Electra (Greek Tragedy in New Translations Series) Book

You may find a fascinating case study in artistic approach when you compare the Libation Bearers of Aeschylus and the Electra plays of Sophocles and Euripides. The three great Greek tragedians all wrote a play about the same story: Orestes's and Electra's revenge on their mother Clytemnestra for the murder of their father Agamemnon. The format and general outline is the same in all three plays; yet the effect is unique to the playwright.

Aeschylus's play is resonant with mythical symbolism. This is exemplified in the recognition scene between Electra and Orestes: Electra recognizes Orestes from a lock of hair he leaves on Agamemnon's tomb. It seems unlikely to us that a person would be able to recognize a long-lost relative from a single lock of hair; but leaving hair on a tomb was a ritualistic act, only performed by people close to the deceased'such as a son. Aeschylus's worldview is also fundamentally irrational. Orestes is duty-bound to punish his mother; yet doing so invokes the punishment of the Furies, who pursue him for his evil deed. Somehow, the killing of Clytemnestra is simultaneously good and evil, honorable and shameful, in the eyes of the gods.

Euripides's version can be seen as the rational and realistic version of Aeschylus's play. Euripides invites this reading himself, when he parodies the recognition scene between Electra and Orestes: the suggestion that Electra could recognize her brother from a single strand of hair makes her laugh with contempt. Additionally, in Euripides, as in Aeschylus, the killing of Clytemnestra is morally ambiguous; but this ambiguity results not from the will of the gods, but from the emotional complexity of the characters.

Sophocles's version differs from both Aeschylus's and Euripides's in matter and form. For one, the particulars of the plot are all different. But the most striking difference is Sophocles's treatment of morality. In his play, the killing of Clytemnestra is triumphant, glorious. It evokes neither pity from the characters nor the wrath of the gods. It seems that Sophocles had a more clear-cut conception of right and wrong; this, in fact, is what makes his portrayal of Antigone so compelling'she is noble and right, and her enemies are ignoble and wrong.

I really have no conclusion to draw from this discussion, other than the obvious: there isn't just one way to produce great art.