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184 it not for his relatives Menelaus and Hermione, have been another person so named, since of the hero of so many Greek dramas there is scarcely a trace left, except a disposition to do murder. Most people, after shedding so much human blood as he has done, would be contented with living thenceforward at peace with all men—even his rivals in love. But, on the contrary, this Argive prince contrives in the "Andromache" to put out of his way Neoptolemus, the son of Achilles, for no better reason than that of coveting Hermione, the Phthian king's wife, and his own first cousin. We know not whether Apollo grew weary of cleansing of crime; yet to plot and execute a capital offence in the god's own temple at Delphi can hardly have been other than a severe trial of even divine patience.

As this play appears to have obtained the second prize at the time of its representation, besides furnishing the modern stage with more than one tragedy on the subject, it must be credited with a fair amount of interest for spectators. Yet it may be doubted whether it be equally attractive to readers. All that is material to be known of the plot may be gathered from its representatives—the "Andromaque" of Racine, and the "Distrest Mother" of Ambrose Philips. The following scene, the most effective as well as touching in this somewhat complicated drama, may afford a sample—and it is a favourable one—of the original.

The heroine from whom the play takes its title is in the power of her enemies, Hermione, wife of Neoptolemus, and her father Menelaus. Bound with cords,