Abstract

Orestes, like Hercules Furens, deals with madness and crime; but, whereas in the latter Euripides treats his subject with Aeschylean mysticism, in this play he attempts a pathological study of criminality. For subtlety of psychological insight this play is comparable to Hamlet, but it is far more dramatic than Shakespeare's play. In fact, the first impression made upon the reader is that it is ‘good stage’, an opinion shared by the actors of the fourth century. Yet it has not infrequently been condemned by modern critics; and some, instead of understanding it, have written almost as though it had no point at all. The main difficulty is the contradictory statements made about Orestes' guilt. In one place Orestes will openly blame Apollo ; in another he admits to being tortured by a guilty conscience . This is a division in Orestes' mind, which is the victim of more than one contradiction; it is not inconsistency on the author's part. Further, Euripides is describing a process of demoralization, not a state; and therefore what is true of the characters in one part of the play is not necessarily true at another. As the play is dynamic, interpretation too must be progressive and take the form of a running commentary