But they have this interest about them. They grow out of the essential nature of the speech and probably would, in their general tenour, be accepted by most students; and further, some very similar scheme would suit not only almost every Messenger's Speech, but also, with the necessary modifications, almost every Greek tragedy as a whole. The quiet beginning, the constant rise of tension through various moods and various changes of tone up to a climax; the carefully arranged drop from the climax to the steady close, without bathos and without any wrecking of the continuity.
But there is another point about Messengers that can be more easily illustrated. Their entrance in Euripides is nearly always carefully prepared. The point is of cardinal importance and needs some explanation. In mere literature it is the words that matter; in dramatic literature it is partly the words, and partly the situation in which they are uttered. A Messenger's Speech ought not only to be a good story in itself, but it ought to be so prepared and led up to that before the speaker begins we are longing to hear what he has to say. An instance of a Messenger's speech with no preparation is in Sophocles' Oedipus,
