NOTES
stones or some other objects to act as a perpetual reminder and keep her prayer alive.
P. 22, l. 151, Chorus: "Let fall the tear," etc.: The grave is a barrier-stone between the dead and the living, a "turner-back of Evil as of Good"; yet not absolutely so. The prayers of his children, and the tears of their suffering, may after all get past the barriers and reach the "darkened heart" of the dead. This idea is in the essence of the play.
P. 23, ll. 165–210, Recognition scene. It was a traditional story that Electra had recognized Orestes by a lock of hair, a footprint, and a bit of weaving. Aristophanes (Clouds, 534 ff.) speaks of his comedy, "like Electra of old, recognizing its brother's tress" when it meets a spectator of true Attic taste. It would be a mistake to apply realist canons to this ancient tale. Among barefooted peoples family likenesses are apt to be chiefly traced in the feet and hair. Both Arab and Australian "trackers" are cited to this effect, as also is the Odyssey (iv. 148 ff., xix. 358, 381). See Tucker's Choëphoroe, p. lxvi. It is interesting to note that Sophocles in his Electra omits the traditional signs altogether. Euripides uses them, but uses them in a completely original way to illustrate Electra's state of mind. An old peasant tries to show the "signs" to her. She longs to believe that Orestes has come, but in fear of disappointment refuses to look at them and rejects every suggestion of comfort. See my version and note there. (P. 31 ff., ll. 508–548.)
P. 25, l. 211, "Torment of heart and blinding of the brain": Electra bows down and buries her face in her hands. When she next looks up, there is an armed man like her father standing just above her
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