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50 of all wrongs against morality, in that it steals the reader's sympathies for the wrong-doer instead of for the injured husband. Shakespeare, as is his wont, strikes the higher key. It is the consciousness of guilt which makes Macbeth half quail before Macduff—

Paris withdraws into the Trojan ranks, and there encounters Hector. As has been already said, the poet assumes at the outset, on the part of his audience, at least such knowledge of his dramatis personæ as to make a formal introduction unnecessary. Hector is the noblest of all the sons of Priam, the shield and bulwark of his countrymen throughout the long years of the war. Achilles is the hero of the Iliad, and to him Homer assigns the palm of strength and valour; but, as is not seldom the case in fiction, the author has painted the rival hero so well that our sympathies are at least as frequently found on his side. We almost share Juno's feelings against the Trojans when they are represented by Paris; but when Hector comes into the field, our hearts half go over to the enemy. His character will be touched upon more fully hereafter: for the present, it must discover itself in the course of the story. He throws himself in the way of Paris in his cowardly retreat; and in spite of the fraternal feeling which is so remarkably strong amongst Homer's heroes,—in Hector and his brothers almost as much as in Agamemnon and Menelaus,—shame and disgust at his present poltroonery now mingle themselves with a