The sorrows and character of Electra form one of the two great features of this tragedy. The other is the stage-craft. First there is a distinct element of intrigue, that is, of plot as contrived not by the poet but by the characters. Not only do the avengers gain access to the house by a false story; this much is to be found already in the _Choephorœ_. There are two distinct visitors to the house: the Pædagogus with his tale of the fatal race, and Orestes bringing the funeral urn. It is to this duplication—for otherwise Clytæmnestra would have been present when the urn was brought—that we owe the splendid scene of the Recognition, with its introductory lament by Electra. Again, as in Æschylus the nurse sent by Clytæmnestra is induced to change her message to Ægisthus in a way vital to the conspirators, so here Chrysothemis is caused by her sister to invoke the aid of Agamemnon against the queen instead of seeking to assuage his wrath. Further, whereas Ægisthus might have entered the house and been slain without more ado, Electra, by telling him that the messengers have brought the very body of Orestes home, induces the king to summon them forth with the corpse; thus the end of the play is rendered vigorous (indeed melodramatic) by his triumphant unveiling of the body which proves to be that of the queen. Besides these admirable strokes of a rather sophisticated “sense of the theatre” there are powerful effects which arise naturally from the circumstances. Clytæmnestra offers a prayer to the very god who has sent the avenger. Electra’s wonderful address to the ashes of her brother gains greatly by the fact that he stands living beside her. A splendidly dramatic effect is obtained by the return of Chrysothemis—the most “modern” point of the whole work. She has been sent away for a certain purpose, but in the stress of later happenings we forget her. Suddenly she re-appears with news—the result of her mission—news startling in itself, but ten times more so because of the events which (without her knowledge) have just occurred. Again, it is quite natural that Electra should come forth while Clytæmnestra is being slain, since some one must be on the alert for Ægisthus. This gives opportunity for the terrible little passage where the queen’s agonized appeals inside the house are answered by the tense answers or comments of this tragic figure rigid before the gate. The ŒDIPUS TYRANNUS[321] (Οἰδίπους Τύραννος), often called _Œdipus Rex_ or _Œdipus the king_, is a play of uncertain date, but it seems later than _Electra_ and earlier than _Philoctetes_.