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 been a witness and a part is the very inspiration of his poetry. For him those heroes who were the common pride of the Greek race are true demigods. In his dramas they stand as close to the gods as in the Iliad; and more than in the Iliad do they tower above men. With him their distinctive attribute is majesty; a majesty rather Titanic than in the proper Greek sense heroic. What, it may be asked, is the basis of this Titanic majesty? It would be easy to say that the effect is wrought partly by pomp and weight of language, partly by vagueness of outline. But the essential reason appears to be another. The central idea of Greek tragedy is the conflict between free-will and fate. In Æschylus this conflict takes its simplest and therefore grandest form. No subtle contrivance, no complexity of purposes, breaks the direct shock of the collision between man and destiny. Agamemnon before the Fury of his house is even as Prometheus facing Zeus.

In thus imagining the heroes as distinctly superhuman, and as claiming the sympathy of men rather by a bare grandeur of agony than by any closely-understood affinity of experience, Æschylus was striving to sustain a belief which had not gone out of his age, but which was dying. In his mid-career, about ten years before his Oresteia, the so-called relics of Theseus found at Scyros were brought to Athens by Cimon and laid in a shrine specially built for them. The distinctly religious enthusiasm then shown implies the old faith. It is hard to suppose that a like incident could have