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 Peiraeus in the early midsummer morning to see the splendid fleet sail for Sicily, and the trumpet commanded silence while the whole multitude joined in prayer, and wine was poured from vessels of silver and gold as the pæan arose, down to that overthrow of which he writes that they were destroyed with utter destruction, and that few out of many came home. Here, at the point in his story which supplies the crucial test, Thucydides shows that he possesses true dramatic power. By the direct presentment of the facts, not by reflections upon them, he makes us feel all that is tragic in the Sicilian disaster itself, and also all that it means in relation to the larger tragedy of the war. The same power is seen in many particular episodes of the History: for example, in the self-restrained majesty of Pericles, the great protagonist of the opening war, whose courage, amidst havoc and pestilence, ever rises as the Athenian courage declines; or in the first appearance of Alcibiades on the scene, with his brilliant versatility and his profound lack of loyalty, with his unmeasured possibilities for good or evil, just when the Sicilian project is trembling in the balance. Without pressing the parallel between the History and a work of dramatic art to any fanciful length, it may be said with a definite meaning that Thucydides has not merely the inspiration of action, but often also the spirit of the noblest tragic drama.

It is natural to regret his silence in regard to the