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 1372). Before that we had seen her in the same position, hardly less sinister, calling Cassandra to her death: "Thou, likewise, come within." (Agamemnon 1035.)

The first entrances of Clytemnestra in the two Electra plays are also striking. In Sophocles (Electra 516) she bursts in upon Electra, like a termagant, in a sudden agony of rage. In Euripides (Electra 998 ff.), when we have been led to expect a savage murderess, we meet "a sad, middle-aged woman whose first words are an apology, controlling quickly her old fires, anxious to be as little hated as possible."

P. 48, l. 674. There is an almost reckless fluency about Orestes' speech. In his bitterness he treats the news of his death as a trifle, not showing, nor expecting from others, any particular emotion about it. As a matter of fact, it gives Clytemnestra a greater shock than he expected. There is no reason to doubt the general sincerity of her words. Of course, she feared Orestes and knew he was her enemy. When it comes to a fight she is ready. At the same time, she has, as shown in the last scenes of the Agamemnon, an aching sense of disaster and friendlessness, and would like to think that, when all the rest of the House had gone under, the son she had sent away was living somewhere unhurt, and might perhaps be grateful to her. As it is, her old enemy, the Curse of the House, has beaten her.

P. 51, ll. 731–782. This poignant and vivid scene of the old nurse, ludicrous in her tears, is a striking departure from the stately conventions of Greek tragedy. Neither Sophocles nor Euripides has left any scene like it. Herakles in the Alcestis is