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Rh his sentiments, it was only one by which his pride had been raised, and his ferocity hardened: and such appears to have been the inference which has been almost universally drawn from it.

But a few years back this portion of the play was placed in an entirely new light by Professor Welcker, who has made the Ajax the subject of an elaborate essay in the Rheinisches Museum, 1829; which, after all that has been written on this branch of literature, may be considered as one of the most valuable contributions that have yet been made to the study of the Greek drama. Beside a most learned discussion on the sources from which Sophocles drew his materials, and on the peculiar motives which guided him in the selection of them, it contains the author's reasons for rejecting the current opinion on the two points just mentioned. He conceives in the first place, that Ajax remains on the stage during the song of the Chorus which follows his dialogue with Tecmessa, inwardly absorbed in thought, and together with her and the child presenting to the spectators what they would perhaps have looked upon as a group of sculpture, and we should call a living picture. The strongest argument for this supposition is, that no sufficient motive appears or can be assigned, which should have induced Ajax to re-enter the tent, after he had bidden Tecmessa retire into it and withdraw her grief from the public eye. As little should we be able to understand why, if she had once obeyed his injunction, she should have come out again with him. On the other hand, dumb shew, exhibiting the principal person of a piece in an expressive attitude, was a contrivance by no means unusual in the Greek theatre, as is proved not only by the celebrated examples of the Niobe and the Achilles of Æschylus, but also by the practice of Sophocles himself, who for instance allows Antigone to remain silent on the stage during a choral song of considerable length ; and in this very play keeps