 
 
 To me and the Messenians leave the rest, 
 
 With the Gods' aid — and, if they give but aid 
 
 As our just cause deserves, I do not fear. 
 
 [^PTTDS, Laias, and Arcas, go out. 
 
 THE CHORUS. 
 
 O Son and Mother, str. l. 
 
 Whom the Gods o'ershadow. 
 
 In dangerous trial. 
 
 With certainty of favour ! 
 
 As erst they shadow'd 
 
 Your race's founders 
 
 From irretrievable woe : 
 
 When the seed of Lycaon 
 
 Lay forlorn, lay outcast, 
 
 Callisto and her Boy. 
 
MEROPE. 113 
 
 What deep-grass'd meadow ant. i . 
 
 At the meeting valleys — 
 
 Where clear-flowing Ladon, 
 
 Most beautiful of waters, 
 
 Receives the river 
 
 Whose trout are vocal, 
 
 The Aroanian stream — 
 
 Without home, without mother, 
 
 Hid the babe, hid Areas, 
 
 The nursling of the dells ? 
 
 But the sweet-smelling myrtle, str. 2. 
 
 And the pink-flower'd oleander, 
 
 And the green agnus-castus, 
 
 To the West- Wind's murmur, 
 
 Rustled round his cradle ; 
 
 And Maia rear'd him. 
 
 Then, a boy, he startled 
 
 In the snow-fiU'd hollows 
 
 OfhighCyllene 
 
114 MEROPE. 
 
 The white mountain-birds ; 
 Or surpris'd, in the glens, 
 The basking tortoises, 
 Whose strip'd shell founded 
 In the hand of Hermes 
 The glory of the lyre. 
 
 But his mother, Callisto, ant. 2. 
 
 In her hiding-place of the thickets 
 
 Of the lentisk and ilex, 
 
 In her rough form, fearing 
 
 The hunter on the outlook. 
 
 Poor changeling ! trembled. 
 
 Or the children, plucking 
 
 In the thorn-chok'd gullies 
 
 Wild gooseberries, scared her, 
 
 The shy mountain-bear. 
 
 Or the shepherds, on slopes 
 
 With pale-spik'd lavender 
 
 And crisp thyme tufted, 
 
ME ROPE. 115 
 
 Came upon her, stealing 
 
 At day -break through the dew. 
 
 Once, 'mid the gorges, str. 3. 
 
 Spray-drizzled, lonely, 
 
 Unclimb'd by man — 
 
 O'er whose cliffs the townsmen 
 
 Of crag -perch'd Nonacris 
 
 Behold in summer 
 
 The slender torrent 
 
 Of Styx come dancing, 
 
 A wind-blown thread — 
 
 By the precipices of Khelmos, 
 
 The fleet, desperate hunter, 
 
 The youthful Areas, born of Zeus, 
 
 His fleeing mother, 
 
 Transform'd Callisto, 
 
 Unwitting foUow'd — 
 
 And rais'd his spear. 
 
 I2 
 
116 MEROPE. 
 
 Turning, with piteous anf. 3. 
 
 Distressful longing, 
 
 Sad, eager eyes, 
 
 Mutely she regarded 
 
 Her well-known enemy. 
 
 Low moans half utter'd 
 
 What speech refus'd her ; 
 
 Tears cours'd, tears human, 
 
 Down those disfigur'd 
 
 Once human cheeks. 
 
 With unutterable foreboding 
 
 Her son, heart-stricken, ey'd her. 
 
 The Gods had pity, made them Stars. 
 
 Stars now they sparkle 
 
 In the northern Heaven ; 
 
 The guard Arcturus, 
 
 The guard-watch'd Bear. 
 
 So, o'er thee and thy child, epode. 
 
 Some God, Merope, now. 
 
MEEOPE. 117 
 
 In dangerous hour, stretches his hand. 
 So, like a star, dawns thy son, 
 Radiant with fortune and joy. 
 
 [PoLrPHONTEs comes in. 
 
 POLYPHONTES. 
 
 O Merope, the trouble on thy face 
 
 Tells me enough thou know'st the news which all 
 
 Messenia speaks : the prince, thy son, is dead. 
 
 Not from my lips should consolation fall : 
 
 To oifer that, I came not ; but to urge, 
 
 Even after news of this sad death, our league. 
 
 Yes, once again I come ; I will not take 
 
 This morning's angry answer for thy last : 
 
 To the Messenian kingdom thou and I 
 
 Are the sole claimants left ; what cause of strife 
 
 Lay in thy son is buried in his grave. 
 
 Most honourably I meant, I call the Gods 
 
 To witness, offering him return and power : 
 
 Yet, had he liv'd, suspicion, jealousy, 
 
 l3 
 
118 MEROPE. 
 
 Inevitably had surg'd up, perhaps, 
 
 'Twixt thee and me ; suspicion, that I nurs'd 
 
 Some ill design against him ; jealousy, 
 
 That he enjoy'd but part, being heir to all. 
 
 And he himself, with the impetuous heart 
 
 Of youth, 'tis like, had never quite foregone 
 
 The thought of vengeance on me, never quite 
 
 Unclos'd his itching fingers from his sword. ' 
 
 But thou, Merope, though deeply wrong'd, 
 
 Though injur'd past forgiveness, as men deem, 
 
 Yet hast been long at school with thoughtful Time, 
 
 And from that teacher may'st have learn'd, like me, 
 
 That all may be endur'd, and all forgiv'n ; 
 
 Have learn'd that we must sacrifice the thirst 
 
 Of personal vengeance to the public weal ; 
 
 Have learn'd, that there are guilty deeds, which leave 
 
 The hand that does them guiltless ; in a word, 
 
 That kings live for their peoples, not themselves. 
 
 This having learn'd, let us a union found 
 
 (For the last time I ask, ask earnestly) 
 
MEROPE. 119 
 
 Bas'd on pure public welfare ; let us be — 
 Not Merope and Polyphontes, foes 
 Blood-sever'd — but Messenia's King and Queen : 
 Let us forget ourselves for those we rule. 
 Speak : I go hence to offer sacrifice 
 To the Preserver Zeus ; let me return 
 Thanks to him for our amity as well. 
 
 MEROPE. 
 
 Oh had'st thou, Polyphontes, still but kept 
 The silence thou hast kept for twenty years ! 
 
 POLYPHONTES. 
 
 Henceforth^ if what I urge displease, I may : 
 But fair proposal merits fair reply. 
 
 MEROPE. 
 
 And thou shalt have it ! Yes, because thou hast 
 For twenty years forborne to interrupt 
 The solitude of her whom thou hast wrong'd — 
 i4 
 
120 MEROPE. 
 
 That scanty grace shall earn thee this reply. — 
 
 First, for our union. Trust me, 'twixt us two 
 
 The brazen-footed Fury ever stalks, 
 
 Waving her hundred hands, a torch in each. 
 
 Aglow with angry fire, to keep us twain. 
 
 Now, for thyself. Thou com'st with well-cloak'd joy, 
 
 To announce the ruin of my husband's house, 
 
 To sound thy triumph in his widow's ears. 
 
 To bid her share thine unendanger'd throne : — 
 
 To this thou would'st have answer. — Take it ; Fly ! 
 
 Cut short thy triumph, seeming at its height ; 
 
 Fling off thy crown, suppos'd at last secure ; 
 
 Forsake this ample, proud Messenian realm : 
 
 To some small, humble, and unnoted strand. 
 
 Some rock more lonely than that Lemnian isle 
 
 Where Philoctetes pin'd, take ship and flee : 
 
 Some solitude more inaccessible 
 
 Than the ice-bastion'd Caucasean Mount, 
 
 Chosen a prison for Prometheus, climb : 
 
 There in unvoic'd oblivion hide thy name. 
 
MEEOPE. 121 
 
 And bid the sun, thine only visitant, 
 
 Divulge not to the far-off world of men 
 
 What once-fam'd wretch he hath seen lurking there. 
 
 There nurse a late remorse, and thank the Gods, 
 
 And thank thy bitterest foe, that, having lost 
 
 All things but life, thou lose not life as well. 
 
 POLYPHONTES. 
 
 What mad bewilderment of grief is this ? 
 
 jVIEROPE. 
 
 Thou art bewilder'd : the sane head is mine. 
 
 POLYPHONTES. 
 
 I pity thee, and wish thee calmer mind. 
 
 MEKOPE. 
 
 Pity thyself; none needs compassion more. 
 
 POLYPHONTES. 
 
 Yet, oh ! could'st thou but act as reason bids I 
 
1 22 MEEOPE. 
 
 MEROPE. 
 
 And in my turn I wish the same for thee. 
 
 POLTPHONTES. 
 
 All I could do to soothe thee has been tried. 
 
 MEEOPE. 
 
 For that, in this my warning, thou art paid. 
 
 POLTPHONTES. 
 
 Know'st thou then aught, that thus thou sound'st the 
 alarm ? 
 
 MEEOPE. 
 
 Thy crime : that were enough to make one fear. 
 
 POLTPHONTES. 
 
 My deed is of old date, and long aton'd. 
 
 MEEOPE. 
 
 Aton'd this very day, perhaps, it is. 
 
MEROPE. 123 
 
 POLYPHONTES. 
 
 My final victory proves the Gods appeas'd. 
 
 MEROPE. 
 
 O victor, victor, trip not at the goal ! 
 
 POLYPHONTES. 
 
 Hatred and passionate Envy blind thine eyes. 
 
 MEROPE. 
 
 Heaven-abandon'd wretch, that envies thee ! 
 
 POLYPHONTES. 
 
 Thou hold'st so cheap, then, the Messenian crown ? 
 
 MEROPE. 
 
 1 I think on what the future hath in store. 
 
 POLYPHONTES. 
 
 To-day I reign : the rest I leave to Fate. 
 
124 MEROPE. 
 
 MEROPE. 
 
 For Fate thou wait'st not long ; since, in this hour— 
 
 POLYPHONTES. 
 
 What? for so far she hath not prov'd my foe — 
 
 MEROPE. 
 
 Fate seals my lips, and drags to ruin thee. 
 
 POLYPHONTES. 
 
 Enough ! enough ! I will no longer hear 
 
 The ill-boding note which frantic Envy sounds 
 
 To affright a fortune which the Gods secure. 
 
 Once more my friendship thou rejectest : well ! 
 
 More for this land's sake grieve I, than mine own. 
 
 I chafe not with thee, that thy hate endures, 
 
 Nor bend myself too low, to make it yield. 
 
 What I have done is done ; by my own deed, 
 
 Neither exulting nor asham'd, I stand. 
 
 Why should this heart of mine set mighty store 
 
MEROPE. 1 25 
 
 By the construction and report of men ? 
 Not men's good-word hath made me what I am. 
 Alone I master'd power ; and alone, 
 Since so thou wilt, I will maintain it still. 
 
 [POLYPHONTES QOCS OUt. 
 THE CHORUS. 
 
 Did I then waver str. i. 
 
 (O woman's judgment !) 
 
 Misled by seeming 
 
 Success of crime ? 
 
 And ask, if sometimes 
 
 The Gods, perhaps, allow'd you, 
 
 lawless daring of the strong, 
 
 O self-will recklessly indulg'd ? 
 
 Not time, not lightning, ant. 1 
 
 Not rain, not thunder. 
 Efface the endless 
 Decrees of Heaven. 
 
126 MEKOPE. 
 
 Make Justice alter, 
 
 Revoke, assuage her sentence, 
 
 Which dooms dread ends to dreadful deeds, 
 
 And violent deaths to violent men. 
 
 But the signal example f^tf- 2. 
 
 Of in variableness of justice 
 
 Our glorious founder 
 
 Hercules gave us, 
 
 Son lov'd of Zeus his father : for he err'd, 
 
 And the strand of Euboea, ant. 2. 
 
 And the promontory of Centum, 
 
 His painful, solemn 
 
 Punishment witness'd. 
 
 Beheld his expiation : for he died. 
 
 villages of CEta ^tr. 3. 
 
 With hedges of the wild rose ! 
 pastures of the mountain, 
 
MEROPE. 127 
 
 Of short grass, beaded with dew, 
 
 Between the pine-woods and the cliffs ! 
 
 O cliffs, left by the eagles. 
 
 On that morn, when the smoke-cloud 
 
 From the oak-built, fiercely-burning pyre. 
 
 Up the precipices of Trachis, 
 
 Drove them screaming from their eyries ! 
 
 A willing, a willing sacrifice on that day 
 
 Ye witness'd, ye mountain lawns. 
 
 When the shirt-wrapt, poison-blister'd Hero 
 
 Ascended, with undaunted heart, 
 
 Living, his own funeral-pile, 
 
 And stood, shouting for a fiery torch ; 
 
 And the kind, chance-arriv'd Wanderer, 
 
 The inheritor of the bow. 
 
 Coming swiftly through the sad Trachinians, 
 
 Put the torch to the pile : 
 
 That the flame tower'd on high to the Heaven ; 
 
 Bearing with it, to Olympus, 
 
 To the side of Hebe, 
 
128 MEROPE. 
 
 To immortal delight, 
 The labour-releas'd Hero. 
 
 O heritage of Neleus, ant. 3. 
 
 Ill-kept by his infirm heirs ! 
 
 O kingdom of Messene, 
 
 Of rich soil, chosen by craft, 
 
 Possess'd in hatred, lost in blood ! 
 
 O town, high Stenyclaros, 
 
 With new walls, which the victors 
 
 From the four-town'd, mountain-shadow'd Doris, 
 
 For their Hercules-issu'd princes 
 
 Built in strength against the vanquish'd ! 
 
 Another, another sacrifice on this day 
 
 Ye witness, ye new-built towers ! 
 
 When the white-rob'd, garland-crowned Monarch 
 
 Approaches, with undoubting heart, 
 
 Living, his own sacrifice-block. 
 
 And stands, shouting for a slaughterous axe ; 
 
 And the stern, Destiny -brought Stranger, 
 
 The inheritor of the realm, 
 
I 
 
 MEEOPE. 129 
 
 Coming swiftly tlirough the jocund Dorians, 
 
 Drives the axe to its goal : 
 
 That the blood rushes in streams to the dust ; 
 
 Bearing with it, to Erinnjs, 
 
 To the Gods of Hades, 
 
 To the dead unaveng'd, 
 
 The fiercely -requir'd Victim. 
 
 Knowing he did it, unknowing pays for it. [epode. 
 
 Unknowing, unknowing. 
 
 Thinking aton'd-for 
 
 Deeds unatonable, 
 
 Thinking appeas'd 
 
 Gods unappeasable, 
 
 Lo, the Ill-fated One, 
 
 Standing for harbour. 
 
 Right at the harbour-mouth. 
 
 Strikes, with all sail set, 
 
 Full on the sharp-pointed 
 
 Needle of ruin ! 
 
130 MERQPE. 
 
 [A Messekger comes in. 
 MESSENGER. 
 
 honour'd Queen, faithful followers 
 Of your dead master's line, I bring you news 
 To make the gates of this long-mournful house 
 Leap, and fly open of themselves for joy ! 
 
 [^noise and shouting hearc 
 Hark how the shouting crowds tramp hitherward 
 With glad acclaim ! Ere they forestall my news, 
 Accept it : — Polyphontes is no more. 
 
 MEROPE. 
 
 Is my son safe ? that question bounds my care. 
 
 MESSENGER. 
 
 He is, and by the people hail'd for king. 
 
 MEROPE. 
 
 The rest to me is little : yet, since that 
 
 Must from some mouth be heard, relate it thou. 
 
MEROPE. 131 
 
 MESSENGER. 
 
 Not little, if thou saw'st what love, what zeal, 
 At thy dead husband's name the people show. 
 For when this morning in the public square 
 I took my stand, and saw the unarm'd crowds 
 Of citizens in holiday attire, 
 Women and children intermix'd ; and then, 
 Group'd around Zeus's altar, all in arms, 
 Serried and grim, the ring of Dorian lords — 
 I trembled for our prince and his attempt. 
 Silence and expectation held us all : 
 Till presently the King came forth, in robe 
 Of sacrifice, his guards clearing the way 
 Before him — at his side, the prince, thy son, 
 Unarm'd and travel-soil'd, just as he was : 
 With him conferring the King slowly reach'd 
 The altar in the middle of the square. 
 Where, by the sacrificing minister. 
 The flower-dress'd victim stood, a milk-white bull, 
 Swaying from side to side his massy head 
 k:2 
 
132 MEROPE, 
 
 With short impatient lowings : there he stopp'd, 
 And seem'd to muse awhile, then rais'd his eyes 
 To Heaven, and laid his hand upon the steer,- 
 And cried — Zeus, let what blood-guiltiness 
 Yet stains our land he by this blood washed out. 
 And grant henceforth to the Messenians peace ! 
 That moment, while with upturn'd eyes he pray'd, 
 The prince snatch'd from the sacrificer's hand 
 The axe, and on the forehead of the King, 
 Where twines the chaplet, dealt a mighty blow 
 Which fell'd him to the earth, and o'er him stood, 
 And shouted — Since by thee defilement came, 
 What blood so meet as thine to wash it out ? 
 What hand to strike thee meet as mine, the hand 
 Of ^pytus, thy murdered master's son 1 — 
 But, gazing at him from the ground, the King . . . 
 Is it, then, thou ? he murmur'd ; and with that. 
 He bow'd his head, and deeply groan'd, and died. 
 Till then we all seem'd stone : but then a cry 
 Broke from the Dorian lords : forward they rush'd 
 
3IER0PE. 133 
 
 To circle the prince round : when suddenly 
 Laias in arms sprang to his nephew's side, 
 Crying — ye Messenians, ivill ye leave 
 The son to perish as ye left the sire ? 
 And from that moment I saw nothing clear : 
 For from all sides a deluge, as it seem'd, 
 Burst o'er the altar and the Dorian lords, 
 Of holiday-clad citizens transform'd 
 To armed warriors : I heard vengeful cries ; 
 I heard the clash of weapons ; then I saw 
 The Dorians lying dead, thy son hail'd king. 
 And, truly, one who sees, what seem'd so strong, 
 The power of this tyrant and his lords. 
 Melt like a passing smoke, a nightly dream. 
 At one bold word, one enterprising blow — 
 Might ask, why we endur'd their yoke so long : 
 But that we know how every perilous feat 
 Of daring, easy as it seems when done. 
 Is easy at no moment but the right. 
 k3 
 
134^ MEROPE. 
 
 THE CHORUS. 
 
 Thou speakest well ; but here, to give our eyes 
 
 Authentic proof of what thou tell'st our ears, 
 
 The conquerors, with the King's dead body, come. 
 
 [^PYTUS, Laias, and Akcas come in with the dead body of 
 PoLTPHONTES, followed by a crowd of the IMessenians.] 
 
 LAIAS. 
 
 Sister, from this day forth thou art no more 
 The widow of a husband unaveng'd, 
 The anxious mother of an exil'd son. 
 Thine enemy is slain, thy son is king ! 
 Rejoice with us ! and trust me, he who wish'd 
 Welfare to the Messenian state, and calm, 
 Could find no way to found them sure as this. 
 
 JEPTTUS. 
 
 Mother, all these approve me : but if thou 
 Approve not too, I have but half my joy. 
 
MEEOPE. 135 
 
 MEROPE. 
 
 O ^pytus, my son, behold, behold 
 
 This iron man, my enemy and thine, 
 
 This politic sovereign, lying at our feet, 
 
 With blood-bespatter'd robes, and chaplet shorn ! 
 
 Inscrutable as ever, see, it keeps 
 
 Its sombre aspect of majestic care, 
 
 Of solitary thought, unshar'd resolve. 
 
 Even in death, that countenance austere. 
 
 So look'd he, when to Stenyclaros first, 
 
 A new-made wife, I from Arcadia came, 
 
 And found him at my husband's side, his friend, 
 
 His kinsman, his right hand in peace and war ; 
 
 Unsparing in his service of his toil. 
 
 His blood ; to me, for I confess it, kind : 
 
 So look'd he in that dreadful day of death : 
 
 So, when he pleaded for our league but now. 
 
 What meantest thou, O Polyphontes, what 
 
 Desired'st thou, what truly spurr'd thee on ? 
 
 Was policy of state, the ascendancy 
 
136 MEROPE. 
 
 Of the Heracleidan conquerors, as thou said'st, 
 Indeed thy lifelong passion and sole aim ? 
 Or did'st thou but, as cautious schemers use, 
 Cloak thine ambition with these specious words ? 
 I know not ; just, in either case, the stroke 
 Which laid thee low, for blood requires blood : 
 But yet, not knowing this, I triumph not 
 Over thy corpse, triumph not, neither mourn ; 
 For I find worth in thee, and badness too. 
 What mood of spirit, therefore, shall we call 
 The true one of a man — what way of life 
 His fix'd condition and perpetual walk ? 
 None, since a twofold colour reigns in all. 
 But thou, my son, study to make prevail 
 One colour in thy life, the hue of truth : 
 That Justice, that sage Order, not alone 
 Natural Vengeance, may maintain thine act, 
 And make it stand indeed the will of Heaven. 
 Thy father's passion was this people's ease. 
 This people's anarchy, thy foe's pretence ; 
 
MEROPE. 137 
 
 As tlie chiefs rule, indeed, the people are : 
 
 Unhappy people, where the chiefs themselves 
 
 Are, like the mob, vicious and ignorant ! 
 
 So rule, that even thine enemies may fail 
 
 To find in thee a fault whereon to found. 
 
 Of tyrannous harshness, or remissness weak : 
 
 So rule, that as thy father thou be lov'd ; 
 
 So rule, that as thy foe thou be obey'd. 
 
 Take these, my son, over thine enemy's corpse 
 
 Thy mother's prayers : and this prayer last of all, 
 
 That even in thy victory thou show, 
 
 Mortal, the moderation of a man. 
 
 ^PYTUS. 
 
 mother, my best diligence shall be 
 
 In all by thy experience to be rul'd 
 
 Where my own youth falls short. But, Laias, now, 
 
 First work after such victory, let us go 
 
 To render to my true Messenians thanks. 
 
 To the Gods grateful sacrifice ; and then. 
 
 Assume the ensigns of my father's power. 
 
138 
 
 MEROPE. 
 
 THE CHORUS. 
 
 Son of Cresphontes, past what perils 
 Com'st thou, guided safe, to thy home ! 
 What things daring ! what enduring ! 
 And all this by the will of the Gods. 
 
 :he end. 
 
 LONDON : 
 
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 NEW WOEKS IN GENEEAL IJTEEATUEE 
 
 PUBLISHED BY 
 
 
 LONGMAN, BROWN, GREEN, LONGMANS, AND ROBERTS, 
 
 
 39, Paternoster Row, London. 
 
 
 CLASSIFIED INDEX. 
 
 
 Agriculture and Rural Affairs. 
 
 Parry's (Admiral) Memoirs . 
 Russell's Memoirs of Moore . 
 
 . . 22 
 . 20 
 
 
 Southey's Life of Wesley 
 
 . 26 
 
 Bayldon on Valuing Rents, &c. . . 6 
 
 " Life and Correspondence . 26 1 
 
 Cecil's Stud Farm 8 
 
 " Select Correspondence 
 
 . 26 
 
 Hoskyns's Talpa 13 
 
 Stephen's Ecclesiastical Biographj 
 
 r . 26 
 
 Loudon's Agriculture . . . . 17 
 
 Strickland's Queens of England . . 27 1 
 
 Low's Elements of Agriculture . . 17 
 
 Sydney Smith's Memoirs 
 
 . 28 
 
 
 Symonds's (Admiral) Memoirs 
 
 . 27 
 
 Arts, Manufactures, and Arclii- 
 
 Taylor's Loyola 
 
 . 27 
 
 tecture. 
 
 " Wesley ... .27 
 Waterton's Autobiography and Essays 31 
 
 Bourne on the Screw Propeller . . 6 
 
 
 
 Brande's Dictionary of Science, &c. 6 
 " Organic Chemistry ... 7 
 
 Books of General Utility. 
 
 
 Chevreul on Colour 9 
 
 Acton's Bread-Book 
 
 5 
 
 Cresy's Civil Engineering ... 9 
 
 " Cookery-Book 
 
 . 5 
 
 Fairbairn's Information for Engineers . 10 
 
 Black's Treatise on Brewing . 
 
 . 6 
 
 G wilt's Encyclopsedia of Architecture . 11 
 
 Cabinet Gazetteer . 
 
 8 
 
 Harford's Plates from M. Angelo . . 11 
 
 " Lawver 
 
 8 
 
 Humphreys's Parables Illuminated . 14 
 
 Cust's Invalid's Own Book . 
 
 9 
 
 Jameson's Sacred and Legendary Art . 14 
 
 Gilbart's Logic for the Million 
 
 . 11 
 
 " Commonplace- Book . . 14 
 
 Hints on Etiquette . 
 
 . . 12 
 
 Konig's Pictorial Life of Luther . . 11 
 
 How to Nurse Sick Children . 
 
 . 13 
 
 Loudon's Sural Architecture . . . 17 
 
 Hudson's Executor's Guide . 
 
 . 14 
 
 MacDougall's Theory of War . . 18 
 
 " on Making Wills 
 
 . 14 
 
 Malan's Aphorisms on Drawing . . 18 
 
 Kesteven's Domestic Medicine 
 
 . 15 
 
 Moselev's Engineering .... 21 
 
 Lardner's Cabinet Cyclopaedia 
 
 . 16 
 
 Piesse's Art of Perfumery . . .23 
 
 Loudon's Lady's Country Compan 
 
 ion . 17 
 
 Richardson's Art of Horsemanship . 23 
 
 Maunder's Treasury of Knowledg 
 
 
 Scharf's Date-Book of Events in Art . 24 
 
 " Biographical Treasury 
 
 .' 19 
 
 Scrivenor on the Iron Trade . . . 24 
 
 " Geographical Treasury 
 
 . 19 
 
 Steara-Engine,by the Artisan Club . 6 
 
 " Scientific Treasury 
 
 . 19 
 
 Symington on the Beautiful . . . 27 
 
 " Treasury of History 
 
 . 19 
 
 Ure's Dictionary of Arts, &c.. . . 31 
 
 " Natural History . 
 
 . 19 
 
 
 Piesse's Art of Perfumery 
 
 . 23 
 
 Biograpliy. 
 
 Pocket and the Stud 
 Pycvoft's English Reading 
 
 . 12 
 . 23 
 
 Arago's Lives of Scientific Men . . 5 
 
 Reece's Medical Guide . 
 
 . 23 
 
 Buckingham's (J. S.) Memoirs 
 
 7 
 
 Rich's Companion to Latin Dictioi 
 
 lary 23 
 
 Bunsen's Hippoljtus 
 
 7 
 
 Richardson's Art of Horsenaanskij 
 
 . 23 
 
 Crosse's (Andrew) Memorials 
 
 9 
 
 Riddle's Latin Dictionaries . 
 
 . 24 
 
 Gleig's Essays 
 
 11 
 
 Roget's English Thesaurus . 
 
 . 24 
 
 Green's Princesses of England 
 
 11 
 
 Rowton's Debater . 
 
 . 24 
 
 Harford's Life of Michael Angelo . 
 
 11 
 
 Short Whist .... 
 
 . 25 
 
 Lardner's Cabinet Cyclopsedia 
 
 16 
 
 Thomson's Interest Tables . 
 
 . 28 
 
 Maunder's Biographical Treasury 
 
 19 
 
 Webster's Domestic Economy 
 
 . 32 
 
 Memoirs of James Montgomery . 
 
 19 
 
 "West on Children's Diseases . 
 
 . 32 
 
 Merivale's Memoirs of Cicero 
 
 19 
 
 ■WiUich's Popular Tables 
 
 . 32 
 
 Mountain's (Col.) Memoirs . . . 21 
 
 Wilmot's Blackstone 
 
 . 32 
 
CLASSIFIED INDEX. 
 
 Botany and Gardening". 
 
 Hassall's British Freshwater AlgsE 
 Hooker's British Flora . . . 
 
 " Guide to Kew Gardens . 
 
 " " " Kew Museum . 
 Lindley's Introduction to Botany . 
 
 " Theory of Horticulture . 
 
 Loudon's Hortus Britannicus 
 
 " Amateur Gardener . 
 
 " Trees and Shrubs . 
 
 " Gardening 
 
 " Plants .... 
 
 " Self-Instruction for Garden 
 
 ers, &c. - 
 
 Pereira's Materia Medica 
 Pv-ivers's Rose Amateur's Guide . 
 ■Wilson's British Mosses . 
 
 Chronology. 
 
 Blair's Chronoloaical Tables . 
 Brewer's Historical Atlas 
 Bunsen's Ancient Egypt 
 Calendars of Enghsh "State Papers 
 Haydn's Beatson's Index 
 Jaquemet's Chronology . 
 Nicolas's Chronology of History . 
 
 Commerce and Mercantile 
 Affairs. 
 
 Gilbart's Treatise on Banking . , 11 
 Lorimer's "i'oung Master Mariner . . 15 
 
 Macleod's Banking 18 
 
 M'CuUoch's Commerce and Navigation 18 
 Scrivenor on the Iron Trade . . .24 
 Thomson's Interest Tables . . . 28 
 Tooke's History of Prices . . .28 
 
 Criticism, History, and Memoirs. 
 
 Blair's Chron. and Historical Tables . 6 
 Brewer's Historical Atlas ... 7 
 Bunsen's Ancient Egypt ... 7 
 
 " Hippolytus .... 7 
 
 Burton's History of Scotland ... 7 
 Calendars of English State Papers . 8 
 Chapman's Gustavus Adolphus . . 8 
 Connolly's Sappers and Miners . . 9 
 Conybeare and Howson's St. Paul 
 Fischer's Francis Bacon . 
 
 Gleig's Essavs 
 
 Gurney's Historical Sketches 
 Herschel's Essays and Addresses . 
 .leffrey's (Lord) Contributions 
 Kemb'le's Anglo Saxons . 
 Lardner's Cabinet Cyclopaedia 
 Macaulay's Critical and Hist. Essays 
 
 " History of England 
 
 " Speeches 
 
 Mackintosh's Miscellaneous Works 
 '' History of England . 
 
 M'CuUoch's Geographical Dictionary 
 ilaunder's Treasury of History 
 Meiivale's History of Rome . 
 
 " Roman Republic . 
 J'ilner's Church History . 
 Moure's (Thomas) Menioirs, &c. . 
 Mure 's Greek Literature 
 Normanby's Tear of Revolution . 
 Perry's Franks .... 
 
 Raikes's .lournal .... 
 Riddle's Latin Dictionaries . 
 Rogers's Essays from Edinb. Review 
 Roget's English Thesaurus . 
 
 Schmitz's History of Greece 
 
 Southey's Doctor 
 
 Stephen's Ecclesiastical Biog 
 
 " Lectures on French History 
 
 Sydney Smith's Works . 
 " Lectures 
 
 " Memoirs 
 
 Taylor's Lovola .... 
 " Wesley .... 
 
 Thirl wall's History of Greece . 
 
 Thomas's Historical Notes 
 
 Thornbury's Shakspeare's England 
 
 Townsend's State "Trials 
 
 Turner's Anfflo-Saxons . 
 
 " Middle Ages . . . , 
 " Sacred History of the World 
 
 Tehse's Austrian Court . . . , 
 
 Wade's England's Greatness ... 
 
 Whitelocke's Swedish Embassy 
 
 Young's Christ of History 
 
 Greography and Atlases. 
 
 Brewer's Historical Atlas 
 
 Butler's Geography and Atlases . 7 
 
 Cabinet Gazetteer 
 
 Johnston's General Gazetteer 
 M'CuUoch's Geographical Dictionary . 
 Maunder's Treasury of Geography 
 Murray's Encyclopaedia of Geography . 
 Sharp's British Gazetteer 
 
 Juvenile Books, 
 
 Amy Herbert . . . . -, 
 
 CleveHall 
 
 Earl's Daughter (The) .... 
 
 _ Experience of Life 
 
 Gertrude 
 
 Howitt's Boy's Country Book 
 
 " (Mary) Children's Year . 
 
 Ivors 
 
 Katharine Ashton 
 
 Laneton Parsonage 
 
 Margaret Percival . ... 
 
 Stepping-Stones to Knowledge for the 
 
 Young 
 
 Medicine and Surgery. 
 
 Brodie's Psychological Inquiries 
 Bull's Hints to Mothers . 
 
 " Management of Children 
 Copland's Dictionarv of Medicine 
 Cust's Invalid's Own Book 
 Holland's Mental Physiology . 
 
 " Medical No"tes and Rejections 
 How to Nurse Sick Children . 
 Kesteven s Domestic Medicine 
 Pereira's Materia Medica 
 Reece's Medical Guide . 
 Richardson's Cold-water Cure 
 West on Diseases of Infancy . 
 
 Miscellaneous Literature. 
 
 Bacon's (Lord) Works . 
 Brougham's (Lord) Acts and Bills 
 Defence of Eclipse of Faith . 
 Eclipse of Faith 
 
 Greg's Political and Social Essays 
 Grey^on's Select Correspondence 
 Gurney's Evening Recreations 
 Hassall's Adultt rations Detected^ &c. 
 Haydn's Book of Dignities 
 Holland's Mental Physiology 
 
 
 . 7 
 
 
 . 7 
 
 
 . 7 
 
 
 9 
 
 
 . 9 
 
 
 12 
 
 ct:on 
 
 12 
 
 
 13 
 
 
 15 
 
 
 . 22 
 
 
 23 
 
 
 28 
 
 
 32 
 
 . 5 
 
 
 7 
 
 
 10 
 
 
 10 
 
 
 11 
 
 
 n 
 
 
 11 
 
 &c. 
 
 12 
 
 
 12 
 
 
 12 
 
CLASSIFIED INDEX. 
 
 Hooker's Kew Guides . . . .13 
 Hewitt's Rural Life of England . . 13 
 '•' Visits to Remarkable Places . 13 
 Button's 100 Years Ago . . . . U 
 Jameson's Commonplace-Book . . 14 
 Jeffrey's (Lord) Contributions . . 15 
 Johns's Land of Silence and of Darkness 15 
 Last of the Old Squires . . . .22 
 Macaulay's Critical and Hist. Essays . 17 
 " Speeches .... 17 
 Mackintosh's Miscellaneous Works . 18 
 Maitland's Church in the Catacombs . 18 
 Martineau's Miscellanies . . .19 
 Moore's Church Cases . . , .21 
 Pycroft's English Reading ... 23 
 Rich's Companion to Latin Dictionary 23 
 Riddle's Latin Dictionaries . . .24 
 
 Rowton's Debater 24 
 
 Seaward's Narrative of his Shipwreck . 24 
 Sir Roger De Coverley . . . .25 
 Smith's (Rev. Sydney) Works . . 26 
 Southey's Commonplace- Books . . 26 
 " The Doctor, &c. . . . 26 
 
 Stephen's Essays 26 
 
 Stow's Training System . . . .27 
 Thomson's Laws of Thought . . 28 
 
 Townsend's State Trials .... 28 
 Yonge's English-Greek Lexicon , . 32 
 " Latin Gradus . . . .32 
 Zumpt's Latin Grammar . . .32 
 
 Natural History in general. 
 
 Catlow's Popular Conchology . . 8 
 
 Ephemera and Young on the" Salmon . 10 
 
 Garratt's Marvels of Instinct . . . 11 
 
 Gosse's Natural History of Jamaica . 11 
 
 Kirby and Spence's Entomology . . 15 
 
 Lee's Elements of Natural History . 15 
 Maunder's Natural History . . .19 
 
 Turtou's Shells of the British Islands . 28 
 
 Van der Hoeven's Handbook of Zoology 31 
 
 "Waterton's Essays on Natural History . 31 
 
 Touatt's The Dog .... 32 
 
 " The Horse .... 32 
 
 One- Volume Encyclopaedias and 
 Dictionaries. 
 
 Blaine's Rural Sports 
 
 Brande's Science, Literature, and Art 
 
 Copland's Dictionary of Medicine 
 
 Cresy's Civil Engineering 
 
 Gwilt's Architecture 
 
 Johnston's Geographical Dictionary 
 
 lioudon's Agriculture 
 
 " Rural Architecture 
 
 " Gardening 
 
 " Plants . . . ! 
 
 " Trees and Shrubs . 
 M'CuUoch's Geographical Dictionary 
 " Dictionary of Commerce 
 
 Murray's Encyclopaedia of Geography 
 Sharp's British Gazetteer 
 XJre's Dictionary of Arts, &e. . 
 Webster's Domestic Economy 
 
 Eeligious and Moral "Works. 
 
 Amy Herbert .... 
 Bloomfield's Greek Testament 
 Calvert's Wife's Manual . 
 
 Cleve Hall 
 
 Conybeare's Essays . 
 
 Conybeare and Howson's St. Paul 
 
 Cotton's Instructions m Christianity 
 
 Dale's Domestic Liturgy 
 
 Defence of Eclipse of Faith 
 
 Disciplme .... 
 
 Earl's Daughter (The) . 
 
 Eclipse of Faith 
 
 Englishman's Greek Concordance 
 
 Heb. & Chald. Concord. 
 
 Experience (The) of Life 
 
 Gertrude 
 
 Harrison's Light of the Forge 
 
 Hook's Lectures on Passion Week 
 
 Home's Introduction to Scriptu.ves 
 " Abridgment of ditto - 
 
 Hue's Christianity in Chin? . 
 
 Humphreys's Parables Illuminated 
 
 Ivors, by the Author oi Amy Herbert 
 
 Jameson's Sacred Legends 
 " Monastic Legends 
 
 " Legends of the Madonna 
 
 " on Female Employment . 
 
 Jeremy Taylor's Works . 
 
 Katharine Ashton .... 
 
 Kbuig's Pictorial Life of Luther . 
 
 Laneton Parsonage .... 
 
 Letters to my Unknown Friends . 
 " on Happiness 
 
 Lyra Germanica .... 
 
 Macnaught on Inspiration 
 
 Maguire's Rome .... 
 
 Maitland's Church in the Catacombs 
 
 Margaret Percival .... 
 
 Martineau's Christian Life . 
 " Hymns 
 
 Merivale's Christian Records 
 
 Milner's Church of Christ 
 
 Moore on the Use of the Body 
 " " Soul and Body 
 " 's Man and his Motives 
 
 Morning Clouds .... 
 
 Neale's Closing Scene 
 
 Powell's Christianity without Judaism 
 " on the Claims of Revelation 
 
 Readings for Lent .... 
 " Confirmation 
 
 Riddle's Household Prayers . 
 
 Robinson's Lexicon to the Greek Tes 
 tament 
 
 Saints our Example ... 
 
 Sermon in the Mount 
 
 Sinclair's Journey of Life 
 
 Smith's (Sydney) Moral Philosophy 
 " (G.V.) Assyrian Prophecies 
 " (G.) Wesleyan Methodism 
 " (J.) Shipwreck of St. Paul 
 
 Southey's Life of Wesley 
 
 Stephen's Ecclesiastical Biography 
 
 Taylor's Loyola 
 
 " Wesley . ; . . ', 
 
 Theologia Germanica 
 
 Thumb Bible (The) 
 
 Tomline's Introduction to the Bible 
 Turner's Sacred History . 
 Young's Christ of History 
 
 " Mystery .... 
 
 Poetry and the Drama. 
 
 Aikin's (Dr.) British Poets . 
 Arnold's Merope 
 " Poems 
 BaiUie's (Joanna) Poetical Works 
 Calvert's Wife's Manual . 
 
CLASSIFIED INDEX. 
 
 De Yere's Mar Carols 
 Estcourt's Miisic of Creation . 
 Fairy Family (The) . 
 Goldsmith's Poems, illustrated 
 L. E. L.'s Poetical Works 
 Linwood's Anthologia Oxoniensis 
 Lyra Germanica . . . . 
 Macaulay's Lays of Ancient Rome 
 MacDonald's Within and Without 
 
 " Poems 
 
 Montgomery's Poetical Works 
 Moore's Poetical Works . 
 
 " Selections (illustrated) . 
 
 " Lalla Rookh 
 
 " Irish Melodies . 
 
 " Kational Melodies 
 
 " Songs and Bdllads . 
 Reade's Poetical Works . 
 Shakspeare,byBowdler . 
 Southev's Poetical ^ orks . , 
 
 '< ■ British Poets . 
 Thomson's Seasons, illustrated 
 
 Political Economy & Statistics. 
 
 Dodd's Food of London . 
 Gres's Political and Social Essays 
 M'C'ulloch's Geog. Statist. &c . Diet. 
 " Dictionary of Commerce 
 
 Willich's Popular Tables 
 
 The Sciences in general and 
 Mathematics. 
 
 Arago's Meteorological Essays 
 " Popular '\stronomy . 
 
 Bourne on the Screw Propeller 
 
 " 's Catechism of Steam-Engine 
 " Great Eastern Steamer ' . 
 
 Boyd's Naral Cadet's Manual 
 
 Brande's Dictionary of Science, &c. 
 " Lectures on Organic Chemistry 
 
 Cresy's Ciyil Engineering 
 
 De la Beche's Geolosv of Cornwall, &c 
 
 De la Fvive's Electricity ... 
 
 Grove's Correlation of Physical Forces 
 
 Herschel's Outlines of Astronomy . 
 
 Holland's Mental Physiology . " . 
 
 Humboldt's Aspects of Nature 
 
 Hunt on Light 
 
 Lardner's Cabinet Cyclopssdia 
 Marcet's (Mrs.) Conversations 
 Maury's Earth and Man ... 
 Morfll's Elements of Psychology . 
 Moseley's Engineering and Architecture 
 Owen's Lectures on Comp. Anatomy 
 Pereira on Polarised Light 
 Peschel's Elements of Physics 
 Phillips's Fossils of Cornwall . 
 
 " Mineralogy 
 
 " Guide to Geology . 
 Portlock's Geologv of Londonderry 
 Powell's Lnity of "Worlds 
 
 " Christianity without Judaism 
 
 " Order of Nature 
 Smee's Electro-Metallurgy . 
 Steam-Engine (The) 
 
 Kural Sports. 
 
 Baker's Rifle and Hound in Ceylon 
 Berkeley's Forests of France .' 
 Blaine's Dictionary of Sports . 
 
 Cecil's Stable Practice . 
 
 " Stud Farm .... 
 The Cricket-Field .... 
 Davy's Fishing Excursions, 2 Series 
 Ephemera on Angling , 
 
 " Book o'f the Salmon 
 Hawker's Toung Sportsman . 
 The Hunting-Field .... 
 Idle's Hints on Shooting 
 Pocket and the Stud 
 Practical Horsemanship . 
 Richardson's Horsemanship . 
 Ronalds's Fly-Fisher's Entomology 
 Stable Talk iid Table Talk . . 
 Stonehenge on the Greyhound 
 Thacker's" Courser's Guide 
 The Stud, for Practical Purposes . 
 
 Veterinary Medicine, &c. 
 
 Cecil's Stable Practice . 
 
 " Stud Farm . 
 Hunting-Field (The) 
 Miles's Horse-Shoeing . 
 
 " on the Horse's Foot 
 Pocket and the Stud 
 Practical Horsemanship . 
 Richardson's Horsemanship 
 Stable Talk and Table Talk 
 Stud (The) 
 Youatt's The Dog . 
 " The Horse . 
 
 Voyages and Travels. 
 
 Baker's Wanderings in Ceylon 
 Earth's African Travels . 
 Berkeley's Forests of France . 
 Burton's East Africa 
 
 " Medina and Mecca . 
 Carlisle's Turkey and Greece . 
 Flemish Interiors 
 Forester's Sardinia and Corsica 
 Halloran's Japan 
 Hills Travels in Siberia . 
 HinchlifFs Travels in the Alps 
 Howitt's Art-Student in Munich 
 
 " (W.) Victoria . 
 Hue's Chinese Empire 
 Hudson and Kennedy's Mont Blanc 
 Hnmbuldt's Aspects of Nature 
 M'Clure's North-West Passage 
 MacDougall's Yoyase of the Mesolufe 
 Osborn's Quedah ^. . . . 
 pfeiffer's Voyage round the World 
 Quatrefages's Rambles of a Naturalist , 
 Scherzcr's Central America . 
 Seaward's Narrative 
 Snow's Tierra del Fuego . 
 Spottiswoode's Eastern Russia 
 Von Tempsky's Mexico and Guatemala 
 T\'eld's Vacations in Ireland . 
 " United States and Canada . 
 
 "Works of Fiction. 
 
 Cruikshank's Falstaff . 
 Howitt's Tallangetta 
 Macdonald's Villa Verocchio 
 Melville's Confidence-Man 
 Moore's Epicurean . 
 Sir Roger De Coverley . 
 Sketches (Thei. Three Tales 
 Southey's The Doctor, &c. 
 TroUope's Barchester Towers 
 " Warden . 
 
 14 1 
 
 14 j 
 
 14 1 
 
 22 ! 
 18 ' 
 
 i i 
 
 23 ' 
 
 24 j 
 24 ' 
 24 
 26 
 31 
 
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 35. SELECTIONS fi'om the Rev. SYDNEY SMITH'S WRITINGS, Vol. II. . 2 6 
 „^ /HAYWARD'S ESSAYS on CHESTERFIELD and SELWYN; and! „ „ 
 36. \ MAYNE'S ARCTIC VOYAGES and DISCOVERIES / •••• ^ ** 
 
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 39. GREGOROVIUS'S CORSICA. Translated by R. MARTINEAU, M.A 3 6 
 
 ,„ /FRANCIS ARAGO'S AUTOBIOGRAPHY. Transl. by Rev. B. POWELL ) „ „ 
 
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