The scene of the _Electra of Euripides_ is not in Mycenae, in the open country, but on the borders of Argolis, and before a solitary and miserable cottage. The owner, an old peasant, comes out and in a prologue tells the audience how matters stand in the royal house, with this addition, however, to the incidents related in the two plays already considered, that not content to treat Electra with ignominy, and to leave her in a state of celibacy, they had forced her to marry beneath her rank, and to accept of himself for a husband: the motives he assigns for this proceeding are singular enough; he declares, however, that he has too much respect for her to reduce her to the humiliation of becoming in reality his wife.--They live therefore in virgin wedlock. Electra comes forth before it is yet daybreak bearing upon her head, which is close shorn in servile fashion, a pitcher to fetch water: her husband entreats her not to trouble herself with such unaccustomed labours, but she will not be withheld from the discharge of her household duties; and the two depart, he to his work in the field and she upon her errand. Orestes now enters with Pylades, and, in a speech to him, states that he has already sacrificed at his father's grave, but that not daring to enter the city, he wishes to find his sister, who, he is aware, is married and dwells somewhere near on the frontiers, that he may learn from her the posture of affairs. He sees Electra approach with the water-pitcher, and retires. She breaks out into an ode bewailing her own fate and that of her father. Hereupon the chorus, consisting of rustic virgins, makes its appearance, and exhorts her to take a part in a festival of Juno, which she, however, depressed in spirit, pointing to her tattered garments, declines. The chorus offer to supply her with festal ornaments, but she still refuses. She perceives Orestes and Pylades in their hiding-place, takes them for robbers, and hastens to escape into the house; when Orestes steps forward and prevents her, she imagines he intends to murder her; he removes her fears, and gives her assurances that her brother is still alive. On this he inquires into her situation, and the spectators are again treated with a repetition of all the circumstances. Orestes still forbears to disclose himself, and promising merely to carry any message from Electra to her brother, testifies, as a stranger, his sympathy in her situation. The chorus seizes this opportunity of gratifying its curiosity about the fatal events of the city; and Electra, after describing her own misery, depicts the wantonness and arrogance of her mother and Aegisthus, who, she says, leaps in contempt upon Agamemnon's grave, and throws stones at it. The peasant returns from his work, and thinks it rather indecorous in his wife to be gossiping with young men, but when he hears that they have brought news of Orestes, he invites them in a friendly manner into his house. Orestes, on witnessing the behaviour of the worthy man, makes the reflection that the most estimable people are frequently to be found in low stations, and in lowly garb. Electra upbraids her husband for inviting them, knowing as he must that they had nothing in the house to entertain them with; he is of opinion that the strangers will be satisfied with what he has, that a good housewife can always make the most of things, and that they have at least enough for one day. She dispatches him to Orestes' old keeper and preserver who lives hard by them, to bid him come and bring something with him to entertain the strangers, and the peasant departs muttering wise saws about riches and moderation. The chorus bursting out into an ode on the expedition of the Greeks against Troy, describes at great length the figures wrought on the shield which Achilles received from Thetis, and concludes with expressing a wish that Clytemnestra may be punished for her wickedness.