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Rh solicitations of Creon, backed by threats and force, was to be expected; we now see that his anger is not to be softened by the appeal which Polynices makes to his pity and his parental affection. He is for ever alienated from his unnatural sons and from Thebes, and unalterably devoted to the generous strangers who have sheltered him. Their land shall retain him a willing sojourner, and in his tomb they shall possess a pledge of victory and of deliverance in danger. Nothing now remains but that he should descend into his last resting place, honoured by the express summons of the gods, and yielding a joyful obedience to their pleasure. His orphan daughters indeed drop some natural tears over the loss they have sustained: but even their grief is soon soothed by the thought of an end so peaceful and happy in itself, and so full of blessing to the hospitable land where the hero reposes.

We have already remarked that the irony we have been illustrating is not equally conspicuous in all the plays of Sophocles. In the two Œdipuses we conceive it is the main feature in the treatment of the subject, and is both clearly indicated by their structure, and unequivocally exprest in numberless passages. On the other hand, in the Electra it may appear doubtful whether anything is gained by considering the plot from this point of view, and whether we are justified in attributing it to Sophocles. The poet's object may seem to have been merely to exhibit the heroine in a series of situations, which successively call forth the fortitude, the energy, the unconquerable will, and the feminine tenderness, which compose her character. This object however may not be inconsistent with others: and the arrangement of the action seems to point to an ulterior design; which we shall very briefly suggest, as there are no marks which absolutely compel the reader to recognize it. The lamentations of Electra at her first appearance are protracted to a length which can scarcely be considered necessary for the purpose of an exposition of her character and situation, and we are therefore rather led to connect them with the scene which precedes them: and so regarded they certainly assume an ironical aspect. In the former our attention was directed to the bloodstained house of the Pelopids, the scene of so many crimes, where guilt has been so long triumphant, where all