are occupied with the question of his burial, his great enemy Odysseus being eventually the man who prevails on the angry generals to do him honour. The finest things in the play are the hero's speeches in his disgrace, and the portraiture of his concubine, the enslaved princess Tecmessa, whom he despises, and who is really superior to him in courage and strength of character, as well as in unselfishness. It is difficult to believe that the Ajax is uniform as we have it. Not only does the metrical technique vary in different parts, but both the subtly-drawn Tecmessa and the fiendish Athena seem to come from the influence of Euripides; while other points of late style, such as the abuse of heralds, and the representation of Menelaus as the wicked Spartan, combine with the disproportionate length of the burial discussion to suggest that there has been some late retouching of this very old play.
The Antigone is perhaps the most celebrated drama in Greek literature. The plot is built on the eternally-interesting idea of martyrdom, the devotion to a higher unseen law, resulting in revolt against and destruction by the lower visible law. Polyneikes has been slain fighting against his usurping brother Eteocles and against his country; and Creon—the name merely means 'ruler,' which accounts for its commonness for the official kings of the saga—commands that he be cast out to the dogs and birds as a traitor. Any one who attempts to bury him shall suffer instant death. His sister Antigone determines to bury him; the other sister, Ismênê, hesitates and shrinks. Antigone is discovered, refuses to make any kind of submission, and is condemned. Ismênê tries to share her suffering; her
