Now consider how the tyrant may be supposed to have acted and spoken as his end approached.—His son lies mortally wounded at my hand; the wounds are many, and are exposed to view, that so the father’s heart may be torn asunder at the very first sight of him. He cries out piteously to his father, not for help —he knows the old man’s feebleness—, but for sympathy in his sufferings. I meanwhile am making my way home: I have written in the last line of my tragedy, and now I leave the stage clear for the actor; there is the body, the sword, all that is necessary to complete the scene. The father enters. He beholds his son, his only son, gasping, blood-stained, weltering in gore; he sees the wounds—mortal wound upon wound—and exclaims: ‘Son, we are slain, we are destroyed, we are stricken in the midst of our power. Where is the assassin? For what fate does he reserve me, who am dead already in thy death, O my son? Because I am old he fears me not, he withholds his vengeance, and would prolong my torment.’