tragic beauty. But, evidently of set purpose, he makes the whole treatment hard and archaic. There is no shrinking back, no question of conscience at all. Clytemnestra is a furious tyrant; she beats Electra with her fists, and Aegisthus does worse (1196, 517). The climax of the play is not the mother-murder but the killing of Aegisthus, which was presumably the harder and more exciting job. When Orestes and his friend Pylades come out of the palace streaming with Clytemnestra's blood their nerves are unshaken and the Chorus is careful to say that they are not to be in any way blamed (1423).
The spirit of Euripides is exactly the opposite; so much so indeed that most critics feel clear that the two Electra plays are closely related, and related in opposition. The one is a deliberate protest against the other; unfortunately the play of Sophocles cannot be dated and it is not clear from internal evidence which play was written first.
In the Electra of Euripides we find two main qualities. First, there is psychological realism of the subtlest kind. Secondly, there is a new moral atmosphere. With a power of sympathy and analysis unrivalled in ancient drama he has imagined just what kind of people these
