Christian Church, was established in 1855. The city is a trade centre for the surrounding agricultural community. Eureka was incorporated as a town in 1856. The waterworks are owned by the municipality. Pop. 1,525. EUREKA, Kan., city, county-seat of Greenwood County, on Fall River, and on the Atchison, Topeka and Santa Fe and the Missouri Pacific railroads, about 58 miles northeast of Wichita. It is the seat of the Southern Kansas Academy, under the auspices of the Congregational Church. There is a Carnegie library. The city is a trade centre for the surrounding rich agricultural region. Eureka has adopted the commission form of government and owns its waterworks. Pop. 2,333. EUREKA, Nev., town, county-seat of Eureka County, on the Southern Pacific Railroad. It was once a productive mining camp, producing great quantities of lead, gold and silver; and many other valuable minerals. The town has numerous and important smelting and refining works. Because of severe fires, destroying a large portion of the place, the population decreased from 5,000 in 1880 to 661 in 1910. EUREKA, Utah, city of Juab County, 90 miles southwest of Salt Lake City, on the San Pedro, Los Angeles and Salt Lake, and the Rio Grande Western railroads. It has copper smelting works and quartz mills and a Carnegie library. Copper and silver are mined in the neighborhood. Pop 3,416. EUREKA COLLEGE, coeducational institution in Eureka, Ill.; founded in 1855 under the auspices of the Christian Church; reported at the close of 1915: Professors and instructors, 26; students 273; and volumes in the library, 12,000. EUREKA SPRINGS, Ark., city and countyseat of Carroll County, on the Jefferson Highway and the Missouri and North Arkansas Railroad, 175 miles northwest of Little Rock. It is a noted health and pleasure resort to which 30,000 visitors come annually. The shipping of water from the springs is the principal industry. It has two banks with combined resources of $550,000, taxable property valued at $1,875,000, public and high schools and is the seat of the Crescent Cottage for Women. The chief public buildings are the city hall, United States post office and the county courthouse. It has also several large hotels catering to tourists. The receipts of the city amount to about $18,000 annually. The commission form of government is in operation. Pop. 3,800. EURIC, a king of the Visigoths (q.v.). EURINGER, oi'ring-er, Sebastian, German Semitic scholar: b. Augsburg, 1865. He was educated at Munich, Heidelberg, Freiburg, Strassburg, Tübingen and at the Ecole Biblique Pratique at Jerusalem. He entered the ministry in 1887 and preached for two years, after which he toured Egypt and Palestine. From 1894 to 1900 he held a pastorate near Augsburg and in the latter year was appointed professor in the Dillingen Lyceum. He has published 'Der Masorahtext des Kohelet (1890); Die Auffassung des Hohenliedes bei den Abes sinieren (1900); 'Die Chronologie der biblischen Urgeschichte) (1909); Die Kunstform der althebräischen Poesie (1912); 'Ein unkanonischer Text in der armenischen Bibel' (1913). EURIPIDES, son of Mnesarchus, a retail dealer of the Attic village, Phlya: b. 480 B.C. on the island of Salamis, and, according to tradition, on the day of the famous battle; d. 406. His mother's name was Clito, which indicates aristocratic lineage. Under the influence of his father Euripides first paid attention to athletics, then to painting, and finally to philosophy. He learned much from Protagoras, from Prodicus and from Anaxagoras, with whom he holds that nothing which exists perishes. The poet entered upon his real career at 25. His first success was limited, but he became more and more the favorite of the people. The popularity of his plays at the close of his life and throughout late antiquity was extraordinary. Later comedy was based on his methods. The Romans had a strong predilection for him. In modern times the admiration for Euripides was unbounded until Schlegel set up a standard against him. But Schlegel is unfair: a poet must be measured by his aims. Nevertheless, the poet's works failed at first to win the approval of the Athenians. He was unsuccessful until he was 38, and he won only five first prizes in his whole life. He was also personally unpopular, for he was essentially a pessimist. He felt that the evil in life was not counterpoised by good. He loved retirement and sequestration from open haunts and popularity; preferred the contemplative life of the student to the active life of the statesman. He even acquired the reputation of being a morose cynic, vicious in his private life despite his austere exterior. His gloomy visage, rendered doubly so by unhappy domestic relations, was not attractive to the Athenians, who detested an unsociable disposition. So he lived the life of a recluse, on his estate at Salamis, rapt in secret studies. His library was dukedom enough for him. Late in his life he repaired to the court of Archelaus, king of Macedonia. Here he died in 406. The Macedonians built him a magnificent tomb at Pella. The Athenians erected for him a cenotaph in Athens. With Euripides is the most rhetorical of the three tragic poets, because he is most affected by the spirit of the new school. He is the representative of the new Athens, of the new ideas which were crowding out the simpler beliefs of the Eschylean and Sophoclean school. Euripides is nearer ourselves. He marks the transition to the modern world. The antique standard cannot be applied to him. Alfred de Musset he might have said: "je ne puis m' enfuir hors de l'humanité." His heart is full of compassion for the poor. None is too lowly for his Alcestis to address, as she bids farewell to the household. Euripides was the first dramatic poet to hold aloof from the world. But the motive was not pure indifference: he spoke to a larger audience. No tragedian treated a greater number of patriotic themes; but he had no affection for the demagogue. The pomp and glory of war had no fascination for him. The suffering of all humanity appeals to his generous heart. In the cosmopolitanism of Socrates, traces of which we find in Euripides, he anticipates Goethe. A poetic associate of the sophists, he was naturally not orthodox. He did not actually deny the existence of the gods-that were dangerous in Athens and in the theatre impossible. Euripides simply puts the question to his audience and so troubles their souls. He shrinks from discussing no question of heaven or earth. Toward the close of his life he is supposed to have drawn nearer to the religion of his fathers, but the only monument of this change is that remarkable play, the 'Baccha.' No chronological development in his religious views can be shown. He was a skeptic and a seeker after truth, but not a creative philosopher. No other poet gives us a better conception of what the truth-seeking Athenian knew and read. Much has been written about the poet's hatred of women, But we have only to read the 'Alcestis, or Iphigenia,' to discover that he can portray the noblest types of womanhood. Euripides knew le mal que peut faire une femme, but no man understood better the capabilities of woman's nature. He is the first Greek after Homer that showed any approach to a just conception of what under normal circumstances woman may and should be to society. True, he assailed fiercely a certain type of woman, but this does not prove that the women of his time were especially depraved. Often the condemnation is due to the dramatic situation. He does satirize the women of his time for their gossiping disposition, for their cleverness and for their love of slander with a persistence that leaves no doubt as to his intentions; but, being a pessimist, his mind emphasized the bad rather than the good. The plays of Euripides are not so subtle in structure as those of Sophocles. He cared more for striking situations than for articulated plots, more for thrilling scenes than for unity and symmetry of the whole. But he made a special study of the recognition as leading to the dénouement. Another innovation of Euripides was the introduction of the prologue. In the very beginning he gives the entire setting of the piece, relates all the circumstances. This mechanical opening has been criticized as flat and jejune. But he worked on a different plan from Sophocles. Like Lessing, he believed that the audience should know more than the characters themselves. He disdained to excite vulgar curiosity. So he conceived the prologue as an integral part of the play. Moreover, he leaves the most important part untold; the audience does not know at the outset how the poet proposes to treat the myth; hence the pleasure of surprise is not entirely lacking. The audience enjoys also the sudden revelations to the individual characters. Furthermore, the Greeks cared more for the quiet contemplation of situations than we do. Nevertheless, this practice of beginning the play with a prologue became a mannerism and was justly ridiculed by Aristophanes. Euripides' plays have also a mechanical ending when the conflict seems insoluble, the deus ex machina interfers expressly to solve difficulties, to cut the cords atwain that seem too intrinse to loose. This is not high antique art; but the flaw-hunters unduly emphasize the defect. Many of the plays also break in two in the middle. This is, indeed, a fault. Nevertheless, the scenes are interesting, sometimes stirring. Often the thoughts expressed are not adapted to the speaker; and the choral odes frequently seem irrelevant. The poet's monodies constitute an undue proportion of the lyrical element. We have 80 titles of plays, but very few fixed dates. There are 19 extant dramas - 18 tragedies and one satyr drama (Cyclops'). The Rhesus, regularly printed in the editions of the Euripidean corpus, is certainly not by Euripides. The earliest extant play is the Alcestis (438); the most famous is the 'Medea' (431); but probably the two greatest tragedies are the Hippolytus' (428) and the 'Baccha (407). One of the most interesting is the Iphigenia in Tauris' (414) and the most charming the 'Ion' (about 416). The other plays with approximate dates are 'Iphigenia in Aulis' (407), 'Orestes' (408), (Phoenissæ (410), 'Helen' (412), Electra' (413), Troades' (415), 'Andromache' (417), Heracles (418), Supplices' (420), 'Hecuba' (424), 'Heraclidæ (430). See ALCESTIS; MEDEA. JOSEPH E. HARRY, Author of 'The Greek Tragic Poets.' EURIPUS, -ri'pus, in ancient geography, the strait between the island of Euboea and the mainland, Boeotia in Greece. At Chalcis, the width at the narrowest part was 120 feet. The term Euripus is also sometimes applied to the southeast part of the Euboean Channel. EUROCLYDON, ú-rok'li-don, a tempestuous wind that frequently blows in the Levant, and which was the occasion of the disastrous shipwreck of the vessel in which Saint Paul sailed, as narrated in Acts xxvii, 14-44. In the form in which the word is found in the revised version it must be taken as made up of the two Greek words, euros, the east or rather southeast wind, and klydon, a wave. But the word used for it in the Vulgate is Euro-aquilo, a Latin compound signifying a northeast wind; and some of the best MSS. have the reading Eurakylōn instead of Euroclydon, which is accepted by some scholars as the preferable reading. Whatever may have been the true form of the word, it was applied to a northeast or north-northeast, and not an east or southeast wind, as the course taken by the vessel referred to indicates. Exactly such a wind is described by sailors of the present day as prevalent at certain seasons (especially in early spring) in the Mediterranean. The name by which the wind is now known is Gregalia. EUROPA, ü-ro'pa, in Greek mythology, the daughter of Agenor or of Phoenix, king of the Phoenicians, and a sister of Cadmus. The fable relates that she was abducted by Jupiter, who assumed the form of a bull, and swam with his prize to the island of Crete. Here Europa bore to him Minos, Sarpedon and Rhadamanthlus. Zehus made her miraculous presents, Talos (a bronze man), a dog that always kept track of his prey and a spear that never missed its mark. By his order also she became the wife of Asterius, king of Crete. As Hellotia, Europa was worshipped in Crete in the capacity of the goddess of fertility. 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