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have used various words to describe the change of mood which followed the Trojan Women. They speak of a period of despair, pessimism, progressive bitterness, Verzweiflung und Weltschmertz. But such phrases seem to me misleading. In the first place I do not think they describe quite truly even the particular plays they are meant to describe; in the second, they do not allow for the great variety which subsists in the plays of this period. The mood of the Trojan Women is not exactly pessimism or despair; and whatever it is, it does not colour all the subsequent plays.

The plays after 415 fall into two main divisions. First the works of pure fancy or romance, in which the poet seems to turn intentionally away from reality. Such are the Iphigenîa in Tauris, the Helena and the