“Forth came, with slow and measured tread,

The ancient chorus, solemn, dread,

And through the theatre’s ample bound

Stately they took their wonted round.”

Schiller.

After the passage of a few weeks, Zopyrus became convinced of a fact which caused him great concern. It was the growing love for him which Eumetis could ill conceal. An alliance with the house of the aristocratic poet would be an honor. Zopyrus believed and rightly, that he had found favor with Pasicles and Cleodice. Still he knew that while he respected and admired Eumetis for the many desirable qualities which she possessed, he did not love her as a man should love the woman whom he chooses out of all others to be his mate. The cognizance of this unreturned affection and his inability to rediscover the maiden who was the object of his love were the only obstacles which disturbed the course of an otherwise peaceful existence.
122

Sparta’s pernicious ambitions were timely frustrated and Athens surrounded by seven miles of solid masonry and with Themistocles as its temporary idol, settled down to its pre-war mode of life. In the Agora the fishmonger’s bell announced the opening of fish-market, artisans went to their trade, the wealthy sought the shops and other public places or gossiped while they rested in the comfortable seats in the shady arcades. But the ordinary routine was frequently interrupted by judicial duties or public services pertaining to religious festivals, Olympiads or theatrical performances, and it was upon the latter occasion that on this day the crowds were leaving the market-place and pursuing a westward direction to the theatre of Dionysus which was an amphitheatre situated on the southern slope of the Acropolis.

Entrance was procured for the public through great gates on the right and left which opened into the orchestra or circular pit where the chorus marched and sang between the acts. The orchestra was situated between the stage and the auditorium which had a seating capacity of thirty thousand. The stone seats which rose tier upon tier were very wide and actually consisted of three distinct parts; the first as a seat, the second as a gangway for those walking, and the third part was hollowed out a little for the feet of those sitting above. The whole semi-circular structure was cut by stairs which like radii divided it into sections to facilitate the locating of seats. At the top of each division upon a pedestal stood the bust of some god or goddess, that of Dionysus occupying the middle section or place of honor.
123

Considerably to the right and about half way down in the section of Aphrodite sat Pasicles, Cleodice, Polygnotus, Corinna, Zopyrus, Eumetis and the lad Mimnermus. Bright colored kerchiefs adorned the heads of the women all over the assemblage, giving a gala appearance to the scene. At intervals over the theatre there were raised seats with high ornate backs, arm-rests and cushions. These were reserved for judges and officials or for any who were deemed deserving to occupy them. In one of these seats near the front of the section of Dionysus sat the tragedian, Phrynichus, so privileged as the composer of the tragedy, “The Capture of Miletus,” which was about to be enacted. Next to him was seated Aeschylus, his younger contemporary and staunch admirer.

Above the vast assembly stretched the azure sky across which an occasional fleecy cloud moved with the gentle breeze. Behind and above rose the Acropolis crowned with its marble ruins, and to the front of the audience, visible in the distance a little to the left of the stage was clearly discernible the conical outline of Hymettus, while farther to the east stretched the purple range of Anchesmus.
124

In his play, Phrynchius vividly presented to his spectators, the sad events of the downfall of the beautiful city of Miletus. He did not hesitate to blame certain Greek leaders who allowed themselves to be influenced by secret agents from the enemy, so that many ships treacherously sailed away at the opening of the battle. As the play proceeded the poet in gifted language put into the mouths of his actors, the tragic tale of the plunder of its dwellings, the conflagration of its peerless temples and the captivity of its citizens. There arose in Zopyrus’ memory the pale, tear-stained face of his mother when she learned from the lips of her stern husband, the fate of her native city. Sixteen years before she had been taken to Sardis as the bride of the Persian satrap, but she had never forgotten the city of her birth, nor did she ever recover from the effect of its sad fate and the probable doom of friends and relatives. Zopyrus recalled how as a lad of fourteen he stood beside his mother’s death-bed and received from her lips the request to avenge the destruction of Miletus. Scalding tears filled his eyes as he sat with bowed head. Hearing a stifled sob he looked up and saw that Eumetis was likewise in tears. Thus encouraged, to discover that he was not alone moved to tears by the memory of a past tragedy that lived again before thousands, he scanned the multitude around him, to learn that many were weeping. Scarcely was th............