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Rh Ion. For a moment it seems as if he would kill her; but he tests her story. What else is there in the basket? She names the things, her own shawl with gorgons on it, her own snake-twined necklace and wreath of undying olive. The mother confesses to the son and the son forgives her. But Apollo? What of him? He has lied. . . . Ion, temple-child as he is, is roused to rebellion: he will break through the screen of the sanctuary and demand of the god one plain answer—when he is stopped by a vision of Athena. She comes instead of Apollo, who fears to face the mortals he has wronged; she bids them be content and seek no further. Creusa forgives the god; Ion remains moodily silent.

The Ion is so rich in romantic invention that it sometimes seems to a modern reader curiously old-fashioned; it is full of motives—lost children, and strawberry-marks, and the cry of the mother's heart, and obvious double meanings—which have been repeated by so many plays since that we instinctively regard them as "out of date." It is redeemed by its passion and its sincere psychology. On the other hand, it is more ironical than any other extant Greek play. The irony touches every part of the story, excepting the actual