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Sophocles vs Euripides

Sophocles vs Euripides Sophocles’ and Euripides’ versions of Electra carry, among many similarities, a central theme of revenge. The characters, Electra and Orestes, must reunite to avenge their father’s murder. Misfortunately, in both versions the just solution leads the siblings to destroying their own mother. Both versions of Electra can be compared to Aeschylus’ Libation Bearers. However, they are both more dramatic, and more similar to each other than if each Electra was individually compared to the play by Aeschylus. The biggest differences between the two versions of Electra, are found within the characters and their development. I also believe that, the differences we see in these characters’ personalities between the two plays , contribute to some of the two authors’ variations in the story line. Although Sophocles and Euripides both give Electra and Orestes more character, they use different techniques to cause this effect. We can especially notice a character difference in Electra. In the Libation Bearers, she does not have much personality, or nearly as much involvement in the revenge plans; now she is the main character. Sophocles seems to use the people around Electra to cause reactions from her, and in turn show the reader her individualism. I believe this is the purpose of introducing Chrysothemis as a character, even though she does not exist in Euripides’ version or in the Libation Bearers. Chrysothemis causes conversations between her and Electra that give the audience a convincing sample of Electra’s notability. For instance, one can see this when Electra is praying at Agamemnon’s grave and Chrysothemis comes to pour libations sent by Clytamnestra. Electra convinces her sister to ignore their mother’s request and to agree that they should avenge Agamemnon's murder (Sophocles, 346). This persuasive speech shows thought, and gives Electra deeper character than that seen in Libation Bearers. Another example is that Electra is told that Orestes is dead. One may wonder why Electra has to experience more grief as opposed to, for example, immediately knowing Orestes was near her and joining forces to get revenge. To my surprise, when Electra learned that Orestes was alive and close by, she did not question him about why he lied even to her. Instead, she was filled with joy. I believe Sophocles uses the supposed death of Orestes to cause a reaction in Electra, in turn enhancing character development. Euripides gives Electra’s character power by making her more decisive. He does not rely on the other characters as much to cause Electra’s reactions. Electra has more internal initiative. She pushed for Orestes to kill Clytamnestra, even when Orestes was having second doubts, “I myself will arrange my mother’s death” (Euripides, 45). Both Sophocles and Euripides give a sense of more free will to the characters by reducing divine interventions. In both versions Orestes has come from an oracle, and was told he should supply justice to his father’s murderers. This is different from the Libation Bearers. In The Libation Bearers, Orestes not only comes with advice from the oracle, but with an ultimatum. Apollo told him to avenge his father or live a life of torment and a shameful death. This makes the gruesome murder and revenge seem like he is just trying to please Apollo, and lessens human fault. In the Electra plays, less divine intervention makes the humans easier to judge and blame. Their decision is a more personal choice; and in the Euripides version, although Castor is a god, his presence is necessary not indecision making, but in warning Orestes. Castor reminds Orestes of the choice he made, “As soon as we (Castor and Polydeukes) calmed high waves for passing ships, we came here, for we had perceived the sacrifice you made - our sister, your mother. She has her just deserts but by your unjust act” (Euripides, 67). We can also see differences in Orestes’ character. In Sophocles’ version, Orestes is more anxious to kill than in Euripides’. In the Euripides version, Orestes does not have a previous, solid plan for revenge. He was not very comfortable with killing his mother, “What shall we do? Kill our own mother” (Euripides, 57). I believe this is a contributing factor to the differences in the opening scenes for each version. In the Sophocles version, the scene opens with Orestes who just arrived before the royal palace. Because Orestes is anxious to get revenge and kill, he goes straight to the palace where his enemies dwell. In the Euripides version, the scene opens with Orestes walking near the farm where Electra lives. At that point, he is farther from his enemies than in the Sophocles version. I think this is partly because, he knows he has to make justice (the oracle told him so), but he is not sure how to. Obviously, then he needs to observe the life of his enemies, and his sister in order to come up with just ideas of vengeance. Orestes’ and Electra’s different personalities also compliment each other in the two versions. As a result of Orestes’ personality in the Sophocles version where he is more eager to kill, Electra is more reserved. She is not as outspoken, and Orestes already had the big revenge all planned out. Then in the Euripides version, it is Orestes who is having doubts, and Electra who is so strong willed that she convinces him to follow through with the oracle’s advice. She is the one that comes up with the plan to trap Clytamnestra, “Go to Clytamnestra, old friend. Announce that Electra has borne a male child” (Euripides, 45). Neither version would have functioned without difficulty, if Electra and Orestes were feeling insecure and indecisive at the same time. Clytamnestra’s character is illustrated with some differences by the two authors. Euripides portrayed her more as a wicked - stepmother personality, in his version. She and Aegisthus married Electra off to the farmer, to lessen the quality of their offspring. Orestes is surprised to discover this, “Because -- indeed! -- such children will not seek vengeance (Euripides, 31)?” In Socrates’ version, although one could still consider her evil, Clytamnestra is at least more honest. She showed a more honest reaction when she believed Orestes was dead, especially compared to the reaction illustrated into the same scenario in the Libation Bearers. There, she hypocritically pretended to be hurt by Orestes’ death. In the Sophocles play, Her heartless reaction, caused Orestes and Electra to become more motivated. Clytamnestra’s evil was her downfall in each version. In the play by Euripides, Orestes and Electra used her wicked desire for Electra to have poor, powerless children against her. By pretending that Electra had a baby, it served as bait to lure her right in to her own death trap. Then in the Sophocles play, they presented her Aegisthus’ body and told her it was Orestes. Because she was so eager to see Orestes dead, she unveiled the face with a smile, which to her surprise would only bring her sorrow. The last character that could be considered important is Aegisthus. As a first impression I found it odd that he is the murderer of Agamemnon and is not given more importance. In neither of the stories I have discussed, is he given much character. In the Euripides version he is not even considered a character, because he does not speak or appear on stage. When Orestes murdered him, the action was relayed by a messenger, not actually performed. His corpse and head were what later appeared on stage. Although as a character Aegisthus is not developed much, I believe he is still important. We are reminded by the characters every time they have conversations that contain background information. Aegisthus was a main contributor to the death of Agamemnon, therefore an important part of Orestes’ and Electra’s revenge. When Clytamnestra tries to justify the murder of Agamemnon, Electra reproaches her, “Why, when you’d killed him, we (Orestes and Electra) were not deeded our heritage? Because you used what was not yours as dowry to pay your bedmate’s (Aegisthus) keep” (Euripides, 61). This reminds the reader of Aegisthus’ role in the narrative. Finally, we can see how Euripides and Sophocles manipulated the characters. Adding and taking away from their involvement and conversations gives variation to the story line and affects how the reader perceives them. Both Sophocles and Euripides developed Electra’s character to be deeper than Aeschylus’ Libation Bearers. Especially Euripides who made her assertive and quick to make decisions. We saw differences in Orestes and Clytamnestra’s characters, and Euripides even added a peasant husband to the story for dramatic effect. It is interesting to see how two contemporary authors took a very straight forward legend and manipulated it to make is more interesting and to make the characters more three dimensional. Euripides. Electra. Trans. Janet Lembke. New York: Oxford, 1994. Grene, David, and Richmond Lattiimore. The Complete Greek Tragedies. Vol. 2. Chicago: University of Chicago Press, 1969. Simon. Peter. ed. World Masterpieces. 7th ed. New York: www. Norton & Company, 1999. Bibliography: Bibliography Euripides. Electra. Trans. Janet Lembke. New York: Oxford, 1994. Grene, David, and Richmond Lattiimore. The Complete Greek Tragedies. Vol. 2. Chicago: University of Chicago Press, 1969. Simon. Peter. ed. World Masterpieces. 7th ed. New York: www. Norton & Company, 1999.

Word Count: 1509