Euripides’ Electra
Euripides’ Electra
Tragedy, as defined by Aristotle, has a multi-faceted meaning. The Aristotelian definition of a perfect tragedy, artistically states that tragedy must comprise of several elements; the perfect character, hamartia, a complex plot structure, suffering within close relationships, and a terrible/pitiful event. Euripides’ Electra generally follows the Aristotelian structure of tragedy, but due to the inclusion of two non-heroic characters and other unforeseen elements, Electra stands out as an exception to Aristotle’s standard.
In Electra, the lack of “good” characters is apparent. The main characters Orestes and Electra show through their actions that they would not be considered “good”. Aristotle states in his Poetics that there are four key components to a good character, “first and foremost is that the characters be good…the second requisite is to make the character appropriate…third is to make the character lifelike…fourth is to make them consistent…or consistently inconsistent.” (31) When these standards are applied to analyzing Orestes and Electra, their actions show that they are not Aristotelian. The savage murder of Aegisthus depicts the ignobility of Orestes. The Messenger describes “as he [Aegisthus] bent down your brother [Orestes] rose upon tiptoe and smote on his spine and crashed through the joints of his back. His whole body jerked up and down in convulsions, and he cried out, in the agony of bloody death”. (227) The violent descriptions of the first murder displays Orestes’s lack of compassion and morality, and thus, by Aristotelian standards, he would not be considered a “good” or noble character. TRANSITION, Character interaction is an important Aristotelian element, he emphasizes that these interactions must be between closely connected people.
The tragedy’s climax in Electra occurs with the murder of Clytemnestra. This scene is Aristotelian in that it involves interactions between people who are closely connected.
Tragedy, as defined by Aristotle, has a multi-faceted meaning. The Aristotelian definition of a perfect tragedy, artistically states that tragedy must comprise of several elements; the perfect character, hamartia, a complex plot structure, suffering within close relationships, and a terrible/pitiful event. Euripides’ Electra generally follows the Aristotelian structure of tragedy, but due to the inclusion of two non-heroic characters and other unforeseen elements, Electra stands out as an exception to Aristotle’s standard.
In Electra, the lack of “good” characters is apparent. The main characters Orestes and Electra show through their actions that they would not be considered “good”. Aristotle states in his Poetics that there are four key components to a good character, “first and foremost is that the characters be good…the second requisite is to make the character appropriate…third is to make the character lifelike…fourth is to make them consistent…or consistently inconsistent.” (31) When these standards are applied to analyzing Orestes and Electra, their actions show that they are not Aristotelian. The savage murder of Aegisthus depicts the ignobility of Orestes. The Messenger describes “as he [Aegisthus] bent down your brother [Orestes] rose upon tiptoe and smote on his spine and crashed through the joints of his back. His whole body jerked up and down in convulsions, and he cried out, in the agony of bloody death”. (227) The violent descriptions of the first murder displays Orestes’s lack of compassion and morality, and thus, by Aristotelian standards, he would not be considered a “good” or noble character. TRANSITION, Character interaction is an important Aristotelian element, he emphasizes that these interactions must be between closely connected people.
The tragedy’s climax in Electra occurs with the murder of Clytemnestra. This scene is Aristotelian in that it involves interactions between people who are closely connected.