altars (κοινοϐωμία), in front of the city of Argos; and of the king the Argives (who is fearful of involving his kingdom in distress and danger) is induced, after many prayers and entreaties, to convene an assembly of the people, in order to deliberate concerning their reception. The assembly, partly from respect for the rights of suppliants, and partly from compassion for the persecuted daughters of Danaus, decrees to receive them. The opportunity soon presents itself of fulfilling the promise of protection and security: for the sons of Ægyptus land upon the coast, and (during the absence of Danaus, who is gone to procure assistance) the Egyptian herald attempts to carry off the deserted maidens, as being the rightful property of his masters. Upon this, the king of the Pelasgians appears in order to protect them, and dismisses the herald, notwithstanding his threats of war. Nevertheless, the danger is averted only for the moment; and the play concludes with prayers to the gods that these forced marriages may be prevented, with which are intermingled doubts concerning the fate determined by the gods.
The want of dramatic interest in this drama partly proceeds from its being the middle piece of a trilogy. The third piece, the Danaides, doubtless contained the decision of the contest by the death of the suitors, with the exception of Lynceus; while a preceding drama, the Egyptians, must have explained the cause and origin of the contest in Egypt. There are other instances, in the middle pieces of the trilogies of Æschylus, of the action standing nearly still, the attention being made to dwell upon the sufferings caused by the elements which have been set in motion. The idea of the timid, afflicted virgins flying from their suitors' violence like doves before the vulture (which is worked out, in lyric strains, with great warmth and intensity of feeling) is evidently the main subject of the drama; it seems, indeed, that the preservation of the play has been due to the beauty of these choral odes. Yet the reception of the Danaides must have been a much more appropriate and important subject for a tragedy, according to the ideas of Æschylus, than according to those of Sophocles and Euripides. What this action wants in moral significance was compensated, in his opinion, by its historical interest. Æschylus belongs to a period when the national legends of Greece were considered, not as mere amusing fictions, but as evidences of the divine power which ruled over Greece. An event like the reception of the Danaides in Argos, on which depended the origin of the families of the Perseids and Heracleids, appeared to him as a great work of the counsels of Zeus; and to record the operation of these on human affairs seemed to him the highest calling of the tragic poet. Contrary to the custom of epic and tragic poets, he ascribes the greatest merit of the act to the Argive people, not to their king, and accordingly, the chorus, in a beautiful song (v. 625—709), invokes blessings upon them, the cause of which is evidently to be found in the relations which then subsisted between Athens and Argos. Æschylus,
