P. 80, l. 1280.]—Helen. The story here adumbrated is taken from Stesichorus, and forms the plot of Euripides' play Helena (cf. Herodotus, ii. 113 ff.).
P. 80, l. 1295, I also, sons of Tyndareus.]—Observe that Electra claims the gods as cousins (cf. p. 22, l. 313), addressing them by the name of their mortal father. The Chorus has called them "sons of Zeus." In the same spirit she faces the gods, complains, and even argues, while Orestes never raises his eyes to them.
P. 80, l. 1300.]—Kêres. The death-spirits that flutter over our heads, as Homer says, "innumerable, whom no man can fly nor hide from."
P. 82, l. 1329, Yea, our peace is riven by the strange pain of these that die.]—Cf. the attitude of Artemis at the end of the Hippolytus. Sometimes Euripides introduces gods whose peace is not riven, but then they are always hateful. (Cf. Aphrodite in the Hippolytus, Dionysus in the Bacchae, Athena in the Trojan Women.)
P. 82, l. 1336, O faithful unto death.]—This is the last word we hear of Electra, and it is interesting. With all her unlovely qualities it remains true that she was faithful—faithful to the dead and the absent, and to what she looked upon as a fearful duty.
Additional Note on the presence of the Argive women during the plot against the King and Queen. (Cf. especially p. 19, l. 272, These women hear us.)—It would seem to us almost mad to speak so freely before the women. But one must observe: 1. Stasis, or civil enmity, ran very high in Greece, and these women were of the party that hated Aegisthus. 2. There runs all through Euripides a very strong conception of the cohesiveness of women, their secretiveness, and their faithfulness to one another, Medea, Iphigenia, and Creusa, for instance, trust
