now generally regarded as forming the first member of a trilogy of which the succeeding dramas were "The Egyptians," and "The Danaides," both of which have been lost. Though deficient in dramatic interest, this piece is characterized by the remarkable beauty of the choral odes, which, from their sublime simplicity, and from the high conception which they embody of Zeus, as the supreme and omnipotent ruler, remind us occasionally of the Hebrew psalms.
It must be remembered, moreover, that, at the time of Æschylus, the national legends had not yet lost their hold upon the popular belief, and accordingly mythical events, such as the arrival of the Danaides in Argos, were considered not only as having influenced the subsequent destinies of Greece, but also as having been brought about by the inscrutable counsels of Zeus; the unfolding of whose designs, through the medium of tragedy, was regarded as the highest function of the poet.
The ancient legend tells of the strife between the sons of Belos; how Danaos was driven from his home by Ægyptos, who usurped his throne; how the latter sought to force the Danaides to marry his sons, and how Athena herself exhorted Danaos to flee with his daughters to the land of Io.
The introductory drama opens with their arrival, in the character of suppliants, at Argos, and is founded upon the protection accorded to them by the Argives and their king, Pelasgos: the appearance of the Egyptian herald, at the conclusion of the play, toge-
