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Rh the peril of such a form, and the temptation of the poet-commentator to abound in his own sense, instead of following his author. There is an unpleasant, suspicious tartness in the reply of Balaustion to a certain "critic and whippersnapper", who at a previous recitation seems to have objected to her use of such phrases as "Then a fear flitted o'er the wife's white face" on the ground that no fear could be seen to flit over a mask. So silly a pedant was really not worth quoting, and had better have been answered, if at all, without needless quibbling upon the true import of the word poetry, as signifying "a power that makes". If the whippersnapper had rejoined to this that Euripides and Balaustion are not one "maker" but two, two of a trade, and liable to disagree, he would have said something much to the purpose: and possibly it was a hint of this kind, lurking in his ill-stated objection, which caused Balaustion to note and resent it.

However it must be confessed that Balaustion not only makes very well, but also in general remembers her office and fairly makes to order. Now and then she paraphrases in narrative instead of reproducing, and when she does, it may be taken for a note that the original here contains something worth particular attention: but such changes are rare. Her chief activity is in additions, and here she mainly goes by her text. Not only the visible accessories, such as the bow of Apollo, the black robe of Admetus in mourning, and the wreath of Heracles after his feast, are warranted by the dramatist, but in things less directly perceptible by a reader Balaustion is found right upon reference. For instance

does really appear in the language of the dying Alcestis, and merits, if it does not demand, Balaustion's sympathetic explanation. Or again, the leap of Pheres out of decorum into nature under the unexpected attack of Admetus is lawfully prefaced by this admirable simile:

He came content, the ignoble word, for him

Should lurk still in the blackness of each breast,