PREFACE
the end of the play, of course, he goes mad. That is in the legend. But from quite the early scenes—much of the prologue happens to be lost—the shadow of the coming darkness begins to show itself. And the occasion for it is always the same, the conflict between two horrors which are also duties: the murder of his mother on one side, and on the other disobedience to the command of God.
Here, as in most cases, the development of Greek tragedy moves almost straight from Aeschylus to Euripides, with Sophocles standing aside. The character of Orestes, in particular, contains here in germ just the ideas that are so subtly developed in Euripides. The first study is grander, tenderer, and more heroic; the second, of course, more detailed and varied and more finely poignant. There is a typical difference between the two poets in the way in which Orestes' last scruples are overcome. In Euripides a whole scene is given up to it. Orestes is shaken by the first sight of his mother in the distance, and actually rebels against the god or devil who has commanded him to kill her, till he is overborne by the scorn and passion of Electra's more bitter nature. In Aeschylus Orestes' scruple breaks out in the midst of the Invocation and is swept away, not specially by Electra, but by the whole great swelling rhythm of that litany of revenge.
Of the other characters, Electra in Euripides bears the main weight of the tragedy on her own shoulders. In Aeschylus she is much less minutely and without doubt less cruelly studied: almost all her words are beautiful, and she keeps a kind of tenderness even in her prayers of hate. She hates her oppressors and
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