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 freedom and safety but to spare, and to bestow upon the solidest and sublimest points of controversie and new invention, it betok'ns us not degenerated, nor drooping to a fatall decay, but casting off the old and wrincl'd skin of corruption to outlive these pangs and wax young again, entring the glorious waies of Truth and prosperous vertue destin'd to become great and honourable in these latter ages. Methinks I see in my mind a noble and puissant Nation rousing herself like a strong man after sleep, and shaking her invincible locks. Methinks I see her as an Eagle muing her mighty youth, and kindling her undazl'd eyes at the full midday beam, purging and unsealing her long abused sight at the fountain it self of heav'nly radiance."

In estimating the influence of Athenian drama on public opinion, we must, first of all, remember the fact which makes the essential difference between the position of the dramatist—viewed in this light—and that of the epic poet. The epic poet gave expression to a mass of popular belief and feeling in an age when they had as yet no direct organ of utterance. But in the Athens of the dramatists the popular assembly was the constitutional organ of public opinion. Every Athenian citizen was, as such, a member of that assembly. The influence of the Athenian dramatist was thus so far analogous to that of the modern journalist, that it was brought to bear on men capable of giving practical effect to their sentiments. A newspaper publishes an article intended to influence the voters in a parliamentary