and mad; Electra wasted with watching and nursing. If she saves him, the two will probably be stoned. News comes of safety. Menelaus, their father's brother, has sailed into the harbour with Helen. Helen comes to the castle, and Menelaus's veterans guard the entrances. Orestes gradually recovers his mind; it seems as if he and his sister were saved. But Menelaus is the natural heir to the kingdom after Orestes; and he has always disapproved of deeds of violence; he will not thwart the will of the people; and cannot offend his father-in-law Tyndareus, who claims vengeance for Clytæmestra. In short, he means to let the brother and sister be stoned. Scenes of vivid contrast and strain succeed one another, till the two see that all is lost. The blood-madness comes on Orestes. He gets possession of his sword and turns upon Helen and Hermione. To take one touch from many: to escape stoning, Electra and Orestes are resolved to die. She begs him to kill her. He turns from her: "My mother's blood is enough. I will not kill thee. Die as best thou mayest."
The Têlephus* was in these several respects the typical play of Euripides's early period, but it strikes one as a young play. The realism, for instance, was probably not of the subtle type we find in the Electra. The great mark of it was the disguised beggar's costume, which threw stage convention to the winds. In the Acharnians of Aristophanes the hero has to make a speech for his life, and applies to Euripides for some 'tragic rags' which will move the compassion of his hearers. He knows just the rags that will suit him, but cannot remember the name of the man who wore them. "The old unhappy Oineus appeared in rags," says Euripides. "It was not Oineus; some one much wretcheder." "The blind Phœnix perhaps?"
