This article is about the well-known mythological character from the Trojan Cycle. For other Greek mythological characters, seeElectra (mythology). For other uses, seeElectra (disambiguation).
Electra was absent fromMycenae when her father, King Agamemnon, returned from theTrojan War. When he came back, he brought with him his war prize, theTrojan princessCassandra, who had already borne him twin sons. Upon their arrival, Agamemnon and Cassandra were murdered, by either Clytemnestra herself, her loverAegisthus, or both. Clytemnestra held righteous resentment for her husband for sacrificing their eldest daughter,Iphigenia, to the goddessArtemis in exchange for a fair wind so that he could set sail for Troy. In some versions of this story, Iphigenia was saved by the goddess at the last moment.
Eight years later, Electra returned home fromAthens at the same time as her brother,Orestes. (Odyssey, iii. 306; X. 542). According toPindar (Pythia, xi. 25), Orestes was saved either by his old nurse or by Electra from being killed by his mother, and was taken toPhanote onMount Parnassus, where KingStrophius took charge of him. When Orestes was twenty, theOracle of Delphi ordered him to return home and avenge his father's death.
InLibation Bearers, a play in theOresteia trilogy byAthenian playwrightAeschylus,Orestes returns toArgos with his cousinPylades to exact revenge on his mother. When he goes to perform rites at the tomb of Agamemnon, he sees Electra offeringlibations.[4] Electra is relieved and excited to see him, as she despises Clytemnestra and her living situation.[5] The pair then arrange how Orestes should accomplish the act.[6] Orestes and Pylades first kill Aegisthus,[7] drawing Clytemnestra into the room where she was then ambushed and killed.[8]
In the play, Electra is unsure of her own ability to avenge her father, though she is certain in her conviction that revenge is necessary. This version posits that she is a confused participant in the murder of her mother. She turns to her brother to take the role of avenger, uncertain or unwilling to kill Clytemnestra herself.[9]
Sophocles' Electra is much more imposing than Aeschylus' character. She is consumed by hatred in reaction to her father's death, a far cry from the more reluctant Aeschylus interpretation. Sophocles' Electra is also uncontrollably saddened by her father's murder which only serves to further her desire for revenge. Furthermore, she is borderline hysterical to avenge her father. This suggests that Electra was more attached to Agamemnon than Clytemnestra. In this version of events, Electra and Orestes are equal partners in Clytemenestra's murder. Sophocles also goes as far as to present a more philosophical side of Electra. She confronts her mother about the morality of her actions, where she is presented with a logical defense of the murder by Clytemenestra. Electra rejects this colder view of the death of her father, focusing on the act of murder rather than the circumstances around the event. Electra goes as far as to show complete contempt for Clytemenestra, a unique feature of this interpretation.[9]
Euripides'Electra portrays her as a shrewd yet feeling figure. Unlike the Sophoclean Electra, Euripides' tempers her emotions in order to accomplish her goals throughout the narrative. The act of avenging her father is understood as a necessity, not an emotional endeavor. This colder portrayal of Electra has been interpreted to represent the strength of unmaternal temperaments, as well as an acute understanding between the two female characters the realities of the gendered world they move within. More divergently, this version of Electra sets the trap that kills Clytemnestra. Orestes is not an equal partner in the murder, with Electra being the ultimate leader of the entire machination. She even feigns maternalism in order to ensnare her mother, though interpretations vary on their relationship up until this point. Some suggest that this final interaction was actually adorned with mutual love and respect, paying homage to both characters' proclivities. With that being said, no love is lost between Electra and Clytemnestra. Despite her daughter killing her, Clytemenestra's unmaternal bond holds true. In the same vein Electra harbors no hatred for her mother unlike in other tellings.[9]
Before her death, Clytemnestra cursed Orestes. TheErinyes or Furies, whose duty it is to punish any violation of the ties of family piety, fulfill this curse with their torment. They pursue Orestes, urging him to end his life. Electra was not hounded by the Erinyes.
InIphigeneia in Tauris, Euripides tells the tale somewhat differently. In his version, Orestes was led by the Furies to Tauris on the Black Sea, where his sisterIphigenia was being held. The two met when Orestes and Pylades were brought to Iphigenia to be prepared for sacrifice toArtemis. Iphigeneia, Orestes, and Pylades escaped from Tauris. The Furies, appeased by the reunion of the family, abated their persecution. Electra then married Pylades.[10]
elektraZenSuite, medium-length film byAlessandro Brucini, based on texts by Aeschylus, Sophocles, William Shakespeare, Hugo von Hofmannsthal, Sylvia Plath, and the Zen Buddhist monk Takuan Soho
Elektra (Laodice) is the unnamed protagonist and speaker inYannis Ritsos's long poemBeneath the Shadow of the Mountain. This poem forms part of the cycle colloquially referred to as theNew Oresteia.
Electra is the eponymous narrator of her story in the book 'Electra' byHenry Treece. (Bodley Head, 1963: Sphere Books., 1968).
A central character inDonna Leon'scrime fiction series is a present-day young woman named Elettra (the Italian form of "Electra"), who is highly resourceful and who bears some resemblance to the mythological character.
House of Names, byColm Tóibín. A retelling of the story of Agamemnon's death and the resulting events. (Simon and Schuster, May 9, 2017. 275 pages[11])
Elektra,a novel byJennifer Saint that tells the parallel story of Elektra's life, along with her mother Clytemnestra, and Cassandra of Troy
^abcSex and sensuality in the ancient world. New Haven and London: Yale University Press, 2008. Translated by George Staunton from the Italian Eros tiranno: sessualità e sensualità nel mondo antico (2003).
^Luke Roman, Monica Roman,Encyclopedia of Greek and Roman Mythology, Infobase Publishing, 2010, p.143.
