being to all mortal sufferings. Regarded merely as poetry, the
conception of the Titan of Aeschylus has no parallel except in the
Fiend of Milton. But perhaps the representation of a benevolent
spirit, afflicted, but not accursed--conquered, but not subdued by a
power, than which it is elder, and wiser, and loftier, is yet more
sublime than that of an evil demon writhing under the penance
deservedly incurred from an irresistible God. The one is intensely
moral--at once the more moral and the more tragic, because the
sufferings are not deserved, and therefore the defiance commands our
sympathy as well as our awe; but the other is but the picture of a
righteous doom, borne by a despairing though stubborn will; it affords
no excitement to our courage, and forbids at once our admiration and
our pity.

X. I do not propose to conduct the reader at length through the other
tragedies of Aeschylus; seven are left to us, to afford the most
striking examples which modern or ancient literature can produce of
what perhaps is the true theory of the SUBLIME, viz., the elevating
the imagination by means of the passions, for a moral end.

Nothing can be more grand and impressive than the opening of the
"Agamemnon," with the solitary watchman on the tower, who, for ten
long years, has watched nightly for the beacon-fires that are to
announce the fall of Ilion, and who now beholds them blaze at last.
The description which Clytemnestra gives of the progress of these
beacon-fires from Troy to Argos is, for its picturesque animation, one
of the most celebrated in Aeschylus. The following lines will convey
to the general reader a very inadequate reflection, though not an
unfaithful paraphrase, of this splendid passage [23]. Clytemnestra
has announced to the chorus the capture of Troy. The chorus, half