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32 pages 1 hour read

Sophocles

Electra

Fiction | Play | Adult | Published in 450

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Themes

The Power of Speech

Speech is used in Electra as a means to construct narratives. The most notable example of this is Orestes himself, who proclaims his death with words alone. His strategy proves successful, as he is able to return home without being recognized. In an act of foreshadowing, Orestes states that he has heard of “shred men / who die a false death / so as to come home / all the more valued” (87-90). His return will be triumphant, not only because his family will believe him dead, but because they will witness a miraculous resurrection. This resurrection is depicted as light which breaks on the other characters in a moment of awe and shock. Such light imagery also connects Orestes to his father, as he represents the symbolic resurrection of Agamemnon. This connection is made apparent when Chrysothemis recalls a dream that Clytemnestra had: “Well the story is / she dreamed of our father / and knew him again / for he came back into the light” (568-571). Electra echoes this return when she exclaims to Orestes, “Oh love, you break on me like light!” (1638). Words become transformative, as they allow Orestes to traverse the boundaries of life and death.

Speech and actions are interconnected insofar as speech becomes a type of determinate action. Thus, to deny one the ability to speak, as Electra denies Aegisthus, is to subsequently deny them the ability to act. She warns Orestes, “No! / Don’t let him speak— / by the gods! Brother—no speech making now! / When a human being is so steeped in evil as this one / what is gained by delaying his death?” (1968-1972). If one cannot speak, then they cannot change the narrative put in place by Orestes. Furthermore, the power of speech grants Electra’s endless lamenting a resistive nature. Electra is aware that her very presence defies her mother, as she refuses to comply with the latter’s actions. Her state of constant grief grants her power in speech, while occupying an otherwise powerless position: “My cries are wings: / they pierce the cage” (323-324). Therefore, words function as both transformative (for Orestes) and resistant (for Electra).

Ethics

Electra mostly entails a series of debates wherein each character provides an argument justifying their actions. First, Electra and her sister, Chrysothemis, debate the correct way to behave while living under Clytemnestra and Aegisthus. Chrysothemis finds Electra’s grief pointless, urging her to behave rationally and to “lower the sail” in “rough waters” (452). While Chrysothemis agrees that they suffer at the hands of Clytemnestra, she does not believe in acting rashly or complaining when one cannot change their situation. Electra realizes that her sister’s reliance on reason is a way to avoid taking responsibility for her compliance, her cowardice. She directly challenges this mindset: “Well it’s time for you to make a choice: / quit being ‘sensible’ / or keep your good sense and betray your own kin” (467-469). Electra presents helping one’s kin as incompatible with having good sense, seemingly arguing that Chrysothemis’s strong sense of reason is what is keeping her from helping her siblings. A second potential interpretation is that Clytemnestra is the kin whom Chrysothemis must betray; in order to keep her good sense, she would have to align herself with Electra.

When Electra speaks with her mother, Clytemenstra, the two debate both Clytemnestra’s justification of Agamemnon’s murder and the nature of Agamemnon’s murder of Iphigenia. Clytemnestra’s argument centers on the pain of childbirth and a mother’s claim to her child: “Did he have some share / in the pain of her birth? No— I did it myself! / Tell me: / why did he cut her throat? What was the reason?” (711-714). She believes she is owed compensation for the loss of her daughter Iphigenia. Furthermore, she believes that Agamemnon acted unethically when he sacrificed Iphigenia for his brother’s sake, as Menelaus has two older children of his own. Electra argues that justifying murder with murder is fundamentally flawed: “If we made it a rule / to answer killing with killing, / you would die first, / in all justice” (780-783). She exposes Clytemnestra’s true motives in murdering Agamemnon, which were to gain wealth and marry Aegisthus. Electra juxtaposes Agamemnon and Clytemnestra, stating that the former felt great shame for murdering his daughter while the latter felt none for murdering her husband. Like the power of speech, ethics is key to Electra, revealing characters’ true natures.

Familial Ties

Topics ranging from motherhood to siblinghood are addressed throughout Electra. Clytemnestra showcases a flawed idea of motherhood, prioritizing the pain of childbirth as reason for her claim on her children over her late husband. While her lack of motherly nature is evident in her relationship with Electra, it is also seen in her reaction to Orestes’s “death.” Aware that Orestes is to return and avenge his father’s death, Clytemnestra has always feared her son. Her only reasoning for mourning Orestes’s death is that she herself birthed him. Yet, Clytemnestra’s fear that he will retake the throne of Mycenae proves more powerful than motherly love; the queen even goes so far as to declare, “Now I am free!” (1058). A bitter Electra states that she does not view Clytemnestra as a mother but rather a kind of punishment.

Despite their time apart, siblings Electra and Orestes are intimately connected by a shared will. Electra directly references this connection: “Your will and my will are one: identical, brother (1735). She is driven by the hope that Orestes will return to avenge their father. Without him, there is no hope, and subsequently, no Electra. Upon learning of Orestes’s death, Electra proclaims, “My death begins now” (909). Orestes provides Electra with purpose, and thus, his death results in her own. Once reunited, the siblings are overjoyed. Electra pleads with Orestes: “Do not turn your face from me. / Don’t take yourself away” (1701-1702). For her, to look upon her brother’s face is to look upon her father in the form of his continued lineage.

Bloodlines as a whole are also addressed. Orestes symbolizes the bloodline of Agamemnon and by extension, Agamemnon’s resurrection. By killing Aegisthus, Orestes usurps his potential bloodline and reestablishes his father’s own. Aegisthus’s wrongful occupation of the throne of Mycenae is evident in his marriage to Agamemnon’s wife and his carrying Agamemnon’s scepter. This imagery foreshadows his eventual murder. The Chorus states, “O seed of Atreus: / you suffered and broke free, / you took aim and struck; / you have won your way through / to the finish” (2004-2008). Therefore, the climatic delivery of justice in the murder of Clytemnestra and Aegisthus is not simply a fight between any two people but between two lineages.

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